In addition to being a badass trombone player, salsa legend Willie Colón had a keen sense of drama. His album sleeves played on the Mafia obsession of the 1970s and portrayed him as the gangsta of the NYC salsa scene. The records had titles like El Malo, The Hustler and OG: Original Gangster. But Colón is a renaissance man, not a thug. Besides being one of the most influential salsa performers in history and releasing a giant stack of recordings, he acts, holds an honorary professorship from Yale University, and is one of the few musicians with a lifetime achievement Grammy who doesn’t blow. Well, he does blow, but only on his horn. His trombone, that is. Never mind. More sleeves below.

Thanks to court papers filed this week in Brooklyn, New York, we finally know what happened to John Favara. Mr. Favara was the unlucky soul who accidentally killed John Gotti, Sr.’s twelve-year old son Frankie in an auto accident back in March 1980. Frankie rode in front of Favara’s car on a borrowed motorbike at the exact moment when Favara was briefly blinded by the setting sun. Police quickly cleared Favara of any wrongdoing, but John Gotti, Sr., aka The Dapper Don, wasn’t having it.

Favara knew he was in trouble, and went to the Gotti home to apologize, but was chased away by a baseball bat-brandishing Victoria Gotti. John Gotti suggested that Favara leave town, but he had a wife, two kids and a job in New Hyde Park, which made moving impractical. Parties unknown left Frankie Gotti’s funeral card in Favara’s mailbox, and yet more unknowns spraypainted the word “murderer” on his car, but still he didn’t hightail it. Maybe he thought it would all blow over. It didn’t. Favara finally disappeared that July. Witnesses saw a man assaulting him with a board outside his workplace that day, and several others heard the squealing of tires, but Favara’s body was never found.

This week’s court papers, containing testimony by Charles Carneglia, aka Charlie Canig, reveal that he and several other Gotti associates beat Favara, forced him into a van, and shot him in the legs. Favara was then driven to a secret Brooklyn location where he was killed and stuffed into a 55-gallon drum of acid, which dissolved his body. The moral of the story is twofold: first, when a Gotti “suggests” you leave town, think “Uruguay”; and second, now that we know from an insider how the Mafia operates, I guess we can stop hoping Jimmy Hoffa’s body turns up.

Fifty years ago on this day, U.S.-installed dictator Fulgencio Batista fled Cuba, acknowledging defeat by socialist forces aligned with Fidel Castro. At the time Cuba was controlled by U.S. business interests and organized crime figures, with 75% of its land in foreign hands, and the capital of Havana serving as an international vice playground. It was known as the Monte Carlo of the Caribbean, and establishments like the Tropicana, San Souci, and Shanghai Theatre were famous for casinos, prostitutes, and totally nude cabaret shows. The El Dorado had an all female orchestra. Mobster Meyer Lansky was royalty. Luminaries such as Frank Sinatra, Nat King Cole, and Edith Piaf were regular headliners. Havana was simply the place to be.

Less than an hour from Florida by air, New York businessmen who’d told their wives they were at a Miami conference could be enjoying a Cuban whore by lunchtime, and be back in Dade County in time for bed and a phone call from the missus. Alternatively, they could stay all night, or for days at a time, and lose themselves in daiquiris, dancing girls, and the lure of forbidden Barrio Colón. It was paradise—at least if you were a foreigner or one of the wealthy Cubans in partnership with them. For thepoor Havana was pure hell. The billions in revenue earned by casinos and hotels trickled not down, but out—into foreign bank accounts. Malnutrition, illiteracy, and crime were rampant. When Castro ran Batista off the island the party cautiously continued, because his political intentions were not immediately clear. Everyone knew the old system would change; nobody knew exactly how much. But for a brief, post-revolutionary moment Cuba remained open to foreigners, and so the expatriate carnival went on—albeit under a cloud.

But the lines had already been drawn in the greatest ideological battle of modern times. U.S. president Dwight D. Eisenhower was using the CIA to train Cuban exiles for an invasion to oust the socialists, and Castro was planning to nationalize a corrupt capitalist economy that had excluded those who were too poor, too black, or too lacking in influence to get a seat at the big table. When Castro made nationalization official, the U.S. struck with an embargo, and followed up five months later with the failed Bay of Pigs invasion. Since then the ideological battle lines have occasionally shifted, but Cuba remains the prize jewel of the war.

As historical events go, the Cuban Revolution has been invaluable to pulp, providing rich material for authors such as Graham Greene, James Ellroy and a literary who’s-who of others. It has been the subject of countless revisionist potboilers. Stephen Hunter’s Havana is perhaps the best of these novels. In that one Fidel’s fate is in the hands of a goodhearted redneck from Arkansas. Sent by the CIA, the heroic marksman is more than a match for the hapless Cubans, but does he really want to kill Castro? Movies ranging from Errol Flynn’s piece-of-fluff Cuban Rebel Girls, to Wim Wenders’ inspiring Buena Vista Social Club, to Benicio del Toro’s heavyweight Ché, have also used the island as a backdrop. Doubtless Cuba will provide material for as long as authors write and directors film, as its history continues to inspire, and its future continues to be in flux.

Italian police carried out a large raid today against organized crime figures suspected of having links to gangster Matteo Messina Denaro. Denaro, along with other aspirants, is vying to be the first to rebuild the Sicily-based Cosa Nostra, which collapsed after the 2006 arrest of then-boss Bernardo Provenzano, and the 2007 arrest of heir apparent Salvatore Lo Piccolo.

Altogether, police made around 100 arrests in the Sicilian capitol of Palermo, and on the Italian mainland in the Tuscany region. The operation, nicknamed Perseus after the mythical Greek hero who killed Medusa, was carried out with the backing of helicopters and police dogs, and was the culmination of a nine-month investigation. Those jailed will be charged with variety of offences, including extortion of arms and drug trafficking.

Anti-Mafia prosecutor Pietro Grasso said at a press conference that, “While the 2006 operation had brought Cosa Nostra to its knees, Perseus prevented it from rearing its head again.” Meanwhile Denaro, who is sometimes described as a playboy and is famous enough to have earned a L’Espresso cover and an infamous Warhol-style tribute from an anonymous Italian graffiti artist, remains at large.

Hitchcock really cranked out films. Vertigo was maybe his fiftieth effort. We’d have to count to more than fifteen to be sure, and we’re way too lazy to try. We just know Parisians first saw the flick today in 1958. By this time Hitch was so famous his films screened in virtually every corner of the globe, which means you can find posters of his movies in Russian, Spanish, German, Dutch, Portuguese, and so forth. When we stumbled across this nice French art we were reminded what a cool film Vertigo is. It has Jimmy Stewart, a great plot, period fx that still work despite their clunkiness, and a Bernard Hermann score. But really the best thing about this movie is Kim Novak.

After only a year in film, her classic beauty turned heads in the 1955 heroin addiction drama The Man with the Golden Arm, in which she played opposite Frank Sinatra. About two years later, when she was arguably the most famous and desired woman on the planet, she embarked upon an affair with brat-packer Sammy Davis Jr., which set off an avalanche of events that eventually resulted in the Mafia forcing Sammy to marry a black Vegas showgirl. Novak’s story is too complex to condense into a blurb—it involves gangland bosses, hush money for secret nudes, obsessive suitors, and all the best staples of pulpdom. Through it all she pretty much told the world to screw itself if it didn’t like her exactly the way she was. And she’s still with us at 75. We’ll write more about this amazing person later on.

This month in 1952, right wing scandal rag Confidential hit newsstands for the first time. It was owned by Robert Harrison, who got his start in publishing at the New York Graphic, one of the earliest celebrity scandal sheets. Confidential was based in New York City, but its focus was Hollywood and its environs. To gather information Harrison cultivated a vast network of west coast informants—everyone from hotel concierges to taxicab dispatchers. The magazine was lurid, filled with doctored  photos, and shamelessly exploitative of hot-button social fears. A typical issue might accuse Hollywood glitterati of using illegal drugs, sympathizing with communists, associating with other races, or working for the mob.

The formula worked. Within two years Confidential grew into a bestselling magazine. It screamed from American newsstands about interracial affairs, LSD parties, and backalley abortions, always in a glaring red-yellow motif that would become its visual trademark. Humphrey Bogart once famously called Robert Harrison “The King of Leer,” sentimentswhich were echoed throughout Hollywood. Stars were galled not just by the magazine’s constant attacks, but the fact that they originated from three-thousand  miles away. It meant Confidential either fabricated its stories, or gathered info by means of spies. Neither possibility was pleasing to consider.

Hollywood began fighting back. Ronald Reagan, who at the time was a snitch for Tinseltown’s hated blacklisters, chaired a committee that smeared Confidential staff. Postmaster General Arthur Summerfield at one

point banned mail delivery of the magazine. In 1957 the Kraft Commission put Robert Harrison on trial for conspiracy to publish criminal libel. The trial ended in a plea deal, but not before Hollywood stars realized their greatest ally was the legal system. Lawsuits kept Confidential in litigation from that point forward, and Harrison finally sold out in 1958.

The new owners managed to keep Confidential going, but mindful of lawsuits the magazine had lost under Harrison in 1956 and 1957, operated more cautiously. Soon, readers began to suspect the tabloid was no longer living up to its stated credo: “Telling the facts and naming the names”. Confidential stopped flying off newsstands. Sales dipped to a third what they had been at their zenith. A 1970s shift in editorial focus toward hippie counterculture did little to reverse fortunes, and Confidential finally folded  in 1978.

Though defunct, its twenty-two year run was a success by almost any standard. Confidential outlasted a dozen competitors, and its influence extends into today’s newsstand tabloids, Hollywood-oriented television shows, celeb blogs, and even popular fiction. Author James Ellroy’s award-winning pulp thrillers frequently reference Hush Hush, a Confidential copycat. And Pultizer Prize winning columnist Stephen Hunter wrote a bestselling thriller about the Mafia’s presence in Hot Springs, Arkansas during the 1950s, a subject Confidential covered in its very first issue.