Somebody please help me quit this terrible habit.
U.S. born actress Helen Stanley clowns around in this unusual promo image from 1953. She appeared in such films as Snows of Kilimanjaro, Dial Red O, and Girls' Town, which was her debut in 1942 under her first stage name Dolores Diane. Here's serious pulp cred for you: she was married to mob enforcer Johnny Stompanato, the guy who was famously stabbed to death by Lana Turner's daughter. Johnny Stomp, as he was known, basically took over Stanley's career, so when she divorced him in 1955 it must have felt a bit like getting off this hook. You can read about Stompanato's bloody demise here and here.
His looks might have been ruined but his reputation was assured.
These mugshots show mobster Al Capone the day he entered Terminal Island Prison in California today in 1939, having been sent up for eleven months for tax evasion. The photos caught our eye because Capone generally tried to hide his scars, but in the second shot you see them clearly, three parallel slashes along his cheek, jaw, and neck. Capone told various stories about how he acquired these marks, but in truth he got them by being a little too familiar with fellow thug Frank Galluccio's kid sister Lena. It happened in 1917 in Frankie Yale’s Harvard Inn, a bar and brothel in Coney Island, New York. After numerous insinuating comments to young Lena, Capone finally told her, “You got a nice ass, honey, and I mean that as a compliment. Believe me.” At as result of that overture Frank Galluccio went at Capone with a knife—aiming for a fatal wound to the jugular but missing three times.
Capone had a notoriously short temper accompanied by a long memory, but even though he'd been disfigured for life during this incident he never sought revenge, even after he became basically the most powerful mobster in the U.S. Again, there are different stories about this, but the consensus seems to be that Capone had violated mob rules by messing with Galluccio's sister, and seeking revenge over what had been his own breach of ethics would have caused him no end of trouble. Galluccio worried about possible revenge, but never regretted what he'd done, saying in an interview many years later, “Fuck him He deserved it.” Ultimately, maybe Capone should have thanked Galluccio for both his gruesome appearance that made many a rival wither, and his nickname that was fearfully whispered coast to coast—Scarface.
This is nothing. You should see me in a limbo contest.
June Lang was born Winifred June Vlasek in Minnesota and was on the silver screen by age fourteen, later appearing in films such as The Deadly Game and Wee Willie Winkie. She cultivated a wholesome image, but in true pulp style threw it away by marrying Johnny Roselli—a known mobster—in 1940. Maybe they bonded over the fact that they'd both changed their names—Roselli had been born Filippo Sacco. Lang divorced him in 1943 but the damage had been done, and she worked only intermittently for the rest of her career. The above image of her showing her impressive flexibility is from 1935.
And they thought cellblocks 1 through 6 were bad.
Diario segreto da un carcere femminile, for which you see a nice poster above, was released in English as Women in Cellblock 7. Jenny Tamburi is thrown in prison as an accessory to a drug trafficking doublecross that led to the disappearance of twenty kilos of heroin. Interpol agent Anita Strindberg wants to prove her father, also an Interpol agent, had nothing to do with the heist, and has herself and her amazing hair placed in prison in order to ply Tamburi for exonerating evidence. Outside parties think Tamburi knows where the missing heroin is, including her lawyer and the mafia, but she claims to have no idea.
So you have an innocent woman in prison, under threat from convicts connected to the mafia, and into this arrives an undercover agent who soon becomes her protector. The cast, which besides Tamburi and Strindberg includes Eva Czemerys, Olga Bisera, Cristina Gaioni, and Valeria Fabrizi, get to rubbing on each other in beds and showers in cinematic approximations of lesbian sex, which means you've got yourself a classic women in prison sexploitation flick. There's also a plot thread external to the prison involving the mafia trafficantes, and some of this features effective action, but it's the ladies on lockdown that are the draw here.
Do they make the movie worth watching? We wouldn't go that far, but they're certainly scenic, and they work hard to hold together a ridiculous script. The conundrum of movie acting is that you have to give it your all or be judged unfit for further roles. At eighty-one minutes in length, at least the film lets the cast out early for good behavior even if the warden doesn't. Diario segreto da un carcere femminile premiered in Italy today in 1973, and the poster was painted by Enzo Nistri. You can see more of his work here and here.
Tabloid proves it's possible to be both one-of-a-kind and run-of-the-mill.
Above, the cover and assorted scans from yet another tabloid we've never seen before—Sensational Exposés, produced by New York City based Skye Publishing. We've scanned and uploaded a couple of other rare tabloids in the last year, including Dynamite and Nightbeat. Sensational Exposés fits right into that group. Rarity doesn't make it special, though. Which is to say, it's a great little historical tidbit but it doesn't compare favorably to the big boy tabloids of the era—Confidential, Whisper, Hush-Hush, et al, either graphically or content-wise. Well, at least it cost us only four dollars.
Sensational Exposés launched in late 1957 and did not last past 1958, as far as we can tell, with this issue appearing in April of that year. Inside you get a little bit of organized crime, and a little bit of commie bashing, and a little bit of celebrity dish, with all the accompanying photos posed by models, save for an appearance from Tana Velia. We'll keep an eye out for more issues but we don't expect to find others—at least not at a reasonable price. If you'd like to see hundreds of other tabloid covers and interior scans check our burgeoning tabloid index, at this link.
Extra, extra, read all about it!
The above photo shows the murder scene of Los Angeles mob lawyer Sam Rummell who was messily dispatched in front of his Laurel Canyon villa via shotgun blast in 1950. Around 1:30 a.m., as he climbed the steps to the sprawling house, someone or someones with deadly aim blew off the left rear quadrant of his head. Rummell ran with the notorious mobster Mickey Cohen for years, and had been neck deep not only in Cohen's multimillion dollar prostitution and gambling operations, but also in schemes to oust mayor Fletcher Bowron in a recall election, and to take control of the LAPD.
The insider theory was Rummell was killed to prevent his appearance before a grand jury to testify about an alleged conspiracy between the L.A. County Sheriff's Department and a company called Guarantee Finance, a front for a massive Cohen-controlled bookmaking operation. The insider theory was also that L.A. Sheriff's officers pulled the trigger. These remained mere theories, because the killer or killers were never caught.
All very interesting, one more dead mob underling, but that isn't why we shared the photo. A close look reveals, at center, a man holding an edition of the Los Angeles Mirror with a headline reading: Cohen's Lawyer Shot To Death. Yes, Mirror staff were so quick with their Extra edition that it hit newsstands before Rummell's murder scene had been cleared. That's journalism—late night, coffee-fueled, time-pressured, editor-with-a-whip journalism. And the photo is an fascinating example of it working perfectly, sixty-six years ago today.
It ain't your lucky day anymore, is it, mister?
Mafia is a non-fiction rundown of the Italian organized crime rackets up to 1952, which is when the book first appeared in hardback. The above edition from Signet appeared in 1954. Author Ed Reid, who was an associate of organized crime crusader Charles Kefauver, covers cosa nostra personalities such as Vito Genovese, Lucky Luciano, the Fischetti Brothers, Albert Anastasia, and many others. Though non-fiction, Reid presents the information as a narrative, and we gather he took a bit of license. But he was a Pulitzer Prize winning reporter and Mafia was an eye-opener when it was published. Cover art is by James Avati, and serves as a reminder that the person with the pistol always has the best hand.
Monroe, Curtis, and Lemmon give jazz a swing.
On this promo poster for the Marilyn Monroe comedy Certains l'aiment chaud, aka Some Like It Hot, it looks like Russian illustrator Boris Grinsson went a little strong on Monroe's wink, making her look like she got a splinter of glass in her eye, but Monroe actually looked that way in the promo photo used as the basis of the art, which you can see at right.
You know all about this movie, so we won't bother to go over it. We'll just mention, if you haven't seen it, don't be surprised that it's in black and white. There are so many color production photos from this one—like the several we've shared below—that we even forgot. And we'd seen the movie several times, though not in about ten years. When it opened with documentary style footage of a car chase and shootout followed by a title card reading “Chicago, 1929,” we were thinking, “Ah, this is where it shifts to color.”
But of course it didn't, and we suddenly remembered that this was a later black and white production, made the same year Technicolor films such as Ben Hur and North by Northwest hit cinemas. According to our research, Monroe actually had a stipulation in her contract that all her films had to be in color, but director Billy Wilder wanted black and white because the heavy makeup worn by Curtis and Lemmon—who spend most of the movie disguised as women—looked green in Technicolor. He lobbied Monroe and she finally agreed her co-stars could not be green.
Does Some Like It Hot fit under our self-defined umbrella of pulp? Of course—there are gangsters, the aforementioned shootout, and it's about two jazz musicians on the run. And few Hollywood figures are more pulp in essence than Monroe. The character of nightclub singer Sugar Kane is one of her better creations. Sit back and enjoy. Some Like It Hot premiered in the U.S. in February 1959, and opened in Paris as Certains l'aiment chaud today the same year. Another promotional poster by Grinsson appears below, and you can see the very different West German promo poster here.
Colleen Brennan headlines history's worst mafia flick.
These two promos were made for the Japanese premiere of Mafia Girls, aka Love, Lust, and Violence, a grindhouse production that starred porn actress Colleen Brennan working under the name Sara Bloom and remaining fully garbed until the last three minutes. How do we describe this one? Plotwise, a general and member of the Joint Chiefs of Staff calls on a badass ex-soldier to take on the Chicago mafia, a motley crew that spends most hours of the day either watching live porno or getting blowjobs in a massage parlor. The movie is visually ambitious yet totally inept, which is a difficult combo to achieve, but director Norbert Meisel, a cast of b-grade co-stars, and several disinterested porno queens botch matters to such a degree that a comedic classic is the result. Imagine sweat, sideburns, semi-erect dicks, and pear-shaped bodies mixed with bad technical execution from acting to Z, and you'll have an idea what to expect. We cannot recommend this, but it provided some killer laughs. Mafia Girls premiered today in 1975, and its censored Japanese release occurred some years later.
With husbands like these who needs enemies?
Mary Jo Tarola was born in Portland, Oregon in 1928 and by 1952 had established herself in Hollywood, first under the milquetoast moniker Linda Douglas, then under her own far more interesting name. Just two years into her career she married producer Pasquale “Pat” DiCicco. Not well known now, DiCicco was a bootlegger and pimp who became mafia boss Lucky Luciano’s lieutenant in Tinseltown. He was infamously abusive toward women—one dust-up with his first wife Thelma Todd led to her having an emergency appendectomy, and another with his second wife Gloria Vanderbilt involved him slamming her head into a wall. Tarola’s promising film career ended with her marriage to DiCicco, but at least she left behind a few choice artifacts like the above photo by photographer Ernest Bachrach. It dates from 1952 or 1953.
The headlines that mattered yesteryear.
1939—Holiday Records Strange Fruit
American blues and jazz singer Billie Holiday
records "Strange Fruit", which is considered to be the first civil rights song. It began as a poem written by Abel Meeropol, which he later set to music and performed live with his wife Laura Duncan. The song became a Holiday standard immediately after she recorded it, and it remains one of the most highly regarded pieces of music in American history.
1927—Mae West Sentenced to Jail
American actress and playwright Mae West is sentenced to ten days in jail for obscenity for the content of her play Sex. The trial occurred even though the play had run for a year and had been seen by 325,000 people. However West's considerable popularity, already based on her risque image, only increased due to the controversy.
1971—Manson Sentenced to Death
In the U.S, cult leader Charles Manson is sentenced to death for inciting the murders of Sharon Tate and several other people. Three accomplices, who had actually done the killing, were also sentenced to death, but the state of California abolished capital punishment in 1972 and neither they nor Manson were ever actually executed.
1923—Yankee Stadium Opens
In New York City, Yankee Stadium, home of Major League Baseball's New York Yankees, opens with the Yankees beating their eternal rivals the Boston Red Sox 4 to 1. The stadium, which is nicknamed The House that Ruth Built, sees the Yankees become the most successful franchise in baseball history. It is eventually replaced by a new Yankee Stadium and closes in September 2008.
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