|Vintage Pulp||Jul 2 2017|
Ernest Hemingway is a polarizing writer, but those who call him overrated are wrong. You can't be overrated when you changed the DNA of prose in the English language. There was a style of popular writing that was dominant before Hemingway, and a style that became dominant afterward, with the shift entirely of his doing. The Sun Also Rises originally appeared in hardback in 1926, and this Bantam paperback edition is from 1949. The cover looks a hell of a lot like the work of Ed Paulsen, who painted this cover for Bantam in 1949 featuring a man with a near identical face. But officially, this was painted by Ken Riley, who was also working with Bantam in 1949. It's a pretty nice piece, establishing definitively three main characteristics of Hemingway's writing—booze, women, and anguish, with the latter deriving in this case from the ex-soldier protagonist having had his penis shot off or rendered non-functional, yet being in love with the beautiful Lady Brett Ashley. The problem is infinitely compounded by the fact that she loves him too, but must seek physical pleasures from other men. If you know any iconoclasts who've told you this book isn't worth your time, we suggest you ignore them. The Sun Also Rises is a tough, affecting, unforgettable read.
|Vintage Pulp||Aug 24 2015|
This issue of Paris Magazine features a beautiful Louis-Charles Royer cover of Ziegfeld star Claire Luce, one of the most popular celebrities of her time. Her heyday was the 1920s and ’30s, a period during which—though this is little remarked upon today—substantially more women began to have sex before marriage. By the time the first surveys took place in the 1940s about 50% of women admitted to having pre-marital sex. Anecdotally, during the 1920s probably at least one in four women had sex as singles. Claire Luce was a pioneer of the female right to choose. A mere eight-year span of her diary describes sixty lovers.
Of course, there are many factors behind any social shift, but rapid change typically derives from chaos. Ask any neo-con or disaster capitalist. The primary effect of war or warlike events upon society is to alter how it views life, death, and personal freedom. In the past, the spectre of death made people want more freedom to live as they saw fit; in our present era, traumatic events have resulted in people agreeing to sacrifice their personal freedom (thanks to powerful suggestions and hard work by opportunistic governments).
Anyway, just an interesting digression concerning Paris Magazine’s cover star. Like predecessors such as Dorothy Parker, and peers like Tallulah Bankhead, she was a sexual trendsetter, a new type of woman for a radically reordered Western world. She’s also about as pulp as it gets. We may get back to Claire Luce a bit later, but in the meantime we have a bunch of interior scans from Paris Magazine below, and more issues available at the click of a mouse. This edition, number 34, appeared in 1934.
|Vintage Pulp||Feb 22 2012|
At the end of last month we posted a few images of Bettie Page that hadn’t appeared online before. They came from an issue of Carnival we were too lazy too scan in its entirety at the time. Today we have the rest of that great issue, vol. 1, no. 2, published out of Chicago, U.S.A. by Hillman Periodicals, who were the same people behind the magazine Show. The cover star is burlesque queen Lilly Christine, aka The Cat Girl, and she reappears in all her wild-eyed glory in a photo set we've placed at the very bottom of this post. We’ve seen at least two of those photos before in other magazines, however Carnival claims it was an exclusive set, shot especially for them, and indeed, that could be true, since theirs appeared before the others we saw.
After a peek behind the scenes of the Miss Universe pageant, readers get a profile of Ernest Hemingway’s most recent trip to Spain. Hemingway was visiting the Festival of San Fermin in the Basque Country town of Pamplona in order to see how his favorite sport of bullfighting had fared in the years since he’d last visited. Since the text in these digest-sized magazines scans large enough to be legible, you can read whatCarnival says about the famed festival yourself. We will note, however, that the writer’s description of Pamplona as dull when San Fermin isn’t happening is wrong. Spain in general, and the Basque Country in particular, are never dull. Trust us—we’ve spent a lot of time there. If you’re interested, you can read our firsthand observations of San Fermin here and here.
Carnival next presents readers with photos of dancer Nejla Ates, whose short set begins just below. We first saw one of these shots in an issue of Uncensored dating from June 1954, but once again Carnival seems to have gotten there first—their photos are from 1953. Ates, who for some reason often appears online unidentified, was Romanian born ofTatar descent, and danced her way through Cairo, Rome, Paris, and London, before finally gaining international fame in New York City. She appeared in three American films during the 1950s, and was the go-to cover model for Middle-Eastern and bellydancing themed album sleeves, but despite her successes suffered the usual slate of dead end affairs and romantic heartbreaks with such men as, among others, Billy Daniels, George Sanders, and Gary Crosby.
Following Ates is a photo feature on American actress and party girl Barbara Payton, who burned a swath through Hollywood during the 1950s, bedding co-stars, feuding with her studio, and generally raising a ruckus before eventually drifting into prostitution and dying at age thirty-nine of heart and liver failure. She’s described here as possessing the “assets of Hedy Lamarr, Jane Russell and Marilyn Monroe” all at once. Not sure about that, but we'll be finding out more about her later, because we will be examining her very pulpish life story in detail.
Next you get a great close-up photo of Jersey Joe Walcott having a disagreement with Rocky Marciano’s fist. Does that shot also look familiar? Perhaps because it was the cover of a January 1953 National Police Gazette. We had no idea that the fight was considered controversial at the time. Apparently, many thought Walcott took adive. Since this photo is of the actual the shot that sent Walcott to the canvas, we have to respectfully disagree. It’s lights out, and anyone can see that. In any case, you can take a gander at that Gazette cover and learn a bit about Marciano and Walcott here.
A few more treats: panel 24, just below, contains a hot shot of Marilyn Monroe at a charity baseball game; panel 26 features actress Sheree North, who doesn’t look very impressive, which means you shouldclick over to our lovely femme fatale post on her here and get a sense of what a knockout she really was; and lastly, in panel 28, above, you get a killer shot of Zsa Zsa Gabor, who, believe it or not, was already nearly forty at the time and had been married three times on the way to her final tally of nine.
Looking at all these pages and visiting the accompanying links, you perhaps get a sense of how the mid-century tabloid industry was fueled by handout photos, with all the publications using the same shots but concocting editorial angles to create the illusion that the images were exclusive. But in Carnival’s case, it does seem to have published many of these images first. It billed itself as “a magazine of excitement”, and we have to agree. It’s also a magazine that, because of its tightly bound construction, we had to destroy in order to scan. But even though this particular issue of Carnival is now only loose leaves scattered across the room, there are other issues out there, and we’ll have some of them later, hopefully.
|Intl. Notebook||Oct 16 2011|
This Whisper from October 1955 examines Ava Gardner’s love life, Ernest Hemingway’s courage, and Marilyn Monroe’s mole, all of which, while worthwhile subjects, are less interesting to us than the piece on Father Divine. Who was Father Divine? Well, he was a preacher who claimed to be God and had as many as two million followers during his heyday in the 1930s. Of course, that number depends on where you do your research. Some sources try to distinguish between “true followers” and sympathizers who attended his rallies, but that’s like saying seventy percent of the people at a rock concert aren’t true fans. Attendance at events is an accepted method for determining popularity, and consideringthe fact that Father Divine had verifiable rallies in places as far away as Switzerland and Australia, we think the two million figure is accurate.
Why was he so popular? Hard to say. Charisma and an imaginative doctrine are givens. But it was national exposure that really helped swell the ranks of his followers. From the point of view of a typical magazine editor, you eventually can’t resist writing at least a blurb about a person who claims to be God. When that person proves to be polished and intelligent, and his belief system more nuanced than suspected, the article becomes its own public relations. Thanks to steady press coverage, what started as a local congregation in Brooklyn, New York eventually spread to become a multi-ethnic and pan-national movement. But with popularity came scandals. The most notorious of these was when a Divine follower named John Hunt, a California millionaire who had dubbed himself John the Revelator, kidnapped a 17-year-old girl named Delight Jewett and repeatedly had sex with her, either before or after brainwashing her into thinking she was to be the “mother of the new redeemer of the world,” i.e., a new Virgin Mary.
Father Divine’s ministry survived the Hunt scandal and others, and in fact only began to shrink as Divine himself aged and became less active. The cover of Whisper asks if he is dead. Fair question—he was pushing eighty by then and hadn’t been seen in public for months. But he would resurface weeks later in a flurry of press coverage, pronouncing himself“healthy in every organ, muscle, sinew, joint, limb, vein and bone, and even in every atom, fiber and cell of my bodily form.” But Divine was in fact in declining health and had been for some time. Ten years later he died of natural causes at the age of (because his exact birth date is unknown) eighty-nine or ninety. Or he left behind his corporeal form and permanently inhabited his spiritual one. Depending on whom you ask.
|Vintage Pulp||Aug 31 2011|
The cover of this December 1956 issue of the American tabloid Exposed offers teasers on Kim Novak, Laurence Olivier, and Hollywood bad boy William Holden, but it's Ava Gardner who's front and center as readers learn about her mingling with Spanish bullfighters. Gardner had been introduced to the spectacle of the plaza de toros several years earlier by Ernest Hemingway, and she became a fixture at both the fights and on the Madrid social circuit. Since she was married to Frank Sinatra, this was of great interest to U.S. readers, not to mention Sinatra himself, and all the tabloids were reporting on it. The publicity didn’t help what was already a stormy marriage. Gardner eventually pursued and bedded matador Luis Miguel Dominguín, and not very discreetly. Everyone knew. Sinatra knew, and it tortured him. His buddy Humphrey Bogart rebuked Gardner, telling her, “Half the world’s female population would throw themselves at Frank’s feet and you are flouncing around with guys who wear capes and ballerina slippers.” Sinatra knew he was losing the love of his life, and he wasn't about to let it happen without a fight. He flew to Spain in a desperate bid to win his wife back, but it was no use—seven months after this Exposed hit newsstands, he and Gardner were divorced.
|Vintage Pulp||Aug 28 2011|
Above, a poster for Robert Siodmak’s Oscar nominated film noir The Killers. Adapted from a short story by Ernest Hemingway about an ex-boxer who meekly accepts his own murder for reasons that only become clear after a detailed investigation by an insurance adjuster, this was the film that gave us the great Burt Lancaster. Why did he let himself be murdered? Well, Ava Gardner had something to do with it. You can see the unusual French poster here, and the Swedish poster here. The Killers opened in the U.S. today in 1946.
|Intl. Notebook||Jul 8 2010|
|Intl. Notebook||Jul 2 2010|
|Vintage Pulp||Apr 3 2010|
Above is an unusual one-sheet for Robert Siodmak’s 1946 film noir Les Tueurs, aka The Killers, with Burt Lancaster and Ava Gardner. You may remember we showed you the colorful Swedish poster last year. This rather hazy French effort is unusual because it features a photo of one of the stars, which is a promotional technique that wouldn’t become popular until decades later, when retouched (later digitally tweaked) photography replaced handpainted images, forever to the detriment of the art world. We’ve talked about this before, and we still have the same question. Namely, what is it inside of us that made us divorce art from commerce? We’ve embraced the soulless in every form of promotional art from movie posters to book covers to billboards. Is it simply about money? Does capitalism drive us inexorably toward an artless pursuit of profit? We have our theories, but what do you think? Or is this a little too much to be dumping on you on a spring Saturday? Right, we can take a hint. Les Tueurs premiered in Paris today in 1947.
|Vintage Pulp||Mar 7 2009|
Here’s a colorful Swedish one sheet for The Killers, which is considered one of the most important noirs. Inspired by an Ernest Hemingway short story, and helmed by director Robert Siodmak, the movie opens with an unresisting Burt Lancaster being snuffed by two hit men, then follows an insurance investigator as he tries to figure out what possibly could have happened in this man’s life that would make him virtually offer himself to his murderers. All roads lead—as all roads must—to the femme fatale. In this case it’s the magical Ava Gardner, in her first starring role as the hard-as-nails Kitty Collins. The art here effectively tells the story of the film in a snapshot—we see Burt beset by his two killers as Ms. Gardner seems to burn in his breast. That pretty much sums it up. The film was a smash hit, and it remains a must-see. It first played in Stockholm today, in 1947.