Vintage Pulp May 8 2019
CHANGE OF ADDRESS
Spanish art for Casa número 322 may have traveled far from home.


We already showed you a beautiful yellow French promo poster for 1954's Pushover, starring Fred MacMurray and Kim Novak. Above is a cool blue Spanish language promo. This piece is signed MCP, which is the imprimatur used by the Spanish artists Ramon Marti, Josep Clave, and Hernan Pico. So is this a Spanish poster? Well, most online sites say so. But the distributor for Mexico is listed as Columbia Films S.A., and you can see that graphic right on top of the poster. The S.A., by the way, stands for “sociedad anónima,” and is a corporate designation, kind of like Inc., or LLC. The movie's distribution company for Spain is on record as plain old Columbia Films, with no S.A., so we think this poster was used in Mexico, where the movie played as La casa número 322, “house number 322.” There's no exact Mexican release date known for it, but late 1955 is a safe bet. All that said, there's no way we can claim to be correct with 100% surety that this is a Mexican poster. We're extrapolating.

Columbia had distribution branches in various Latin American countries. Its Mexican hub was the most important because Mexico had the most developed Spanish film market in the world. Yes, more than Spain, which was still recovering from civil war. Though dubbed or subtitled versions of foreign movies were routinely shown in Mexico, locally produced flicks were about 20% more popular at the box office on average, according to a 1947 report circulated by the U.S. Consulate in Monterrey. In fact, Mexican films were the most popular in all Latin America, particularly Cuba. Even in Mexico City, where U.S. and European films were more popular than anywhere else in the country, Mexican films took up more than 40% of exhibition time—again as reported by the U.S. Consulate. Why was the consulate studying this? Just wait.

The Mexican movie market isn't as competitive today. The decline was due to three main factors: political pressure that forced Mexico to submit to so-called free trade in mass media, suspicious difficulties obtaining raw film stock from the U.S. for movie productions, and, of course, dirty business tactics by Stateside studios. So that's where the consulate came in—gathering intelligence for both the U.S. government and U.S. business interests. Armed with alarming data about local preferences for local product, U.S. studios forced Mexican exhibitors into “block booking” agreements, which meant that if cinemas wanted to exhibit the best Hollywood films they were also contractually obligated to take on the worst. This was repeated all over Latin America, and those bad films, which were more numerous than the good ones, ate up exhibition hours and kept Mexican films off screens. Pushover, at least, was one of Hollywood's better
 films.

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Vintage Pulp May 2 2019
LATIN AMERICAN IDOL
In the Aztec version of the show being sacrificed on a cross is actually first prize.


This poster for The Living Idol gives a bit of a false impression. The movie isn't the lost world epic implied by the art. Most of it is set in and around the University of Mexico, and deals with an archaeologist who believes he can unlock the secrets of ancient Aztec rituals by using a colleague's daughter as a sort of medium. James Robertson Justice is the obsessed archaeologist, and French actress Liliane Montevecchi stars as Juanita, who may have some mystical connection to the ancient world.

The movie is better than you'd expect. It's serious and intelligent, with a bit of cuteness mixed in, and what's particularly striking is the respect it shows—for a U.S. made movie—toward Mexico and Mexican culture. The default attitude for Mexico in north-of-the-border movies from the period is one of mild patronization, but not here. Give some credit to screenwriter Albert Lewin, but more credit to director René Cardona, who's Cuban, not Mexican, but was certainly versed in the culture and history of the country.

Though no Mexicans appear in major roles, Cardona manages to leave viewers with a sense of wonder about Mexico, and not just its mythic past, but its contemporary aspects too. He treats viewers to a nice tour of the Universidad Nacional Autónoma de México, built in Mexico City in 1910, and one of the most majestic and beautiful centers of learning in the Americas today. Its central campus, built from 1949 to 1952, is even UNESCO protected, which thousands of older universities can't say.

This comes in addition to amazing panoramas of the Aztec ruins at Uxmal, probably the best represented they've ever been in a motion picture. Is the movie good? Not quite. It has many rough patches, and Montevecchi has only two expressions in her acting arsenal—innocent eyed, and bug-eyed. But it all works a bit better than it should, somehow. We cautiously recommend it for Mexicophiles, but keep your expectations in check. The Living Idol opened in the U.S. today in 1957.

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Sportswire Mar 27 2019
JACKIE BLUE
A signing of things to come.

Above is a photo of Brooklyn Dodgers star Jackie Robinson signing autographs for Cuban fans in Havana during the spring of 1947. The Dodgers had used Havana’s La Tropical Stadium as their spring training base during the 1941 and ’42 seasons, and went there again in ’47 to avoid some of the publicity and hostility that would have surrounded Robinson, who was destined to be the first African American baseball player of the modern era. Even away from U.S. shores it was a trying time for Robinson. Havana was run by Americans interests, and was selectively an apartheid city. Robinson stayed at the Hotel Boston in Old Havana, rather than the grand Hotel Nacional in swanky Vedado with the white Dodgers. This annoyed Robinson, but he needed to focus on his play because, though he had been invited to spring training, he was not guaranteed a Major League roster spot. The pressure must have been intense. Even so, in this photo he takes time to sign autographs for Cuban fans, gracious as always, on the cusp of a career that would redefine what it meant to be a Major League Baseball player. 

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Vintage Pulp Nov 23 2018
ADAM'S TEMPTATIONS
Lust is in the air according to Adam magazine.


Every issue of Adam magazine is a joy to read, but some are more laden with goodies than others. In this case, among many worthy stories there's “Sky-Diving Love Kittens,” “Trapped by Terrorists,” and “Free Love Females of the Arctic.” How can you make a choice there? Especially since all three stories are labeled “FACT.” Turns out “Sky-Diving Love Kittens” is about how women become sexually aroused by freefall. The journalist narrator would have readers believe he was writing about a group of female sky divers, and when they landed they hustled him off to a shack and rocked his world. Do we buy this? Not really. But we love the story.

All you need to know about “Trapped by Terrorists” is that it takes place in Cuba. The rest is rote adventure writing using a formula well established in mid-century literature. The Cuban men are cruel (and bearded), while the Cuban women are hot (and beaded with sweat). All the girls require to escape the bonds of totalitarianism is a few gringos to make landfall. Before you know it, like being exorcised of demons, the power of penis compels them to face down their oppressors. Do we buy it? No. But while silly and propagandist, it's also entertaining. Sign us up for any writings of this style, whether “fact” or fiction.

And finally “Free Love Females of the Arctic” deals with the sole survivor of an Arctic shipwreck who's rescued by Eskimos when he was on the precipice of becoming a popsicle. Back in the village, two women strip down and warm him by wriggling all over him under fur blankets and nibbling on his chest, then the clan gives him a temporary wife while he's waiting to be returned to civilization. His popsicle thaws and is put to good use. We don't buy this tale either, but we buy Adam magazine—every chance we get—because it's incredibly entertaining. We have thirty-plus scans below and dozens more issues in the website just waiting for you to discover.

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Vintage Pulp Aug 25 2017
MOLECULAR CASTRONOMY
Cuban program to clone Fidel Castro goes horribly wrong. Multiple Castros result—all are rampaging capitalists.


The lead character in Dave Patrick's 1965 novel Patterns of Sin is a college professor and ex-CIA operative named Thomas Keith who happens to be a millionaire. Only in sleaze fiction, right? When his latest girlfriend is almost kidnapped by rogue Cubans, he suspects there's more to her than meets the eye, and there is—she fled to the U.S. after some particularly sticky island dealings involving a long lost twin brother/incestuous lover who was a famed counter-revolutionary. Sadly, there are no clones, but who needs 'em? The incest angle is weird enough: “Tom had so reminded her of her brother that she'd almost called him by her brother's name as they made love.” She actually tells Thomas about her brother, and he's fine with it.

“Are you sure, Tom?” she whispered.

“Do the other women I've had bother you?”

“No, but men are supposed to be different. They're supposed to want virgins.”

“Every girl's a virgin to me, until I've made love to her.”


The government is interested in Tom's girlfriend and her Cuban connection, so he's brought back into the CIA, given a hot partner and—this being a sleaze novel—the partner is a woman with whom he has a steamy history. But they don't get together—the partner is gay now, prefers the Cuban girlfriend, and gets her. Thomas's reaction? “It's a waste of a beautiful woman as far as I'm concerned, but it's your life.” You may be wondering if there's any actual plot here. Not enough to matter. The anti-commie aspect is a mere placeholder between love scenes. The book was bad. We knew it would be bad. But we had to find out what it was about. It wasn't about clones the way the cover art might make you think, but maybe it should have been. That art, by the way, is by Bill Edwards—the mole on his female figures always gives it away. 

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Vintage Pulp Aug 15 2017
LOVE NOT GUNS
All she's saying is give peace a chance.

We're back. The festival is ongoing and our friends are here for another week, but going forward we'll be making time to share material. So above you see scans from Australia's Adam magazine, published August 1971, with British model Susan Shaw inside and Austrian actress Senta Berger on the rear. The cover illustrates I. W. Coughlan's story “Killer in Conflict,” in which an assassin is sent to kill an important scientist's daughter, who's a free love hippie. The killer finds his target easily enough, but the more she talks to him the less sure he is about his mission. Is it too late for him to turn over a new leaf? At the bottom, do you notice the cartoon concerning flights to Havana? Somebody help us. What's the joke there? We keep looking at it and can't understand what the cartoonist is trying for. While we wait for enlightenment on that, you can see many more issues of Adam by clicking its keywords below.

Update: the answer comes from J. Talley who explains: Hi. Longtime fan of your blog. In case no one else has answered your question about the Havana reference in the Aug. 1971 Adam magazine cartoon you put up a few days ago: aircraft hijackings to Cuba were relatively frequent in the late '60s/early '70s, so this would fall under the category of "topical humor."

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Intl. Notebook Jul 14 2017
DAWN OF THE SKYBOATS
Flying through the air with the greatest of ease.

Pan American World Airways knew how to imbue travel with an aura of romance. It launched in the late 1920s with mail service from Key West to Havana, and quickly expanded to become a passenger airline. Business boomed—well heeled Americans took flights to Havana in droves in what became known as the Cocktail Circuit, escaping U.S. prohibition to enjoy a weekend of decadent nightclubs and gambling before returning in time for Monday's real world obligations. Soon Pan Am expanded service throughout Latin America and the world. It bought seaplanes to get around the problem of many cities not having proper airports. With the ability to use docking facilities, virtually no destination was inaccessible.

The company dubbed its seaplane fleet “clippers,” evoking the masted sailing ships of the oceangoing era, and their draw was not just their mobility but their luxury. Some say it was a different era of corporate governance, a time when the mandate in the commercial travel industry was to earn loyalty with good service rather than to blackmail customers into avoiding misery. This is partly true, but it's also important to remember that air travel was initially considered a luxury indulgence. It was with the advent of travel for the masses that airlines began to exchange services for profitably packing people in like sardines. In that sense, their priorities have not changed much in fifty years.

Pan Am soon began promoting its services with colorful posters, many of which were created by a talented artist named Mark von Arenburg. These prints, which promised to take passengers around the world by clipper, hung mainly in airports and travel agencies and gave passersby fantastic glimpses of faraway destinations—indeed, it's difficult to look at any of them without feeling the pull of the exotic wider world. The company produced hundreds of these promos in various styles and multiple languages, but for our purposes we're interested today only in the posters advertising travel on that elegant Pan Am clipper.

Over the years the fleet evolved from seaplanes to jets, and while all were called clippers, it's the lovely skyboats that are most fondly remembered—and which provided so many entertaining settings in old movies and pulp fiction. The posters you see below are scans of both originals and reproductions, and there are quite a few. Even so, it isn't a complete collection. Some of the most famous posters are so rare they simply can't be found online at the moment. While it's true that air travelers are mainly treated like cattle rather than customers today, and commercial flying is a form of voluntary torture, the destinations are still there to make those difficult hours in the air worthwhile. Let these posters inspire you.

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Hollywoodland Feb 15 2017
FROM SIR! WITH LOVE
Anita Ekberg bares all for art.

Anita Ekberg graces the cover of this February 1957 issue of Sir! magazine, laid back, colorized, and looking good. She gets in depth treatment inside, with a focus on a nude statue of her made by Hungarian sculptor Sepy Dobronyi. The story was perfect for Hollywood gossip rags, and accordingly they all reported breathlessly that Dobronyi wanted to make the statue a nude, and since he was headed back to his studio in Cuba and couldn't have Ekberg sit for him, took a series of nude reference photos. Dobronyi was a scuba diver in his spare time and had collected gold coins from sunken Spanish galleons to use in his art, some of which he applied to Ekberg's likeness, leading to this boob-related witticism from Sir! editors: “Anita's statue has a real honest-to-goodness treasure chest.” The sculpture was mostly bronze, though, and became known as the Ekberg Bronze, which when last seen was in a Norwegian museum, though Ekberg was actually Swedish.

Elsewhere in Sir! you get the short feature, “A Homo Speaks Out.” The title alone. Really. The author, working in confessional form, admits to deep feelings of regret, shame, self-loathing, and so forth at his “condition”—basically writing everything mid-century homophobes would have wanted to read. It ain't pretty, so we won't transcribe any of it. Readers also learn about marriage rites on the Pacific islands of New Hebrides (now Vanuatu), where tribal ceremonies involve all the male members of the groom's family having first crack at the bride. Is that true? We have no idea, and really aren't inclined to find out. To each culture their own, we say—as Americans, we come from the weirdest one on the planet. Other stories deal with Elvis Presley, burlesque, and prostitution. While Sir! wasn't one of the top mid-century tabs, it outdid itself with the Ekberg cover alone, which we consider one of the most eye-catching images of her we've seen.

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Intl. Notebook Nov 30 2016
END OF WATCH
Fidel Castro's long vigil over Cuba comes to a close.

Above is a unique artifact we've been holding onto for several years—a photo of a metal Fidel Castro billboard located in the vicinity of Holguin, Cuba, a town in the southeast part of the island. Someone we know shot this and gave us a copy, which we squared up a bit in Photoshop. Political billboards are a common sight in Cuba but this one is unique, as far as we know. It says: “Commander in Chief: Order!” We were out of town when Castro died and didn't have a chance to comment on it, and now we've been beaten to it by everyone. Well, no matter. We've written about him—usually in relation to other iconic mid-1960s figures such as John F. Kennedy and Lee Harvey Oswald—numerous times, and you can see those posts yourself by clicking his keywords just below. We may not have any new commentary to add, but we do have a piece of art nobody else does.

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Intl. Notebook Nov 23 2016
THE SMELL OF EXCESS
Havana shopping street catered to the international upper crust.

We're back from vacation. We were surrounded by colonial era architecture, which brought to mind this photo of Havana, Cuba, a former colonial city thousands of miles from where we were, but similar in many respects. The shot was taken along Calle San Rafael sometime during the 1940s. There's a lot of detail in this—in the distance we can see Bar Uncle Sam and a Philco store, and in the foreground the cars and flowing sidewalk mosaics are interesting too. Of particular note is the perfume store El Patio, where a sign tells us the Dana brands Emir, Tabu, and Platino are available. These were pricy concoctions, affordable for only the rare few, sold by a fancy perfumer that got its start in Barcelona back in 1932. Presumably Isaac Habif was a perfume or cologne too, but we can't find mention of it anywhere.  

Some of the other businesses on San Rafael included the swank coffee shop Salon H, top jewelers Letrán de Isaac Barquet, Cuervo y Sobrinos, and Gastón Bared, two academies—Academia Pitman and Academia Gregg—which were expensive and private, the department stores Fin de Siglo and El Encanto, Indochina, which was an exotic gift shop, the eyewear boutique El Telescopio, and La Exposición, which sold furs—yes, in that climate. In all, Calle San Rafael wasn't just an ordinary thoroughfare, but a major shopping street serving Havana's economic elite. It remains a shopping street today, but the mosaics and fine brands are long gone. For a bit more on colonial era Havana, have a look here. And for an interesting array of post-revolutionary photos, look here.

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History Rewind
The headlines that mattered yesteryear.
June 18
1928—Earhart Crosses Atlantic Ocean
American aviator Amelia Earhart becomes the first woman to fly in an aircraft across the Atlantic Ocean, riding as a passenger in a plane piloted by Wilmer Stutz and maintained by Lou Gordon. Earhart would four years later go on to complete a trans-Atlantic flight as a pilot, leaving from Newfoundland and landing in Ireland, accomplishing the feat solo without a co-pilot or mechanic.
June 17
1939—Eugen Weidmann Is Guillotined
In France, Eugen Weidmann is guillotined in the city of Versailles outside Saint-Pierre Prison for the crime of murder. He is the last person to be publicly beheaded in France, however executions by guillotine continue away from the public until September 10, 1977, when Hamida Djandoubi becomes the last person to receive the grisly punishment.
1972—Watergate Burglars Caught
In Washington, D.C., five White House operatives are arrested for burglarizing the offices of the Democratic National Committee in the Watergate Hotel. The botched burglary was an attempt by members of the Republican Party to illegally wiretap the opposition. The resulting scandal ultimately leads to the resignation of President Richard Nixon, and also results in the indictment and conviction of several administration officials.
June 16
1961—Rudolph Nureyev Defects from Soviet Union
Russian ballet dancer Rudolf Nureyev defects at Le Bourget airport in Paris. The western press reported that it was his love for Chilean heiress Clara Saint that triggered the event, but in reality Nuryev had been touring Europe with the Kirov Ballet and defected in order to avoid punishment for his continual refusal to abide by rules imposed upon the tour by Moscow.
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