|Vintage Pulp||Feb 15 2016|
Two issues of Adam to share—one from Australia and one from the U.S.—proved too much work for one day, so we posted Aussie Adam yesterday, and today we’re on to the American Adam. These magazines have no relationship to each other apart from coincidentally sharing a name. U.S. Adam relies on photo covers rather than painted art, shows a dedication to cheesecake photography that far outstrips its Australian cousin, and also has less fiction. However, what fiction it does offer extends beyond Aussie Adam’s adventure and crime focus, such as the short piece from counterculture icon Harlan Ellison called, “The Late Great Arnie Draper.” We’ve scanned and shared the entirety of that below if you’re in a reading mood.
The striking cover model here goes by the name Lorrie Lewis, and inside you get burlesque dancer Sophie Rieu, who performed for years at the nightclub Le Sexy in Paris, legendary jazzman Charles Mingus, and many celebs such as Jane Fonda, Claudia Cardinale, Sharon Tate, and the Rolling Stones. There’s also a feature on the Dean Martin movie Murderer’s Row, with Ann-Margret doing a little dancing, and blonde stunner Camilla Sparv demonstrating how to properly rock a striped crop-top. We managed to put up more than forty scans, which makes this an ideal timewaster for a Monday. Enjoy.
|Vintage Pulp||Sep 29 2015|
This Italian poster was painted by Rodolfo Gasparri to promote the mystery/thriller Una squillo per l’ispettore Klute, which means “A call girl for Inspector Klute,” but was of course originally released in the U.S. as merely Klute. Jane Fonda won a best actress Oscar for her portrayal of the big city call girl Bree Daniel, Donald Sutherland received acclaim for his role as a soft-spoken rural detective, and the movie remains quite good, a game changer when it was released, and an enduring time capsule of 1960s culture turning the page to something different. If you haven’t seen it add it to the queue. Klute premiered in Italy today in 1971.
|Hollywoodland||Jun 30 2015|
This gold colored June 1963 cover for Confidential magazine is entirely given over to actress Barbara Payton, whose self-penned hard-luck story appears inside and details her life troubles. The tale is well known and is one we’ve touched upon before—early marriage and early motherhood, followed by stardom, romances, and riches, followed by booze, drugs, divorces and crime. Confidential being Confidential, the editors neglect to mention that the story here is not an exclusive, but rather is excerpted from I Am Not Ashamed, Payton’s painfully revealing autobiography.
And the spiral continued—cheaper and cheaper forms of prostitution, physical confrontations that resulted in her getting some of her teeth knocked out, and more. In all of these tales there’s a recurrent theme of lowly types taking advantage of her, but we can’t help noting that she was paid a mere $1,000 for her autobiography, an absurdly deficient amount for a former top star with a crazy story to tell, which suggests to us that guys in office suites take as much advantage—or more—of a person’s hard luck as guys in alleys. We have some scans below, and Payton will undoubtedly appear here again.
|Vintage Pulp||Oct 28 2014|
Above, La Vie Parisienne #202 of October 1967—more than one hundred years into its existence by this point—with an uncredited cover star, and interior photos of Gina Lollobrigida, Dany Carrel, Terry Martine, Jane Fonda, Slovenian actress Sceila Rozin, aka Spela Rozin, and other celebs. There’s also a shot of Talitha Pol from Barbarella, and some of you may remember she married the fast living John Paul Getty, Jr. (he of the kidnapped son, though not Pol’s) and later died of a heroin overdose. You also get some truly excellent ink illustrations by the diverse James Hodges, not to be mistaken for contemporary artist Jim Hodges. James Hodges was a French pin-up artist of the 1960s who also became a magician and illustrated magic books, painted playing cards, and designed stage sets. See more from La Vie Parisienne here.
|Intl. Notebook||Mar 4 2014|
When we first saw this post card/invitation card, we assumed it was for the gala 1993 Japanese re-release of Barbarella, but we’re told it’s actually from 1968, which makes sense considering how faded it is. In any case, it's an unusual and fun souvenir from an unusual and fun movie. See the reverse below.
|Modern Pulp||Oct 3 2013|
It isn’t often one finds new material on Jane Fonda’s 1968 sci-fi classic Barbarella, so we were surprised to run across this item. It’s a guide booklet for the movie’s 1993 re-release in Japan, and we managed to steal a few images and clean them up in Photoshop. See below.
|Hollywoodland | Vintage Pulp||Mar 28 2013|
Elizabeth Taylor nude! Those sneaks at Whisper raised the hopes of millions of readers who bought this March 1965 issue, but inside revealed that the whited-out silhouette on the cover with Richard Burton is in reality a wooden statue of Taylor made to promote her role in The Sandpiper. It was to be unveiled at a party aboard the Queen Mary, but producer Joseph E. Levine connived a way for the sculpture to be stowed below decks so his star Carroll Baker wouldn’t be upstaged. In the end, nobody at the party saw the Taylor statue and Carroll Baker—once again wearing that amazing dress, by the way—ruled the day.
|Vintage Pulp||Jan 6 2013|
We’re back on schedule with Goodtime Weekly and a page for today in 1963 featuring none other than Jayne Mansfield, who's making her third appearance for the calendar. After being lensed twice by Bernard Wagner, here and here, British photographer David Hurn gets a shot. We love the pose because it looks like she’s signaling a touchdown or a field goal—appropriate this first weekend of playoff football in the U.S. (which is something we can watch live thanks to the wonders of the internet). We doubt Hurn was thinking of sports when he suggested the pose. More likely he simply said, “Um, Jayne, I can’t see your breasts with the fabric bunched up like that. Can you raise your arms? Higher? Perfect.” The result was an image that’s quite famous, which is to say, it’s one of only three from the calendar that we’ve seen before. That doesn’t surprise us. Hurn is a significant photographer who shot everything from political events to the Beatles, and is still kicking around today. He also shot this amazing image of Jane Fonda for the film Barbarella. Okay, we're off. Enjoy the games, everyone.
|Femmes Fatales||Aug 26 2012|
Somehow, among many casual cinema fans, Barbarella is thought of as Jane Fonda’s starmaking role, if not her debut. It wasn’t. She had debuted eight years earlier and had already earned three Golden Globe nominations and a BAFTA nomination for her acting. The fact that she was so established makes her decision to play Barbarella all the more remarkable. This shot, a centerfold from Photoplay magazine, is from 1968, and below you see a shot that is aaaalmost identical, but, if you look closely, not quite.
|Vintage Pulp||Nov 25 2011|
This later period National Police Gazette published this month in 1972 is packed with scandal and intrigue, with stories on Vegas dealers, Washington, D.C. politics, Soviet assassins, and Hollywood activism. The activism story focuses on Jane Fonda and her shunning of Tinseltown trappings to devote herself to various causes. The most cringe-worthy line is when editors express curiosity at her advocating for “redskins.” Readers are reminded that even though Fonda was lately wearing her hair short and dressing in jeans and t-shirts, she was once a babe, and for proof they include a photo of her in costume as Barbarella. The story itself serves as an indication of one thing the women’s lib movement was fighting—the male perception that women could be only one of three things: beautiful ornaments, loyal partners, or royal pains. Fonda’s intellect was inconvenient for fans and studio execs alike, but her status forced people to listen to what she said. The Washington story is a bit more convoluted. Editors claim that the Kennedy clan forced 1972 presidential candidate George McGovern to axe his original vice presidential running mate Tom Eagleton in favor of Sargent Shriver, who happened to be a Kennedy in-law. The story carries no quotes, attributions, or corroborating sources of any sort. It’s written as a narrative and is disdainful in tone. In a sense, it’s similar to the responsibility-free journalism seen on American cable television today. But was the story true? Very possibly. The Kennedys had substantial influence in the Democratic Party at the time. Did their choice matter? No. McGovern lost anyway. Scans below.