This striking music brochure promo art for French singer Juliette Gréco and Disques Fontana (a subsidiary of the Dutch label Philips Records) was created by the famous illustrator O’Kley in 1956. The art was reused for record covers, as you see below.

Gréco, an actress as well as singer, was a fixture in the Saint-Germain-des-Prés area of Paris, and her acquaintanceships with such figures as Jean-Paul Sartre and Maurice Merleau-Ponty earned her the nickname La Muse de l’existentialisme—the existentialists’ muse. She was also, according to Miles Davis, one of the great loves of his life, and the feeling was reciprocated, so that wins major points right there because Miles was the bomb.

Moving on to the art, O’Kley was a pseudonym for Nantes-born Pierre Gilardeau, the man behind some of the most collectable Folies Bergère posters. He also illustrated many book covers and movie posters, and after a long career died in 2007. We’ve seen some good examples of his art, so we’ll try to get back to him a bit later—but we make no guarantees. You can see another Fontana post here.

Above, Paris-Hollywood magazine published in 1949, with a bare-shouldered Jane Russell on the front cover and Anne Baxter (spelled Ann by editors) gracing the rear. Baxter is pointing out Alaska on a wall map, probably explaining that she'd need a parka and snow shoes if she ever went there, rather than the undies and heels she's wearing. Inside the issue you get showgirls, models in lingerie, and celebs dressed as bunnies. Was it Easter? No idea, because Paris-Hollywood came without publication dates during these years. However, the front cover noted that Russell was starring as Calamity Jane in the film Pale Face, aka The Paleface. Since that appeared in France in mid-February and promotional efforts usually occur in advance of a film's premier, or at least around its opening date, we suspect the issue was published in February or March of 1949. 

French burlesque dancer Yvonne Ménard is all smiles, and why not? That thing she wears between her legs probably tickles. Ménard also may be smiling because when these photos were taken she was about as famous as a dancer could be. She had started as a nude mannequin at La Cigale, then joined the cast of Folies Bergère as a replacement for a departing Josephine Baker after understudying the great American star during the 1949 season. Ménard was twenty when she took the lead role—the photos above were made backstage at the Folies shortly afterward. One of the acts Ménard developed showed her struggling against the lure of opium. She wore only her famous glittering leaf, and battled dark male figures only to be eventually carried by them into a smoking pit.  

Ménard’s performances were a bit different from Baker’s—she couldn’t sing as well, and her dancing was a work in progress, but she would eventually master various flips and aerial maneuvers, which she once demonstrated for a photo feature in Life magazine. She toured the U.S. numerous times, making stops in New York, Miami Beach, and Las Vegas, and also performed in South America. Somewhere in there she made time to appear on the cover of the third issue of Playboy, in February 1954, and writer Georges Tabet said inside the issue, “Yvonne is the crystallization of Paris. She’s got a petit quelque chose—a little something—that you have to be born with. Chevalier, he has it in his smile. Edith Piaf has it in her voice. This one—she has it all over.”

We were going to post nothing today, but even a fine red wine, twenty pages of good fiction, and the attentions of the wonderful Pulp Intl. girlfriends occupy only so many Saturday hours, so above and below you see the cover and contents of the French burlesque and entertainment magazine Cancans de Paris, named after the high-kicking stage dance of 19th-century Montparnasse music halls. This issue appeared this month in 1965 and features Gina Lollobrigida, Verna Lisi, Sandra Dee, ballerina Ludmilla Tchérina, and others.

We’re at the penultimate page of the Goodtime Weekly Calendar of 1963, and as promised last week here’s a great shot from Ron Vogel of an unidentified model getting her groove on. This just cries out to be repurposed as a 12-inch cover or some kind of concert poster, don’t you think? The image actually brings up lots of humorous possibilities, and we were contemplating something along these lines for a subhead: She’s not the only one who loves beating something between her legs. But then we decided that was just too much. We have some class here.