Police Gazette conveniently forgets who invented what and when.
Police Gazette editors hit the panic button with this November 1961 cover claiming the Soviets have a death ray bomb. For a mere twenty-five cents readers were able to acquire new nightmare material by reading about this superweapon, which in the story is called an n-bomb. They’re of course referring to a neutron bomb, which by releasing deadly unshielded neutrons would minimize destruction and contamination of property but maximize human death. Not quite rays, so much as a wave emitted by a massive air burst, but still, the new element it brought to the nuclear party was wantonly scattered neutrons, so, okay—rays it is. It must have been a real stunner for Gazette’s millions of readers to learn of this horrific weapon, but unless the Russian scientist who brainstormed it into existence was named Sam Cohen we have to call bullshit on this tall tale, for it was Samuel T. Cohen—an American physicist—who conceived and developed the neutron bomb.
Cohen was an ex-Manhattan Project scientist who spent his career in nukes. He promoted his bomb relentlessly, defending it as “the most sane and moral weapon ever devised,” because “when the war is over, the world is still intact.” See, this is what can happen when you live in a military bubble—Cohen defined morality not by the neutron bomb’s extra-lethal effects on actual living and feeling humans, but by the survival of (reusable) material assets. At its most compact it could blast an area scarcely a mile across, however only a blind man could fail tosee that tactical neutron weapons were simply the thin edge of a wedge opening a tightly sealed nuclear door.
Of course, once the Soviets caught wind of this abomination they developed their own neutron bomb, prompting the U.S. to accelerate its program (see: arms race), until Ronald Reagan ordered 700 finished warheads to be deployed in Europe. It was only mass protest by Europeans—those ungrateful victims of two previous devastating continental wars—that thwarted Reagan’s plans. They realized that neutron weapons made nuclear war more likely, not less likely. If this wasn’t clear enough at the time, it became crystalline when China announced in 1999 that it had built its own neutron bomb. As you have probably deduced by now, the entire point of the Gazette’s death ray story is to urge President John F. Kennedy to get off his ass and develop an American n-bomb to counter the Soviet one. You almost have to wonder if the text was fed to Gazette editors from Sam Cohen’s office.
Moving on, Gazette wouldn’t be Gazette without at least a little Hitler, so in addition to the death ray feature it offers up photos of Adolf relaxing with Eva Braun at a retreat in the Bavarian Alps. In contrast to the
many stories about Hitler living in bitter, defeated isolation in South America, here readers see happy Hitler, socializing during the 1930s with friends and compatriots. Next up, Gazette gives readers their fix of celebrity content with Rita Hayworth, who had been married five times and whose problem the editors are only too happy to diagnose—in their esteemed opinion she’s just too wild to be tamed. And lastly, Gazette presses panic button number two by tying the nascent civil rights movement to communist agitation from overseas. This is a tabloid tale that was told often in the 1960s because, well, we don’t know why exactly—presumably because who besides the puppets of foreign governments would ever deign to demand equal rights? Anyway, we have a few scans below, and an entire stack of early 1970s Gazettes we hope to get to soonish.
, Soviet Union
, Police Gazette
, John F. Kennedy
, Samuel T. Cohen
, Eva Braun
, Adolf Hitler
, Rita Hayworth
, Ronald Reagan
It promised readers the naked truth but didn’t go quite that far.
Bare was a digest-sized men’s magazine, meaning that it was small enough to fit into a pocket and be carried about unseen. At least, that seemed to be the point. As a bonus, such publications were cheaper to print that standard sized magazines. Bare lasted just a few years, from 1953 to 1955, if the span of issues available online are an indication. You’ll notice its slogan was “The Naked Truth.” There was no nudity, but it did try to titillate. This issue from June 1955 has Evelyn West and Rita Hayworth on the cover, and various celebs and burlesque queens inside. There are also features on Berlin’s racy nightlife, boxer Jack Dempsey’s near defeat by Joe Sudenberg, and the love life of a midget—everything needed to keep an inquiring mind occupied.
, Bare Magazine
, Rita Hayworth
, Orson Welles
, Geraldine Garner
, Joe Sudenberg
, Evelyn West
, Valerie Vernon
, Marie Wilson
, Yvonne Fredricks
, Jack Dempsey
Cinema killed the Radio star.
We found this unusual magazine in Bayonne, France last year and picked it up because of its striking cover star, who happens to be French actress Simone Renant. She had a fifty-year career in cinema but we were not aware she also worked in radio. But it says right on the cover she could be heard in Les sept mensonges de l'impératrice, aka The Seven Lies of the Empress. Radio is filled with broadcast schedules. Pages of them for the entirety of France, from metro Paris to Nice to Bretagne. But Renant’s presence hints at cinema overlap and, indeed, film star Rita Hayworth makes an appearance. And because readers cannot live on celebrity alone, there’s a bit of politics, opera, dance and, of course, boobs. This issue appeared today in 1947, which is why 47 appears in the name. The next year’s issues had a 48, and so forth, from 1943 until the publication faded away in the early 1950s, when dramatic radio was also on the way out. We have a few scans below.
Bold McDonald spun a yarn.
Today we’re back to the mid-century tabloid Exposed, with a cover from this month 1957 featuring Harry Belafonte, Joan Fontaine, Yul Brenner, Sid Caesar and Rita Hayworth. In the middle of the cover, you see a shot of a bruised and worried Marie McDonald. The photo was taken just after she was found on January 4 wandering in the desert near Indio, California. The tale soon spread across Hollywood like wildfire—that she had been abducted at gunpoint from her home the night of January 3 by two swarthy men who demanded her rings, her money, and her body. The last demand had a certain resonance. McDonald had gotten famous using the nickname “The Body.” The possibility that two swarthy men—one black and one Mexican—had defiled it was, in 1957, simply incendiary.
McDonald’s story began to fall apart immediately. She claimed rape, but doctors found no evidence. The note left by kidnappers at her house was made up of words clipped from newspapers found in the fireplace. To the cops, it seemed unlikely that kidnappers would, under the circumstances,take the time to make a note from paper and glue. They also learned that McDonald had made three phone calls during the time she was missing—none to police.
But McDonald was in a battered state, with scrapes, bruises, and two broken crowns. And she stuck to her story—nighttime, bedtime, a noise in her yard, a lean out the window, and a man lurking right there with a sawed-off. The noise had been made by a second man to draw her to the window. McDonald said the men took half an hour to make a note and discuss their plans, then bundled her into a car. About the phone calls, she said she barely managed to sneak to the phone and was disoriented and had no idea who to call. When the kidnappers heard the mounting news coverage about the crime, they decided she was “too hot” to keep and dumped her in the desert, sending her tumbling down a 25-foot embankment. And then there was the matter of the unidentified males who had called people close to McDonald with threats.
By January 5, McDonald’s ex-husband Harry Karl was offering up some juicy quotes to the press. Among them: “Marie is a very sick woman. I believe she left of her own accord.” He had received one of the calls from the kidnappers, but wasn’t buying it for a minute. He said, “She has done some very strange things in the past.” Police soon learned that the kidnap tale resembled the plot of Sylvia Tate's comedic novel The Fuzzy Pink Nightgown, which happened to be among the books McDonald had in her home. There was little doubt now in the minds of authorities that the whole situation was an elaborate hoax, but McDonald was a celebrity and so the police dutifully arrested suspects, continued investigating, and by January 17 sent the whole messy affair to a grand jury.
The day McDonald arrived to give her testimony she said, “I’m not looking forward to this. I don’t see how I can convince 19 men if I can’t convince the police.” She was right. The grand jury decided there wasn’t enough evidence of a crime and the matter was dropped. In retrospect, McDonald was probably lucky not to have been prosecuted herself. Perhaps the fact that she had retained Hollywood super lawyer Jerry Giesler helped her there. In any case, the Marie McDonald kidnapping went into the history books as yet another Hollywood conundrum.
McDonald’s career as a popular performer had been more or less finished for ten years, but she had remained on the fringes of the news thanks to her marriages—seven of them—and her many famous friends. The eventsof 1957 had put her front and center again, but it was the last time, until she died of an accidental Seconal overdose—or was it suicide?—in 1965. Two months later, her husband Donald F. Taylor, overdosed in the same room, using the same bottle of pills.
, Los Angeles
, Marie McDonald
, Jerry Giesler
, Donald F. Taylor
, Harry Belafonte
, Joan Fontaine
, Yul Brenner
, Sid Caesar
, Rita Hayworth
, Sylvia Tate
Only the good go to sleep at night.
The French coined the term film noir, so it seems only fitting to feature a collection of French posters celebrating the genre. Above and below are fifteen examples promoting films noir from France, Britain, and the U.S., representing some of the best ever produced within the art form, as well as some less celebrated examples that we happen to love. Of those, we highly recommend seeing Le salaire de la peur, for which you see the poster above, and Ride the Pink Horse, below, which played as Et tournent les chevaux de bois in France. Just a word about those films (and feel free to skip ahead to the art, because really, who has time these days to listen to a couple of anonymous internet scribes ramble on about old movies?).
1953’s Le salaire de la peur is about a group of men stranded in an oil company town in the mountains of South America. In order to earn the wages to get out, four of them agree to drive two trucks filled with nitroglycerine over many miles of dangerous terrain. The idea is to use the chemicals to put out a raging oil well fire that is consuming company profits by the second, but of course the film is really about whether the men can even get there alive. Le salaire de la peur was critically praised when released in Europe, but in the U.S., political factions raised their ugly heads and got censors to crudely re-edit the prints so as to reduce the movie’s anti-capitalist (and by extension anti-American) subtext. The movie was later remade by Hollywood twice—once in 1958 as Hell’s Highway, and again in 1977 as Sorcerer. The original is by far the best.
1947’s Ride the Pink Horse is an obscure noir, but a quintessential one, in our opinion. If many noirs feature embittered World War II vets as their anti-heroes, Robert Montgomery’s Lucky Gagin is the bitterest of them all. He arrives in a New Mexico border town on a quest to avenge the death of a friend. The plot is thin—or perhaps stripped down would be a better description—but Robert Montgomery’s atmospheric direction makes up for that. Like a lot of mid-century films featuring ethnic characters, the most important one is played by a white actor (Wanda Hendrix, in a coating of what looks like brown shoe polish). It's racist, for sure, but within the universe of the film Lucky Gagin sees everyone around him only as obstacles or allies—i.e., equals within his own distinct worldview. So that makes up for it. Or maybe not. In any case, we think Ride the Pink Horse is worth a look. Fourteen more posters below.
, Le Salaire de la peur
, Le crime était presque parfait
, Dial M. for Murder
, L’Etreinte du passé
, Out of the Past
, Le corbeau
, Les filles du service secret
, Et tournent les chevaux de bois
, Ride the Pink Horse
, Les forbans de la nuit
, Night and the City
, Un condamné a mort s’est échappé
, Nous sommes tous des assassins
, À 23 pas du mystère
, 23 Paces to Baker Street
, Le coup de l’escalier
, Key Largo
, 13 Rue de Madelaine
, John Huston
, Andre Cayatte
, Alfred Hitchcock
, Henri-Georges Clouzot
, Robert Bresson
, Ava Gardner
, Fred MacMurray
, Van Johnson
, Vera Miles
, Harry Belafonte
, Shelley Winters
, Robert Montgomery
, Wanda Hendrix
, Rita Hayworth
, Glenn Ford
, Yves Montand
, Grace Kelly
, Ray Milland
, Robert Mitchum
, Jane Greer
, Humphrey Bogart
, Lauren Bacall
, Edward G. Robinson
, poster art
, film noir
Rita Hayworth is a human 4th of July fireworks show.
Over in the U.S. this is the day that makes cows tremble in fear—July 4, or Independence Day. Since moving away from the States we’ve had to get used to a whole new set of holidays, and while those events are truly amazing, none of them involve the searing of millions of hamburgers on outdoor grills. In our own way we’re trying to change that by teaching our friends what exactly goes into a great hamburger, but working one friend at a time it may be some years before we really make an impact on the local cuisine. However, we can participate in July 4 in a more immediate way by sharing a couple of images from a July 1943 Motion Picture-Hollywood Magazine of that most beloved of golden age American stars, Rita Hayworth. Other stars inside include Norma Shearer, Jeanette MacDonald and Merle Oberon, and you also get the most famous photo of Betty Grable ever shot. Okay, our work is done. Though we can’t find a decent burger in this corner of the world (yet), we do have a wide beautiful plaza just one block away and on that plaza is a quiet bar with outdoor tables and friendly staff members that keep us well-stocked with ice cold bottles of white wine. That’s going to be the rest of our day. Enjoy the rest of yours.
So this is a maraca? Hmph. Now I know what men have been asking me to shake all these years.
Above, another Movie Show cover, this one from April 1943 with Rita Hayworth shaking her maraca. We never heard of this magazine before last week, but it's aesthetically brilliant. Hopefully, we'll find more out there somewhere. If we do, we'll definitely share. Below are selected interior pages from this issue, featuring Ida Lupino, Anne Sheridan, Mona Maris, Mapy Cortés and others.
, Rita Hayworth
, Ida Lupino
, Anne Sheridan
, Barbara Stanwyck
, Maria Montez
, Mona Maris
, Carmen Miranda
, Mapy Cortés
, Paulette Goddard
With a wink and a smile.
Paris-Hollywood was a cinema and cheesecake magazine published every two weeks in France from 1947 to 1973. Its first issue featured Rita Hayworth on the cover, and over the years dozens more movie stars, as well as scores of unknown models, graced its cover. This issue, from 1952, features not just a provocative cover shot, but one of the magazine’s favorite interior treats—a centerfold that strips. It’s ingeniously simple. The centerspread is a piece of semi-transparent white paper inked in such a way as to strategically block portions of the pages beneath. In this case, a silhouette of black ink creates the image of a woman in a catsuit. But lift the white paper and you see the same figure nude. The coolness of this trick can only be described using the word on the magazine’s cover: “espièglerie”—the state of being mischievous or frolicsome. Take a look below and see if we aren’t right, and note the rear cover with American actress June Haver.
He had a lot in common with the guy on those Dos Equis commercials, except he was real.
Today we’re back to the top dog of classic tabloids, the always-titillating Confidential. The above issue is from fifty-five years ago this month, July 1954, and as always the cover promises scandalous inside scoop—this time on champs, presidents, and filthy rich heiresses. But it’s the unassuming banner on the Rubirosa murder case that interests us, because it refers to none other than Porfirio Rubirosa, and if you’ve never heard of him, then prepare yourself to meet (cue grandiose flamenco chords) The Most Interesting Man in the World.
Rubirosa was born in the Dominican Republic in 1909 but raised in France, where his father, an army general, had scored the chargé d'affaires position at the Dominican consulate in Paris. When the young Rubirosa was seventeen he returned to the Dominican to study law, but enlisted in the military before finishing. In 1932, after a weeklong courtship, he married a seventeen year-old girl named Flor de Oro Trujillo, who happened to be the daughter of mass-murdering military dictator Rafael Leónidas Trujillo Molina. For normal men, rush-marrying a dictator’s little flower would result in a one-way ticket to the torture chamber, but for the charming Rubirosa it meant a diplomatic post in Berlin.
In 1935, Rubirosa’s cousin, Luis de la Fuente Rubirosa, was accused of assassinating exiled Dominican politician Sergio Bencosme in New York City. It was Rafael Trujillo’s work, but de la Fuente Rubirosa was the triggerman, and Porifirio was suspected of being an accomplice. That’s the murder Confidential references, and if you’re asking yourself why they cared about it nineteen years after the event, it’s because by then Rubirosa was very famous. But we’ll get to that.
Rubirosa had developed passions for polo, racing, gambling, and other expensive upper crust pursuits. He excelled at all of them. Perhaps the only thing he wasn’t good at was fidelity, which led to his divorce from Flor in 1937. But his sheer magnetism—or perhaps the fact that he was a valuable hired gun—kept him in dictator dad’s good graces, and he continued to receive diplomatic posts. When World War II swept across Europe, Rubirosa made a stack of money selling Dominican exit visas to fleeing Jews. At some point the Gestapo imprisoned him, but he was released after six months. After that, he was allegedly recruited as a political assassin.
In 1942 he met and married the French actress Danielle Darrieux, who you see above. From then on Rubirosa traveled in cinematic circles, which meant a more public profile. A consequence of this was that tidbits of his personal life began to leak out. Suddenly everyone knew he was a great lover, and that he had a penis measuring anywhere from eleven to fourteen inches, depending on whom you believed. After a while the slang term “rubirosa” became popular in France. They used it to refer to the giant pepper grinders in restaurants, and still do to this day.
By now there were open questions about Rubirosa’s racial background. He was very dark, and was often described as “nut brown.” Rumors spread that he was part black—a devastating accusation in the 1940s, and one still used very effectively as a smear even in today’s supposedly post-racial age. But Rubirosa handled the gossip with the panache you’d expectfrom The Most Interesting Man in the World—he never addressed it all, at least not in public. His silence basically amounted to: “So what if I am?” And if the rumors bothered him, he surely derived ample compensation from the fact that legions of female admirers who’d heard about that pepper grinder of his didn’t care.
Because of the ease with which he was able to meet and bed women, Rubirosa found it impossible to remain faithful, even to an elegant beauty like Danielle Darrieux. They divorced in 1947, and the high-profile involvements began to pile up. There was Dolores del Rio, Ava Gardner, Rita Hayworth, Soraya Esfandiary, Veronica Lake, Kim Novak, Doris Duke (who happened to be the richest woman in the world), and Barbara Hutton (who was the second richest woman in the world). He fooled around with his first love Flor during his marriage to Duke, and with Zsa Zsa Gabor during his marriage to Hutton. When Duke divorced him he walked with $500,000, a string of polo ponies, some sports cars, a converted B-25 bomber, and a 17th century house in Paris. When Hutton divorced him—after only five weeks—he added a coffee plantation in the Dominican, another B-25, and $3.5 million to his holdings.
By now he was a professional celebrity. He was friendly with Joe Kennedy, Frank Sinatra, and Sammy Davis, Jr. One night in Paris, after teaching Davis how to properly kiss a woman's hand, the two went out to perfect the technique by flirting with women on the Champs-Élysées. Frank Sinatra once asked Rubirosa, “Rubi, have you ever held a full-timejob?” Rubirosa reportedly answered, “Women are my full-time job.” At some point he met Ian Fleming, and the novice writer came up with the great idea of basing a character on Rubirosa—a certain spy named James Bond.
Rubirosa’s fame made him tabloid fodder, and the scandal sheets dutifully tried to dig up dirt on him. They went back to the racial stuff, and whispered about that nineteen year-old New York murder. But the rumors that he had been an assassin just fed into his growing legend. He seemed to know everything, was one of the boys, one with the girls, and had already done more than most men manage in a lifetime. Truman Capote saw Rubirosa’s cock and rated it eleven inches. A female acquaintance pointed out a size twelve loafer in a shoe store and said Rubi had it beat. Rubirosa partied his way from Hollywood to Rome to Monaco, and wherever he went local women hung around his favorite hotels and bars, hoping to meet him.
He was racing his Ferrari professionally, and competed twice in the 24-hour race at LeMans. He was also looking for a relationship that would last, and in 1956 he married for the fifth time to actress Odile Rodin. She was nineteen and he was 42. He had mellowed—not a lot—but just enough to remain faithful. The marriage seemed to work. He was still boyish and exciting, and his biggest asset—that famous pepper grinder—showed no signs of diminishing with age. He began working on his memoirs. He was still young for that, but he had lived so much.
In 1965 Rubirosa was part of a team that won the Coupe de France polo cup. He spent the night of the victory celebrating at a Paris nightspot called Jimmy’s, then headed home in his Ferrari. The roads were wet, andhe was a little drunk. He lost control of the car and died in a fiery crash. The Most Interesting Man in the World was gone—literally burning out rather than fading away. He never finished his memoirs, and today the closest the world has to a Porfirio Rubirosa is a fictional character in a Dos Equis commercial.
More than almost any man of his era, Porfirio Rubirosa represents the lost glamour and mystery of a time that can never be reclaimed. He was the product of a more innocent and refined—yet also crueler—age. Reading about his life is like reading about an event you’d give anything to have witnessed, even if it would have been dangerous to be there. Rumor has it a few Rubirosa-based scripts are floating around Hollywood. Supposedly Antonio Banderas has rights to one, and wants to play the lead role. Maybe it’s a lack of imagination on our part, but we don’t see it. There is no shortage of legends in history, but we can’t think of one whose shoes would be more difficult to fill. As much as we’d like to see a Rubirosa biopic, our advice is this: if it’s better to burn out than to fade away, maybe it’s also better to never try and rekindle the flame.
, Rafael Trujillo
, Porifirio Rubirosa
, Danielle Darrieux
, Barbara Hutton
, Doris Duke
, Frank Sinatra
, Sammy Davis
, Jr. Joe Kennedy
, Dolores del Rio
, Ava Gardner
, Rita Hayworth
, Soraya Esfandiary
, Veronica Lake
, Kim Novak
, Odile Rodin
, Antonio Banderas
The headlines that mattered yesteryear.
1933—King Kong Opens
The first version of King Kong
, starring Bruce Cabot, Robert Armstrong and Fay Wray, and with the giant ape Kong brought to life with stop-action photography, opens at Radio City Music Hall in New York City. The film goes on to play worldwide to good reviews and huge crowds, and spawns numerous sequels and reworkings over the next eighty years.
1949—James Gallagher Completes Round-the-World Flight
Captain James Gallagher and a crew of fourteen land their B-50 Superfortress named Lucky Lady II in Fort Worth, Texas, thus completing the first non-stop around-the-world airplane flight. The entire trip from takeoff to touchdown took ninety-four hours and one minute.
1953—Oscars Are Shown on Television
The 26th Academy Awards are broadcast on television by NBC, the first time the awards have been shown on television. Audiences watch live as From Here to Eternity wins for Best Picture, and William Holden and Audrey Hepburn earn statues in the best acting categories for Stalag 17 and Roman Holiday.
1912—First Parachute Jump Takes Place
Albert Berry jumps from a biplane traveling at 1,500 feet and lands by parachute at Jefferson Barracks, Missouri. The 36 foot diameter chute was contained in a metal canister attached to the underside of the plane, and when Berry dropped from the plane his weight pulled the canopy from the canister. Rather than being secured into the chute by a harness, Berry was seated on a trapeze bar. It's possible he was only the second man to accomplish a parachute landing, as there are some accounts of someone accomplishing the feat in California several months earlier.
1932—Lindbergh Baby Is Kidnapped
The twenty-month-old son of aviator Charles Lindbergh, Charles Augustus Lindbergh III, is kidnapped from the family home in East Amwell, New Jersey. Over two months later the toddler's body is discovered in woods a short distance from the home. A medical examination determines that he had died of a massive skull fracture. A German carpenter named Bruno Hauptmann is arrested, tried, and convicted for the crime. He is sentenced to death and executed in April 1936.
1953—Watson and Crick Unravel DNA
American biologists James D. Watson and Francis Crick tell their friends that they have determined the chemical structure of DNA. The formal announcement takes place in April following publication in Nature magazine. In 1968, Watson writes The Double Helix, a non-fiction account of not only the discovery of the structure of DNA, but the personalities, conflicts and controversy surrounding the work.
It's easy. We have an uploader that makes it a snap. Use it to submit your art, text, header, and subhead. Your post can be funny, serious, or anything in between, as long as it's vintage pulp. You'll get a byline and experience the fleeting pride of free authorship. We'll edit your post for typos, but the rest is up to you. Click here
to give us your best shot.