|Vintage Pulp||Apr 25 2015|
In Hollywood Boulevard Candice Rialson arrives in Tinseltown with dreams of stardom and is immediately conned into being the getaway driver for a robbery. As she screeches away from the bank with alarms wailing, she asks her partners in crime, “But where are the cameras?” That pretty much sets the tone of the film. She later becomes a stuntwoman and bumbles her way from one bizarre scenario to the next. There are some laughs here, but the same way you would laugh at a vaudeville routine, or a favorite uncle’s oft-repeated fishing story—i.e., you understand it’s supposed to be funny, and that alone is a bit amusing, but mostly it’s just tiring. Surprisingly, Rialson went on to appear in Moonshine County Express, Chatterbox (yes, it’s about a talking vagina), and other exercises in ’70s schlock. That’s a testament to Rialson's talent, or sheer luck, or both, because Hollywood Boulevard would have killed most actress’s careers. It premiered in the U.S. today in 1976.
|Vintage Pulp||Apr 24 2015|
|Modern Pulp||Apr 23 2015|
Remember our last group of Japanese posters containing the English word “sex”? No? Go directly there. Also, perhaps visit here, here, and here. Now that you’re back, today we have another set of posters with sex in the text (you have to look closely at some of them, but it’s there). One Japanese word for sex is セックス, and the phonetic transvocalization of the English is “sekkusu,” but their poster artists often seem to prefer plain old sex. Why? Well, why do Americans use the French word “chauffeur” instead of saying, “that underpaid guy who drives my car”? Because it's cooler, that’s why. Most of these posters are for American x-rated films, but panel two, just below, is for the Natalie Wood movie Bob and Carol and Ted and Alice, which definitely isn’t x-rated. But it should have been. Because Natalie Wood. And, um, wood. On the other posters you get Kay Parker, Nina Fause, Maria Arnold, Jennifer Welles, Constance Money, Annette Haven, and Inge Hegeler. And if you want to know the titles, those are all on the posters in English too (though sometimes wrong, as in Expose Me Lovely which turns into Exporse Me Lovely), but it’s probably easier to just look at the bottom of the post, where we’ve listed them in order.
|Modern Pulp||Apr 22 2015|
Mexico’s old west mythology is as strong as the U.S.’s, probably owing to the fact that most of the old west actually was Mexico at one point. That love of western stories comes across strongly in these cover paintings made for Mexico’s 1970s and 1980s comic book market. Many of them were made for the series Sensacional de Vaquero, or Sensational Cowboy, published by Mexico City-based Editorial EJEA, which was founded by Everardo Flores. The scenes depicted are incredibly chaotic and violent—everybody that can be killed, seemingly, is killed, including horses and innocent bystanders. The backgrounds of some of the scenes are interesting, and are worth taking a close look at. The creators here have names such as Beton, Nique, and Jaime S., while others we cannot identify because their signatures, while stylish, are illegible. The art is perhaps not of the quality seen on pulp novels, but it’s certainly effective. Twenty total scans for your enjoyment, and you can see a few examples here, here, and here.
|Sportswire||Apr 21 2015|
This cover of The National Police Gazette from April 1955 shows light-heavyweight champion Archie Moore putting a hurting on Joey Maxim. Gazette was hyping an upcoming title bout between Moore and Rocky Marciano, then and now considered one of the top three boxers to ever lace up a pair of gloves. We doubt that Marciano was afraid, as Moore claims on the cover, but maybe he should have been. The night of the bout Moore amazed/dismayed the crowd by landing a right counter and knocking Marciano to his knees. It was only the second time in Marciano's storied career that he had hit the canvas. He received a count from the ref. Under boxing rules the count should have stopped when Marciano rose—which he did after two seconds—and Moore should have been free to pummel his presumably dazed opponent. But referee Harry Kessler interposed himself between the two fighters.
Moore tells it this way: “The referee saw me stepping toward Marciano, and [put] his butt in my stomach and kept me off Marciano. He grabbed Marciano’s hands and wiped off his gloves while my corner yelled, ‘Hit him! Hit him!’ All of a sudden, Kessler jerked [Marciano’s] hands, and Marciano’s head jerked and [that] brought him to.”
Moore eventually lost the fight. But you have to give him credit—rather than thinking Kessler acted maliciously, he believes the ref was so amazed to see the champ down that he simply forgot his duties under the rules. Still, Moore makes no bones about it—in his view, Kessler cost him the fight. In the end though, Moore had to be proud. He had jumped up a weight class for the bout, and, at forty-one, was a decade older than Marciano. For those reasons and others a Moore victory would have been the greatest upset in boxing history, but it was not to be.
|Vintage Pulp||Apr 20 2015|
|Femmes Fatales||Apr 20 2015|
Marcia McBroom’s film résumé is sparse—seven roles total, including in Willie Dynamite and the underrated The Bingo Long Traveling All-Stars & Motor Kings. She’ll likely never be forgotten, though, because she portrayed Petronella Danforth, one third of the beautiful girl group The Kelly Affair, later called The Carrie Nations, in the eternal camp classic Beyond the Valley of the Dolls. When we first saw the movie in college it helped make the distinction between bad and “bad” crystal clear. Today it remains a Friday night dorm room favorite and an indispensable gateway into the realm of bad-as-in-hilarious cinema. This photo dates from around 1970.
|Vintage Pulp||Apr 20 2015|
Cover and scans from an April 1933 issue of Paris Magazine, with the usual art photography from Studio Manassé and other sources, plus humor and goings-on around town. The cover star is showgirl Lilian Daugherty.
|Vintage Pulp||Apr 19 2015|
|Intl. Notebook||Apr 18 2015|
Yesterday’s Things To Come poster got us thinking about retro-futurism, so above and below you see a collection of 1950s through 1970s toy guns. Although some are tied into American or British television shows or serials, these particular guns are of Japanese manufacture and come from companies like Nomura, Yoshiya, and Daiya. The one above, for example, is a tin water gun from Crown Co. of Japan, and was designed as a tie-in with the British television series Space Patrol. You may notice the strong art deco influence—that’s common in these items and is a major reason they’re so attractive. The one just below, made of tin and plastic, ties in with the American television show Bronco, and features hero Bronco Layne’s face on the grip. Just below that is a machine gun promoting the Japanese anime hero Ōgon Bat, aka Golden Bat. And so forth.
While some of these are water guns, and others use battery power to produce lights and sounds, the ones we like best are friction guns, which means pulling the trigger causes flint-like mechanics in the chassis to produce sparks that make the gun flash and glow. The latter variety, as you might imagine, also produce a grinding/gearing noise to go along with the visual effects. We had one of these just a few years ago and couldn’t put it down. Back then though, we had no idea it was a collectible and so we lost track of it, sadly. It may still be in a relative’s garage Stateside, though, so all hope is not lost. Anyway, in addition to being fun, beautifully designed, and coveted on the collection circuit, these toys also make excellent props for provocative femme fatale photos, like here. That should put a little fuel in your rocket, and we have thirteen guns below that’ll bring out your inner space trooper.