Vintage Pulp May 8 2019
WELL SUITED FOR THE ROLE
Garzanti cover for Bond collection is absolutely favoloso.


Here's a little something to add to the Ian Fleming bin. This is Il favoloso 007 di Fleming, published in Italy in 1973 by the Milan based company Garzanti. It's a compendium of the four James Bond novels Casinò Royal, Vivi e lascia morire, Il grande slam della morte, and Una cascata di diamanti, better known as Casino Royale, Live and Let Die, Moonraker, and Diamonds Are Forever. The cover for this is great, we think, and as a bonus the interior also contains some black and white photos.
 
But really, we were drawn to this because of the model and her fishnet bodysuit. Or is that lace? Doesn't matter. She's none other than Claudine Auger, aka Domino from 1965's Thunderball. Sean Connery gets a corner of the cover as well, and the rear is interesting too, with its shark and cards from To Live and Let Die. Technically, those cards should be tarots, but whatever, nice art anyway. And speaking of nice, we also located the photo used to make the cover, and you see that below too. Really cool collector's item, which we'd buy if we read Italian. But alas, that isn't one of our languages, so this one still languishes at auction. 

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Femmes Fatales Apr 5 2019
ACTIVE SHOOTER
She makes it look so Uzi.


This great photo stars U.S. actress Gloria Hendry and was made when she was filming the 1973 James Bond movie Live and Let Die. Of all the so-called Bond girls who appeared opposite the world's most famous spy through the decades, Hendry, with her toned arms and six-pack stomach, was one of the few who actually looked fit enough to survive the chaos. She didn't, though. Only one Bond girl generally got to survive each film and in this case it was Jane Seymour.
 
There are several variations of this photo floating around online, but the one above is our favorite. Hendry gives it her all, rocking her fantastic afro and looking every bit the lean, dangerous, counterculture CIA double agent she played in the film. But we also like the alternate version below, where she cracks a little smile, because machine gunning people can be fun too, at least in the movies. See another Hendry promo here.
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Femmes Fatales May 26 2018
GUN SMITH
Madeline as hell and not going to take it anymore.


British actress Madeline Smith takes aim in this promo image made when she was filming the James Bond movie Live and Let Die. It's probably her best known role. She played Miss Caruso, an Italian agent who tumbled into bed with Roger Moore during the opening of the film. The photo is from 1973.
 
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Vintage Pulp Nov 6 2015
THAI SPY
Bond takes a shot at Thai readers.


The above book covers for the James Bond novels Live and Let Die, On Her Majesty’s Secret Service, For Your Eyes Only and Goldfinger come from Thailand, where a martini is a “hăy láa bprà-pâyt kók-tayn,” a phrase sure to leave even international badass James Bond a sputtering mess. At the very least, he can forget about getting it shaken not stirred. No way he can pronounce those words, cunning linguist or not. Of course, being Bond, there’s always some slinky English-speaking femme fatale happy to help him out before a) bedding him and b) trying to kill him. It’s the same for us, except the slinky femmes are the Pulp Intl. girlfriends, and after bedding us they make us help with chores, which is a little like being killed. Bond never did chores. And next time they ask us we’re going to say that to them with a straight face—James Bond never did chores. We’ll let you know how that works out.  

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Vintage Pulp Jun 18 2014
BOND POSSIBILITIES
Two Fleming covers offer opposite visions of how to Live large.

Sometimes we get in the mood for a true classic, so at top is the excellent 1966 Macmillan Publishers edition of Ian Fleming’s Live and Let Die. It’s possible the James Bond books have had more cover iterations than any other series, and most of them are high quality, often trending toward the sort of luridness we love, but we also like the simple, elegant graphics of Macmillan's deep green masterpiece. On the other hand, if we were to go lurid then there’s no better art to be found than on the 1964 cover Vivi e lascia morire from the Italian imprint Garzanti. The variations on Live and Let Die are practically infinite, but the Garzanti edition is our other favorite (though this one is great too). There is no artist info on these, which is criminal, we think. We’ll dig, though, and see what we can find. As a matter of taste, it’s interesting to contemplate which of the two books we would buy, assuming we could buy only one. Tough choice. What do you think? 

Update: the second cover was painted by Giovanni Benvenuti.

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Hollywoodland Dec 26 2011
BOND RESTRUCTURING
Diamonds are forever, but Connery wasn’t.

Sean Connery makes as many appearances in sixties and seventies tabloids as just about any celeb of the time, so here he is again in an article promoting his role in Diamonds Are Forever, which would premiere just a couple of weeks after this December 1971 National Police Gazette hit newsstands. Connery talks about his futile struggle to portray James Bond as a balding hero, and quips about making his stylist thin his wigs so there was almost no point in wearing them at all. Connery said about Bond’s aging, “No one is immortal—not me, not you, and not James Bond.” It was a commendable sentiment, but naïve. Seems as though Connery didn’t realize United Artists had already branded Bond well beyond the point where the character was tethered to any concept of aging. The studio proved that when it brought the much younger Roger Moore on the scene for 1973’s Live and Let Die. Moore would later give way to Dalton, who gave way to Brosnan, who gave way to Craig, as Bond himself remained eternally forty-ish through the passing years. Elsewhere in the Gazette you get a report on the hash capital of the world, the world’s greatest racing systems, and the usual assortment of random beauties in bathing suits. All that, plus hashish toasted cheese, below. 

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Femmes Fatales Aug 23 2011
AFRO QUEEN
A Gloria’s embodiment of summer.

Here’s a great shot of American actress Gloria Hendry, who appeared in the James Bond movie Live and Let Die, as well as the blaxploitation films Across 110th Street, Black Caesar, Hell Up in Harlem, and Black Belt Jones, seen here rocking one of history’s greatest afros, 1973. See another shot from the same session in this post.

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Musiquarium Nov 19 2009
BOND MARKET
Nobody does art better.

James Bond soundtrack albums and singles, with production art covers, plus paintings by Frank McCarthy, Robert McGinnis and others.     

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Femmes Fatales Oct 16 2009
UNCOMMON RESTRAINT
Hold me, thrill me, kiss me, kill me.

British actress Jane Seymour as the virgin tarot mistress Solitaire in Live and Let Die, 1971, here being kept in check by the appropriately named Geoffrey Holder.     

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History Rewind
The headlines that mattered yesteryear.
May 22
1942—Ted Williams Enlists
Baseball player Ted Williams of the Boston Red Sox enlists in the United States Marine Corps, where he undergoes flight training and eventually serves as a flight instructor in Pensacola, Florida. The years he lost to World War II (and later another year to the Korean War) considerably diminished his career baseball statistics, but even so, he is indisputably one of greatest players in the history of the sport.
May 21
1924—Leopold and Loeb Murder Bobby Franks
Two wealthy University of Chicago students named Richard Loeb and Nathan Leopold, Jr. murder 14-year-old Bobby Franks, motivated by no other reason than to prove their intellectual superiority by committing a perfect crime. But the duo are caught and sentenced to life in prison. Their crime becomes known as a "thrill killing", and their story later inspires various works of art, including the 1929 play Rope by Patrick Hamilton, and Alfred Hitchcock's 1948 film of the same name.
May 20
1916—Rockwell's First Post Cover Appears
The Saturday Evening Post publishes Norman Rockwell's painting "Boy with Baby Carriage", marking the first time his work appears on the cover of that magazine. Rockwell would go to paint many covers for the Post, becoming indelibly linked with the publication. During his long career Rockwell would eventually paint more than four thousand pieces, the vast majority of which are not on public display due to private ownership and destruction by fire.
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