|Vintage Pulp||Jan 27 2016|
The Noir City Film Festival continues its challenging 2016 slate when it screens another pair of classics tonight—Love Me or Leave Me and Young Man with a Horn. Both are musical dramas, and though neither is a noir, both take viewers to dark places. In the 1920s period piece Love Me or Leave Me velvety-voiced Doris Day stars as a struggling chanteuse given a break by gangster James Cagney. He quickly becomes her manager and uses force to launch a national career, blind to the fact that she has real talent and can succeed with no strongarm man to back her. But Cagney doesn't see her talent—show business is gangsterism for him, and bullying is how he operates. When he finally bullies his way into marriage with Day his constant rage transforms her into an indifferent and isolated woman.
|Vintage Pulp||Oct 17 2015|
|Vintage Pulp||Jun 8 2014|
We’ve featured Pic magazine only once before, but not because it was an unimportant publication. Quite the opposite—we’ve seen issues as early as 1936 and as late as 1958, making it both a Depression and World War II survivor, presumably no easy feat and certainly a run indicative of sustained popularity. Early issues seemed focused on sports, but it soon broadened to include celebrities. It was launched by Wagner Publications of New York City, and this issue appeared in June 1952 with a cover featuring actress Suzan Ball placing a crown on the head of Akton Miller, a man Pic had chosen as its Hot Rod King. Inside you get a raft of Hollywood stars, including photos of Yvonne De Carlo in Uruguay, Marilyn Monroe, Janet Leigh, and Joan Vohs, shots of New York Giants manager Leo Durocher and his beautiful actress wife Laraine Day, and some nice boxing pictures. There’s also an interesting feature on the day’s top vocalists (with African-Americans notably excluded), and a profile of crooner Tony Bennett.
It was then that her train to stardom jumped the tracks. She injured her leg performing a dance number in East of Sumatra, and later in the year had a car accident and hurt the leg again. Treatment for those two injuries led to the discovery of a cancerous tumor. Soon afterward she fell and broke the limb, and when doctors decided they couldn’t remove the tumor they instead took the entire the leg. That was in January 1954. Ball soldiered on in her show business career with an artificial leg, starring in Chief Crazy Horse, though she lost fifteen pounds during the production, and later playing nightclub dates and appearing on television shows. In July 1955 she collapsed while rehearsing for the show Climax, whereupon doctors discovered the cancer had metastasized and spread to her lungs. A month later she died at age twenty-one. We have about fifty scans below.
|Vintage Pulp||Apr 6 2013|
Below are the covers of some promotional brochures made by Illustrierte Film-Bühne for movies released in West Germany during the 1950s and 1960s. The examples here, some of which have killer designs, feature Elizabeth Taylor, Marisa Mell, Cary Grant, Virna Lisi, Sophia Loren, Doris Day, Tony Curtis, et.al. IFB was founded in 1946 in Munich by Paul Franke, and over the years produced thousands of these pamphlets. We’ll share more later.
|Vintage Pulp||Jan 9 2013|
Above, the cover and some interior scans from the Dutch cinema magazine Cheerio! #117, featuring an eclectic selection of international stars, 1956.
|Intl. Notebook||Sep 16 2009|
All very interesting, but then we come to this slightly more obscure reference to Yale and Pig Night parties. Intriguing, no? So, since we have a collegiate theme going today, let’s take a closer look at this. Yale during the 1950s had a thriving frat culture of rich young men sporting well-developed senses of entitlement along with a hair-trigger willingness to party like it was 1999. One house in particular, Delta Kappa Epsilon, was the jock frat. And we all know how sensitive jocks are. Pig Night was an annual ritual in which DKE pledges were sent into New Haven to invite townie girls to a fraternity dance. At midnight, the lucky ladies were gathered and an announcement was made in front of the entire frat. The girls had not been selected because they were beautiful, or interesting, or fun—but because they were the ugliest girls the pledges could find—i.e. “pigs.” Big laughs all around.
The girls invariably stormed out, angry, or humiliated, or tearful, and that made it all the more fun. All this from a frat claiming to seek candidates who “combined in the most equal proportions the gentleman, the scholar, and the jolly good fellow.” We don’t know exactly when DKE’s Pig Nights ended, but we did find references to them continuing while George W. Bush was president of the frat during the mid-’60s. We draw no conclusions from that, although you might. But remember—fucked up as it is, back then Pig Night would have fallen into the category of good clean fun. Not that it was truly harmless—just that the victims were unfairly expected to pretend it was. Today, nobody would tolerate such an event. Which is good, because though we’re vocal here at Pulp about the sad decline of movie, book, and magazine art, we’ve also said before that we think human beings are slowly getting better.
|Musiquarium||Nov 12 2008|
The folks at atomicplatters.com explain on their website that every art form had to deal with the arrival of the atomic age. As pulp developed a quick preoccupation with mutants, the space race, and nukes, music did the same, and the collection Cold War Music shows just how much. Five packed discs contain enough rare tunes by Doris Day, Teresa Brewer, and the Commodores to keep you partying at ground zero for a long while—or at least until your eyeballs melt out of their sockets. Of special note: Tony Bennett’s public service announcement for civil defense entitled “Nuclear Attack”. Right then—duck and cover in three, two, one…