Vintage Pulp Jun 30 2014
A SHOULDER TO SIGH ON
Sweetie, stop. I said I like sensitive men, but I meant one who puts the toilet seat down. This is too much.

Merle Miller’s That Winter is one of the better post-World War II novels, dealing with the time-honored theme of veterans struggling to fit in after their military service. One has a dead end job, another believes he can function only in the army, and another is trying to hide the fact that he’s Jewish. In the area of feeling forced to hide an essential aspect of oneself, Miller knew exactly what he was writing about. In 1971 at the age of fifty-one, during a time when he was a public intellectual of considerable stature, he came out in the New York Times Magazine as gay. The article catapulted him into the forefront of gay activism, a status he maintained the rest of his life. That Winter was his first novel, appearing in 1948, with the above Popular Library edition hitting shelves in 1950. The great cover art could be by Earle Bergey, but Christopher P. Stephens’ reference tome A Checklist of the Popular Library Paperbacks lists no illustrator, so we’ll have to go with unknown on this one for now. 

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Vintage Pulp Jun 20 2014
CRIMINAL INTENT
Don’t think I won’t shoot you in this outfit—everything I’m wearing is hand washable.

Here’s a magazine we got from the great website Darwin’s Scans, and we’re putting it up as a reminder to those who like vintage material to drop by that site occasionally. Women in Crime—a publication devoted entirely to the concept of bad women—was created by the Hanro Corporation of New York City, a publisher of digest-sized detective novels, teenybopper magazines, and everything between. The art here is by George Gross, who painted hundreds of covers for Action Stories, Detective Book, et.al., as well as many excellent paperback fronts. He was even adept at western and sports art. You can get this issue of Women in Crime at the link here, and we recommend you do because it’s entertaining reading. The file is hosted on Sendspace, which has advertising that looks like download links, so remember that you want to hit the dark blue link in the middle of the page that says “click here to start download from sendspace.” Eighteen scans below.

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Vintage Pulp Jun 8 2014
TAKE YOUR PIC
All celebrities great and small.


We’ve featured Pic magazine only once before, but not because it was an unimportant publication. Quite the opposite—we’ve seen issues as early as 1936 and as late as 1958, making it both a Depression and World War II survivor, presumably no easy feat and certainly a run indicative of sustained popularity. Early issues seemed focused on sports, but it soon broadened to include celebrities. It was launched by Wagner Publications of New York City, and this issue appeared in June 1952 with a cover featuring actress Suzan Ball placing a crown on the head of Akton Miller, a man Pic had chosen as its Hot Rod King. Inside you get a raft of Hollywood stars, including photos of Yvonne De Carlo in Uruguay, Marilyn Monroe, Janet Leigh, and Joan Vohs, shots of New York Giants manager Leo Durocher and his beautiful actress wife Laraine Day, and some nice boxing pictures. There’s also an interesting feature on the day’s top vocalists (with African-Americans notably excluded), and a profile of crooner Tony Bennett. 

But it’s Suzan Ball’s story we’re interested in today. Her path to show business was so typical of the period as to be almost banal—she was spotted in a Santa Maria, California newspaper after winning a cake baking contest. Universal-International scouts thought she looked a bit like Jane Russell, so they swept her up, shuttled her down Highway 101, signed her to a contract and began selling her as a hot new Tinseltown commodity, proclaiming her the New Cinderella Girl of ’52. Soon the influential columnist Hedda Hopper took up the refrain, naming her one of the most important new stars of 1953, thus ensuring that year would belong to Ball.

It was then that her train to stardom jumped the tracks. She injured her leg performing a dance number in East of Sumatra, and later in the year had a car accident and hurt the leg again. Treatment for those two injuries led to the discovery of a cancerous tumor. Soon afterward she fell and broke the limb, and when doctors decided they couldn’t remove the tumor they instead took the entire the leg. That was in January 1954. Ball soldiered on in her show business career with an artificial leg, starring in Chief Crazy Horse, though she lost fifteen pounds during the production, and later playing nightclub dates and appearing on television shows. In July 1955 she collapsed while rehearsing for the show Climax, whereupon doctors discovered the cancer had metastasized and spread to her lungs. A month later she died at age twenty-one. We have about fifty scans below.

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Vintage Pulp May 14 2014
EXCLUSIVELY YOURS
It was small but effective.

Exclusive was a digest sized monthly published out of New York City by the appropriately named Digest Publications, Inc. It launched in March 1954, had the usual mix of celebs, scandal, and crime, and folded after two years. This issue has everyone from playboy Shep King to Italian actress (and former Pulp Intl. femme) Sylvana Pampanini to showgirl Julie Bryan, as well as an interesting crime photo essay the editors—distastefully—decided to title “Sexclusive.” That’s not a smart choice when referring to sexual assault. But moving on, the good thing about these pocket magazines is the text was large relative to the page size, which means that when scanned the articles are easily readable even on our website. That being the case we won’t bother describing the contents any more than we already have. We’ve scanned about twenty-five pages below if you’re interested, and we’re going in search of a glass of ice-cold white wine. Enjoy.

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Vintage Pulp May 9 2014
FASHIONABLY CANDID
Well, being a make-up artist isn’t a real art any more than what you’re about to do is real modeling, but that’s life.

Above is the cover of Jack Hanley’s New York Model, from the Designs Publishing Corporation, entry 37 in its Intimate Novels line, 1953. And indeed, his take on the fashion industry must have been intimate because it was banned in Australia. Hanley wrote other racy books such as Stag Stripper, Star Lust, and Very Private Secretary, but his crowing achievement might be 1937’s hound dog instruction manual Let’s Make Mary, which is subtitled Being A Gentleman’s Guide to Scientific Seduction in Eight Easy Lessons. Hanley died relatively young in 1963 at age fifty-eight. No info on whether an angry husband, boyfriend or father had anything to do with it.

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Intl. Notebook May 9 2014
SUMMER READING
Pulp fiction and nude sunbathing—two great tastes that go great together.


As the weather warms and spring morphs into a long rejuvenating summer, a group in New York City has devised a way to wring the most out of the upcoming season. Formed when two pulp aficionados learned that in NYC women can legally go topless anywhere it’s legal for men do so, the Outdoor Co-ed Topless Pulp Fiction Appreciation Society combines reading and sun worship in the most pleasing way. They meet in Central Park, private rooftops, and anywhere else that suits their fancy. They’ve been around for several years, but this year their story has been picked up by media outlets such as The Guardian and Huffington Post. They aren’t quite what you’d call a viral sensation yet, but certainly their reach has expanded of late. Since we’ve been combining pulp with bare bodies for years, we thought we’d better join the chorus of support.

In our little nook of the world a four-block walk puts us plop on the nude end of our local beach. Perhaps that’s why when we wandered over to the Society’s blog, it was the pulp that interested us more than the skin. On that score we have to say that the group almost looks like a publicity arm for Hard Case Crime. Not that there’s anything wrong with Hard Case or its many entertaining publications. The company filled a market void withshinily packaged, much-appreciated pulp novels. But in our opinion, the true pulp aficionado finds it just as much fun to dig through the musty shelves of a dark, ancient bookshop as to loll in the sunshine. When we see photos of Society members enjoying the scuffed and moldy fruits of New York’s famed secondhand bookstores we’ll know they’re true pulp fans. In the meantime you can learn all about them here.

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Vintage Pulp Feb 25 2014
THE REAL WORLD
Real men find trouble everywhere they look.

Above and below are assorted scans from an issue of Real Men published this month in 1967 by New York City based Stanley Publications, Inc. Stanley launched Real Men in 1955, along with Real Secrets and Real War, which were more or less along the same lines. Inside this issue you get Red China, a swamp of death, a World War II tank battle, and a wife trying same sex action. You also get the usual demure cheesecake and lots of curious advertising. The Ann Loring featured here is, of course, not the same one who acted in films. By 1967 actress Ann Loring would have been in her fifties. Also, you’ll notice none of the art is credited. Bad, naughty editors. But the magazine is still entertaining. Not the best imprint in the genre, but certainly interesting. If you like what you see you can download it and others for free at the very useful website archive.org.

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Vintage Pulp Dec 4 2013
THIEVES' HIGHWAY
Like an Oreo cookie, the best part of Highway 301 is the stuff in the middle.


Though we can’t find much online about the making of the 1950 b-budget film noir Highway 301, we have a suspicion what happened during its production. The studio holding the purse strings, Warner Bros., had a look at the rough cut and said there’s no way we’re putting out a movie this intense. How intense is it? Influential New York Times critic Bosley Crowther called it “a straight exercise in low sadism.” So what does a studio do when it has on its hands a movie it thinks is likely to bad vibe audiences right out of the cinema? Simple—tell the audiences before the movie starts how it’s going to end. Get three sitting state governors— W. Kerr Scott of North Carolina, John S. Battle of Virginia, and William P. Lane, Jr. of Maryland—to announce in a prologue that crime does not pay, and that every member of the Tri-State Gang depicted in the movie ended up dead, except for one, who ended up in prison. Was Warner Bros. really responsible for such a blatant mutilation of Highway 301? It’s a very good bet, simply because a screenwriter can’t write a script that counts on the participation of three state governors. But for Jack Warner, well, all it would have taken was a phone call to each.

If you pretend the hamfisted prologue never happened, what you end up watching is one of the most underrated and entertaining noirs ever filmed. There are two robberies, a few shootouts, and other action pieces, but the intensity in this film is supplied by its unflinching exploration of the vagaries of fate. Taking an elevator rather than the stairs, choosing to hide rather than run, heading for the back exit rather than the front—it’s these decisions that determine the fortunes and misfortunes of the characters, and which gnaw at the nerves of an audience that knows which choice is right but can only watch events unfold. At the center of it all is Steve Cochran as the gang’s murderous leader, a guy who solves every problem with a gun. The supporting cast includes Virginia Grey, Gaby Andre, and Robert Webber, and all are good in their roles.
 
While we know the Tri-State Gang will lose in the end, there’s still plenty of suspense supplied by Gaby Andre’s predicament—she knows too much and the only reason she’s still alive is because Cochran thinks she’s beautiful. But the spell will soon wear off and at that point she’ll be just another dead witness—unless she can escape. Fate continues to intervene. Will it intercede on her behalf? Or against? We know not to anticipate her survival based on her status as the protagonist female. The body count has already told us movie convention is no refuge. That’s the genius of Highway 301—there’s no respite from tension. Every sigh of relief catches in the throat as peril mounts yet again.

Writer/director Andrew L. Stone deserves a lot of credit for putting this together. He was an experienced hand at this point, but never before had he created something so innovative. Highway 301 ends on a down note with more moralizing, but sandwiched in between is a highly recommendable drama. Flawed, yes, but only due to the intrusion of front office types, we suspect. A re-release without the moral parentheses and intermittent narration would elevate this to classic status. The poster at top is classic in its own right. It was painted by someone who signed it Aziz, and the Arabic script in the lower right corner confirms it was made for release in the Middle East or North Africa, most likely Egypt, but don’t quote us on that.

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Vintage Pulp Sep 18 2013
TAXICAB CONFESSIONS
Scorsese and DeNiro drive the message home.

And as long as we’re on the subject of movie posters, above you see the amazing Japanese promo for Martin Scorsese and Robert DeNiro’s noir-influenced howl of anguish Taxi Driver. After being released Stateside in early 1976 it premiered in Tokyo today the same year, and it is simply one of the best pieces of cinema ever produced in the U.S. In a country where outrage is increasingly an accepted form of communication, its story of a broken soul trying to cope with his own formless anger—not using his mind, but using his gun—resonates ever more strongly each day. People see DeNiro’s character Travis Bickle differently. Some see him as a fairly regular guy. Others see him as a mutant. Maybe it depends on one’s own level of anger. Scorsese and screenwriter Paul Schrader aren’t ambiguous about it—Bickle is a mutant who can blend in only because he’s surrounded by people so overworked or beaten down or self-involved or dwarfed by circumstance that they don’t notice that something is very wrong with him. Taxi Driver shows a man dealing with a sickness of anger, suggesting that the urge to commit violence is a cancer that could infest anyone if they aren't careful. It's a good message for times like these. 

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Vintage Pulp Jul 31 2013
REGALLY BLONDE
Raquel Welch represents a high water mark for the low rent National Spotlite.


Her body drives men wild. But it isn’t Raquel Welch being quoted on the cover of this National Spotlite published today in 1967, though the juxtaposition of text makes it seem so. No, the line came from a little known actress named Donna Selby, who National Spotlite scribe Hugh Wells interviewed in London. The story is rather amusing, as Wells tells readers how Selby appeared in only a bathrobe, made a pass at him, gave him an unwanted kiss and even licked his ear. He claims to have fled the room, saying to the actress, “I predict that you’ll go places—and quickly too!” But he was wrong about that—try as we might, we can’t find mention of an actress named Donna Selby anywhere.

But getting back to Raquel Welch, the cover shot comes from one of her most famous photo sessions, the same one that produced this excellent image and many others. Welch had gone briefly blonde, and the resultant photos are the only ones we’ve seen of her with golden hair. You know what would make her presence here even better? An interview. But no such luck. National Spotlite is simply making good use of a handout photo. Moving on, readers are treated to a nice shot of Patsy Ann Noble, aka Trisha Noble, just below, who we discussed back in 2009, and alsoappearing in the issue is German actress Dagmar Hank, who acted in several movies between 1958 and 1965. Lastly, in the centerfold you get Molly Peters, who was a Harrison Marks model and whose most notable cinematic output was a bit part in Thunderball.

You have to give National Spotlite credit—unlike many middle tier tabloids of the period this one managed to actually feature relevant and semi-relevant personalities. That comes as a surprise, since it was owned by the infamous Beta Publications of Spotlite Extra and Close-Up Extra fame. But as the flagship paper, National Spotlite doubtless had a higher budget. The masthead tells us it even had offices in New York City and Montreal, which is kind of impressive. Within a few more years, though, the paper regressed to the same form as Beta’s cheaper imprints and was reduced to putting out issues like this one. Like Marlon Brando in On the Waterfront, for a while National Spotlite coulda been a contenduh. It just never quite made it.

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History Rewind
The headlines that mattered yesteryear.
July 29
1957—Paar Takes Over Tonight Show
Today in 1957 Jack Paar begins hosting The Tonight Show. During Paar's five year stint, his unpredictable antics and strong comedic style help turn the program into a ratings juggernaut and a national institution.
1981—Charles and Diana Marry
Prince Charles and Lady Diana Spencer marry at St Paul's Cathedral before 3,500 invited guests and an estimated global television audience of 750 million, making it the most popular program ever broadcast.
July 28
1945—Plane Hits Empire State Building
A B-25 bomber crashes into the north side of the Empire State Building, between the 79th and 80th floors. One engine plows entirely through the structure, lands on a nearby apartment building, and sparks a fire that destroys a penthouse. The other engine falls down an elevator shaft. Fourteen people are killed in the incident.
1965—Vietnam War Heats Up
U.S. president Lyndon Johnson commits a further 50,000 US troops to the conflict in Vietnam, increasing the military presence there to 125,000. Johnson says about the increase, "I do not find it easy to send the flower of our youth... into battle."
July 27
2003—Hope Dies
Film legend Bob Hope dies of pneumonia two months after celebrating his 100th birthday.

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