One out of two isn’t bad, when it comes to Cyrillic.
The cover of the above Soviet-issue James Hadley Chase/Victor Canning double novel isn’t particularly wonderful, but the interior illustrations are rather nice. We don’t read Cyrillic, but we painstakingly plugged the cover squiggles into a translator and came up with I’ll Bury My Dead for Chase and something like “communicating on foot” for Canning, a title which resembles those of none of his actual works. So there you go. We were actually pretty confident when we started the process. We once figured out the St. Petersburg subway system during rush hour, so we figured book titles would be a snap. No such luck. These translations appeared in 1991.
Update: The answer comes from John, who wrote in saying: пешка translates as "pawn", so a reasonable guess might be Queen's Pawn, Canning's 1969 book. The other word проходная translates as "communicating", so that is harder to work out a connection.
Hasta siempre, Comandante.
Since we mentioned in our Kennedy post that Mercocomic had serials about other historical figures, we decided we’d go ahead and share these Spanish Che covers from 1978. The complete run was three issues in the order seen, and the art is once again from the excellent Prieto Muriana, who even worked in a Pietà on cover three. “Hasta siempre, Comandante,” by the way, is a very famous Carlos Puebla song recorded by everyone from Joan Baez to Nathalie Cardone.
Mercocomic re-imagines one of the darkest periods in American history.
A long while back we shared a Spanish cover of the Mercocomic publication Kennedy and mentioned that a series of six appeared in 1977. The same comics were also published in French, so today, inappropriately, we’re sharing those six covers from France with their excellent if unsettling art by Prieto Muriana. Mercocomic published serials of other well known figures, among them Che, Hitler, Mussolini, Don Juan Tenorio Garcia, and Quijote 78. None are strictly factual accounts, but rather re-imaginings of the circumstances and motivations that drove important historical episodes.
Kennedy, as you can probably guess from JFK’s exit on cover one and Lee Harvey Oswald’s dispatching on cover two, deals with events leading all the way up to RFK’s assassination, with the proceedings generously sprinkled with the sex, drugs, betrayal, and hyperviolence you’d expect in an adult comic. Years ago when we first ran across Kennedy you could download all six. Not anymore. But they’re still available for purchase online at reasonable prices and then friends can question your taste for buying them. Luckily that isn’t a problem for us—most everything we own is tasteless.
, Édiciones Mercocomic
, Prieto Muriana
, John F. Kennedy
, Robert F. Kennedy
, lee Harvey Oswald
, Che Guevara
, Adolf Hitler
, Benito Mussolini
, comic art
Drinking over the limit.
Above, exceedingly rare Mexican cover art for a pulp-style book about the mass suicide/mass murder of more than 900 people at the Peoples Temple Agricultural Project of Rev. Jim Jones in Jonestown, Guyana. That event, from which the current U.S. English phrase “drank the Kool-Aid” is derived (though group members actually drank Flavor Aid), occurred today in 1978.
Need to rendezvous in secret? Chas Ray Krider shows you how.
The good people at Berlin based Goliath Books sent us one of their 2014 publications, Chas Ray Krider’s Dirty Rendezvous, the third and final book in his motelesque trilogy. The first two entries of the trio were Motel Fetish and Do Not Disturb, and Krider’s meticulously staged scenes in book three continue to conjure the retro chic of those lonely highwayside stopovers of American lore. The images nod strongly toward mid-century film noir and melodrama. Anything from The Postman Always Rings Twice to Psycho could apply, but soaked in deep, lush color. Krider’s women are the dangerous type—smokers and drinkers garbed in fetish wear, and often lavishly tattooed. Despite their tough looks, there’s an undercurrent of romance—the isolated motel is linked in the American psyche to freedom, adventure, and never knowing what you’ll find past the next solitary mile marker. Or who.
But while motels suggest travel by road and the exhilaration of unexpected encounters, the title Dirty Rendezvous and the models’ elaborate garb speak of illicit plans and long guarded secrets. Not random meet-ups, but carefully woven webs of deceit—wives lied to, hats pulled down low, furtive glances in the rear view mirror. Krider has deftly achieved all these sensations and more, and when you add in the fact that his motel sets are as clean and carefully arranged as pages from vintage furniture catalogs, the result is guilty sleaze done with considerable class. Dirty Rendezvous is a book depicting the moments just before wicked acts are committed with soul-freeing joy. You imagine Krider's women checking in wearing demure garb, then transforming once concealed in the room. Of course, the desk clerk doesn’t care either way. He smirks when guests register under obviously false names and pay with cash, but all that really matters to him is that they don't wake the family in 3B. It's a futile wish—3B is about to hear things they never heard before. Get more info at the Goliath website here, and the artist’s blog here.
Special edition Boogie Nights poster is an explosion of color.
This promo for Boogie Nights was made last year for a Paul Thomas Anderson film retrospective hosted by the company Mondo, which markets limited edition screen printed posters for classic and contemporary films. The artist is the Japanese illustrator par excellence and constant enigma Rockin’ Jelly Bean. You can see this poster around the web with little difficulty, but we have a friend in Los Angeles who actually owns one and it really shocked us how off the colors are on every scan we’ve seen online. The above image, as oversaturated as it may seem, is close to correct. Even so, what appears as red is fluorescent magenta on the real poster, and the pale teal colors are closer to bright turquoise. Compare it to the shot below, which comes from the Mondo blog. The mild skin tones of the presenter tell us the colors of the entire image are true. Which means this is one blazingly garish poster, no? We love it. We could get one for as little as $300.00, but that’s still too rich for our blood. We wanted to share the image anyway, though, because Boogie Nights made its world premiere at the Toronto Film Festival today in 1997.
Yes, in pinku films there actually is a point to all that bloodspray.
You know what we like about pinku films? Their symmetry. Generally, slimy guys have the upper hand for about 65 minutes before the girls band together and, to the accompaniment of arterial bloodspray to spice things up, shoot them or stab them or chop off their heads. It’s nice. Balanced. In that way they’re like blaxploitation movies. In those, generally, the villain meets ruin at the hands of a black hero or anti-hero. Nice, you see? The films touch on serious problems—sexism and racism—but in a freewheeling, taboo-busting fashion that both entertains and makes the antagonist’s eventual violent demise a catharsis for audiences that know the wicked aren’t generally punished in real life. Taking all that into account then, you can see why removing the cathartic revenge from the proceedings would be problematic.
But that’s exactly what has happened with Onna kyôshi-gari, aka Female Teacher Hunting. Director Junichi Suzuki and writer Hiroshi Saitô, at the behest of Nikkatsu Studios, actually want to make a serious movie about gender roles and sex, but cloaked in a quasi-pinku flick in which a student falsely accused of sexual assault is driven by stress and rage over his predicament to later commit a sexual assault. It’s all beautifully shot andquite well acted, but what’s the message here? Was the monster always part of this man? Was he falsely accused because his accuser already saw this in him? Does the old saying about how any man will kill under the right circumstances also apply to rape? All are worthy themes to explore, but not embedded in a movie genre that by nature trivializes serious questions.
But the message of Onna kyôshi-gari might be something else entirely. Maybe it’s simply telling us—at a time when women were gaining more control over their own bodies and, after long last, wresting an iota of political power from the male establishment—that sexual consent was becoming a blurrier concept for confused men losing their hold on the top of the pyramid. But we don’t buy that either. For our part, we can’t remember the line between consent and coercion being blurry—at least not outside well-crafted fiction, and certainly not during the 1980s, when this movie was made. But as always there’s the one disclaimer—we aren’tJapanese, have never lived in Japan, and don’t know the culture deeply. If there’s one thing we’ve learned doing this site it’s that language, psychology, behavior, metaphors and signifiers simply don’t translate from culture to culture. In other words, for all we know this may be considered in Japan to be a wildly feminist movie. Nevertheless, we have to assess Onna kyôshi-gari as best we can with our deficiencies, and we say: interesting effort, but in pinku, realism without revenge converts the sex to sadism, and this entire movie into an anti-feminist polemic.
The star of the film (and poster), Yuki Kazamatsuri, in the final scene discovers a killifish inexplicably living in a swimming pool. She observes to her female friend, “Killifish are strong—I guess they can live even in a pool.” And of course the fish are metaphorical women and the pool is male-dominated society. But sorry, after an entire plot suggestingwomen are complicit in their own degradation, a morsel of dialogue telling us they’re tough enough to take it (and men are to be forgiven for supposed weakness) doesn’t excuse what came before. On the contrary—it makes it worse. Onna kyôshi-gari premiered in Japan today in 1982.
, Onna kyôshi-gari
, Female Teacher Hunting
, Junichi Suzuki
, Hiroshi Saitô
, Yuki Kazamatsuri
, Kyoko Ito
, Hiroshi Saitô
, pinky violence
, movie review
The headlines that mattered yesteryear.
1924—St. Petersburg is renamed Leningrad
St. Peterburg, the Russian city founded by Peter the Great in 1703, and which was capital of the Russian Empire for more than 200 years, is renamed Leningrad three days after the death of Vladimir Lenin. The city had already been renamed Petrograd in 1914. It was finally given back its original name St. Petersburg in 1991.
1966—Beaumont Children Disappear
In Australia, siblings Jane Nartare Beaumont, Arnna Kathleen Beaumont, and Grant Ellis Beaumont, aged 9, 7, and 4, disappear from Glenelg Beach near Adelaide, and are never seen again. Witnesses claim to have spotted them in the company of a tall, blonde man, but over the years, after interviewing many potential suspects, police are unable generate enough solid leads to result in an arrest. The disappearances remain Australia's most infamous cold case.
1949—First Emmy Awards Are Presented
At the Hollywood Athletic Club in Los Angeles, California, the Academy of Television Arts & Sciences presents the first Emmy Awards. The name Emmy was chosen as a feminization of "immy", a nickname used for the image orthicon tubes that were common in early television cameras.
1971—Manson Family Found Guilty
Charles Manson and three female members of his "family" are found guilty of the 1969 Tate-LaBianca murders, which Manson orchestrated in hopes of bringing about Helter Skelter, an apocalyptic war he believed would arise between blacks and whites.
1961—Plane Carrying Nuclear Bombs Crashes
A B-52 Stratofortress carrying two H-bombs experiences trouble during a refueling operation, and in the midst of an emergency descent breaks up in mid-air over Goldsboro, North Carolina. Five of the six arming devices on one of the bombs somehow activate before it lands via parachute in a wooded region where it is later recovered. The other bomb does not deploy its chute and crashes into muddy ground at 700 mph, disintegrating while driving its radioactive core fifty feet into the earth, where it remains to this day.
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