She may get pushed around but eventually she always pushes back.
Rashamen Oman: higanbana wa chitta, for which you see he promo here, is known in English as Foreigner’s Mistress Oman: Falling Autumn Flower. The movie starred Sally Mei, aka Sally May, an enigmatic half Anglo half Japanese actress who appeared in a handful of movies and had a short singing career, here playing the character Oman in a sequel to Rashamen Oman: ame no Oranda-zaka (poster here). She'd do one more film in this series called Enzetsu jokyo-den: Oman midarehada, and all of them premiered between March and August of the same year, which shows you how fast Nikkatsu churned these Krispy Kremes out.
The plot of the first movie saw Mei travel from Shanghai to Japan in search of her mother, only to be betrayed by her companion and sold to a brothel, where she becomes a geisha and gambler. Luckily, Mei had picked up some sword skills along the way and put those to good use julienning her captors. The sequel, then, picks up after she's served a prison sentence only to find that her sister is in the clutches of a group of yakuza lowlifes. Mei is up the challenge once again. Starring as her sister, by the way, is Yuri Yamashina, who we've looked at before. Rashamen Oman: higanbana wa chitta premiered in Japan today in 1972.
Sugimoto heats up summer in Tokyo.
We like to keep an eye out for these cinema flyers advertising vintage pinku flicks because they usually feature imaginative reworkings of iconic imagery. In this case, Miki Sugimoto appears front and center on a flyer produced for a film festival at the Jinbōchō Theater, an arts complex comprising a theatre, cinema, and performance space opened in 2007 by Shogakukan publishers in the Jinbōchō neighborhood of Chiyoda, Tokyo. The shot of Sugimoto comes from her 1974 pinku actioner Zeroka no onna: Akai wappa, aka Zero Woman: Red Handcuffs, which plays from today through the end of July on a slate with fifteen other films of the non-pinku variety.
The nicely designed text in the bubbles at the center of the poster says something like, “Films born from summer vacation special project cartoons,” or put another way, it's a summer festival of films whose source material were all mangas—i.e. Japanese comic books. Zeroka no onna: Akai wappa was based on a manga by Tōru Shinohara, who also wrote the manga that inspired the hit Meiko Kaji series Female Prisoner Scorpion.
As a side note, the Jinbōchō Theater is an amazing structure designed by acclaimed architects Nikken Sekkei, and we uploaded a shot of it so you could have a look. It's an intimate space—99 seats, which means it was made specifically for film revivals. Generally we're all about vintage stuff and preserving history, particularly fantastic old cinemas, but nothing significant was torn down to build the Jinbōchō Theater, and in a city as modern as Tokyo a structure like this fits right in. If you're a film buff and you happen to be in thatr egion of the globe you now have something to do in July.
Documentary double feature takes Japanese viewers on a tour of Western vice.
This Japanese poster promotes a double feature of the English language productions West End Jungle and World of Flesh. Both are fake documentaries, the first set in London’s Soho district, the second in Hollywood. They take viewers on a trip through the underworld of burlesque shows, prostitution, clip joints, orgiastic private parties, and general illegal or barely legal tomfoolery, with stentorian voiceover and an air of dire warning. But only World of Flesh has Baby Bubbles, and this is an important fact. Bubbles, aka Corky Dunbar, aka Elaine Jones, can’t possibly be done justice by a photo, but if one can come close it’s the shot below showing her in the midst of her trademark gag—spinning her tasseled breasts in opposite directions. Bubbles danced before we were born, but World of Flesh has made us fans. Even our girlfriends loved her (although we must admit, they’d never seen the boob spinning trick before and it made them burst into hysterical laughter, which means maybe they loved the absurdity of the act more than its artistic merits). Anyway, Bubbles appears for an amazing three or four minutes early in World of Flesh, aka Hollywood’s World of Flesh, and she is a must for fans of mid-century burlesque. But if time is too precious to locate the movie, most of her segment is available on YouTube right here. And now we’ll stop, because after seeing her, you won’t care what we have to say.
Rainbowman is a lover and a fighter.
You’ve probably been asked a few times in your life what superpower you’d want, but why would you have to settle for one? This poster promotes the Japanese television series Ai no Senshi Reinböman, aka Warrior of Love Rainbowman. The main character is a former pro wrestler who trains in India under a yogi and develops not one but seven different incarnations. Each of those incarnations has a comprehensive set of abilities, so Rainbowman has about a hundred superpowers—everything from becoming jointless so he can move like a snake to using pine needles as deadly projectiles. And of course he can fly and shoot fire from his hands and do all the other mundane superhero stuff too. Unfortunately, among his many powers are none involving costume design, which is why he looks more like a backup breakdancer from an 80s hip-hop tour than a superhero. Cool poster anyway, though.
The Donald Sterling fiasco is a surprise to nobody. What will the NBA do now?
In the U.S. today, in our old home of Los Angeles, the city’s newly ascendant basketball team the Clippers is in the playoffs while team owner Donald Sterling’s racist personal beliefs have blown up in his face and cast a pall over his on-the-court product. You’ve maybe heard the story. His mixed race mistress recorded him insisting that she, well, that she basically reject her own blackness. Specifically, Sterling wanted her to stop posing for Instagram photos with black acquaintances and even told her to stop bringing black friends to Clippers games. The recordings also revealed his bizarre attitude toward his own players, who he feels he “gives” everything they have, despite the lifetime of work they’ve put in to reach the NBA.
Sterling’s legal mouthpiece has implied—but not asserted—that the recordings could be fake or altered. That’s highly doubtful. The idea that the mistress hired a voice actor, staged an argument, and then released the recording to harm Sterling makes little sense. For one, there’s this little thing called voice analysis that can determine whether recordings match certain voices, and anyone who’s watched a Friday night detective show knows that. Second, to make such a recording, or to alter one in order to damage another person’s standing, could be construed as criminal fraud, which seems a hell of a risk to take just to thumb your sugar daddy’s eyes. No, it’s Sterling on the recordings, and his camp has not issued a flat denial because that in itself would harm them in future legal proceedings once their assertion was proven to be untrue.
Some observers have cited Sterling’s charitable work, but let’s be clear—such activities are mandated, not necessarily in the league bylaws, but by the NBA culture. They are the price of owning a team. Just as players must appear at hospitals hugging sick children when they would rather be relaxing at home with their slippered feet on the coffee table, owners are expected to contribute to their communities. Yes, some players love making sickbed appearances because of heartfelt views, and it’s possiblesome of the league's owners enjoy philanthropy, but never forget that the NBA runs ads all year extolling this community service. It is good work, but it is also marketing used to make fans feel better about ponying up tax revenue for multi-million dollar arenas and for laying down hard earned coin for overpriced seats. In short, Sterling would have to deal with a host of league-wide consequences if he didn’t do charitable work. Likewise, there’s no contradiction in the fact that Sterling’s erstwhile mistress is mixed race. It has long been a privilege of old school male power that they can stick their dicks anyplace they like as long as they don’t embarrass themselves or shame their family by treating the person as anything other than a toy. That part isn’t even a matter of ethnicity. The same would be true if Sterling’s mistress were Norwegian: have all the fun you like, just don’t make a spectacle of yourself. At that Sterling has failed stupendously, and not for the first time. A notorious slumlord, in 2009 he lost the biggest housing discrimination suit in U.S. Justice Department history. At the trial witnesses divulged that Sterling believes African Americans smell bad, that Mexicans just sit around smoking and drinking all day, and that Koreans will live in terrible conditions and still meekly pay rent on time every month.
So today there will be a press conference at which NBA commissioner Adam Silver, empowered by public opinion and the other team owners (some of whom, by the way, are rumored to be barely better than Sterling), will presumably announce some form of punishment. It may or may not be severe enough to satisfy many observers, but the real issue that fans may want to consider is whether the NBA somehow enabled
the entire fiasco. Any player who had for years behaved as odiously as Sterling would have been disciplined long ago, yet the NBA brass turned a blind eye on an indicted slumlord and all around heel even as it touted its inclusive values and community minded culture. In fact, it looks suspiciously as if there was one set of rules for the workers and another for the 1%. Perhaps that’s what NBA fans should question, in the league and beyond.
American Sunbather uses its 1960 calendar and twelve nude women to sell the idea of paradise.
Yes, we still have a few items from that trip to the U.S. we took a couple of years ago, and today we’re finally getting around to this baby. It’s a calendar put together by American Sunbather in 1960. We were actually going to post it on January 1, but we were still too busy fuming over our bank snafu to get it done. So instead you get it on the last day of January. All the tri-toned images are great, but sadly the January page is missing—that must have been a very good month. American Sunbather magazine was one of the main nudist publications. It was published by the Outdoor American Corporation of Spokane, Washington, and ran from the 1950s until about 1967. Like other nudist magazines, it espoused a rationale for why nudism was a desirable lifestyle and you can get a sense of their philosophy from each month’s accompanying text. If it’s too small to read, here’s an example from September:
When men begin to think that the Golden Age belongs solely to ancient history, that the future holds no radiant beauty, no effulgence of glory for the human race, mankind will be in a state of dotage. We nudists know the joy of conviction that “the best is yet to be,” and we feel certain that our preachment and program will contribute much to the sum-total of human welfare and earthly happiness.
There’s so much we could say about this. For instance, in 1960 we seriously doubt that everyone was actually welcome in American Sunbather’s utopia, but leaving that aside, we basically agree with the calendar’s sentiments. In fact, there’s no need to get mystical—it feels good when nature comes into contact with the body. That’s really the long and short of it. Where we live most people don’t get too bothered about naked bodies on the beach, which is nice, even if we don’t typically join in. American Sunbather believed humanity would become more uninhibited as time went by, and its beliefs were underpinned by an idea that we would all have more time, more money, and more freedom. But a funny thing happened on the way to utopia—once the 1970s ended there was suddenly less time, less money, and less freedom for about 90% of Americans. And now—for the moment at least—utopia is just a speck in the distance.
Publishers provocateur Goliath release a collection of Japanese-bondage-inspired art photos.
A long while back we mentioned the Japanese art of kinbaku-bi or shibari (we won’t get into the debate over which term is more correct) and said we’d discuss it again, but of course never did. Well, we were reminded of that promise when Berlin-based rebel publishers Goliath sent us a couple of their books. Ostensibly, they’re coffee table volumes, but of a rather provocative type, dealing with bondage as art. Today we’re looking only at Strictly Bondage, and we’ll get to the other book Kinky Bondage Obsession later this week.
Strictly Bondage, a compact volume of black and white images derived directly from the Japanese bondage arts, was shot by longtime bdsm photographer Victor Lightworship. Like the master or kinbakushi who restrains women in kinbaku-bi, Lightworship uses ropes in some of his photos to suspend his models. He appears in many of the shots, and while he goes through the motions of dominating his models, the content doesn’t overpower the compositional beauty of the tableaux. Or put another way, while the book generates some raised eyebrows when visitors pick it up from the coffee table, they quickly become aware that they’re looking at the output of someone with talent and a finely honed aesthetic.
Lightworship has been at this for thirty years, even studying kinbaku-bi under a rope master, so the sharpness and cohesion of this collection is no surprise, nor is the fact that he can walk a tightrope between the disturbing and erotic so deftly. Some of his non-Strictly Bondage work goes farther, so the effect achieved here is deliberate and is partly due, we think, to the array of expressions worn by his models—sometimes a sort of overacted b-movie terror, but other times a resigned serenity comically juxtaposed against the most elaborate of subjugation. We see the latter in the shot below featuring porn actress Jay Taylor as human luggage.
The book’s foreword asks: “What is art? What is erotic? What is porn? What is interesting?” Strictly Bondage is a little of all those, and it’ll be living on our coffee table for some time, or at least until our friends bring their kids by. We have several of the tamer images from the book’s interior below, and you can learn more about Victor Lightworship and Strictly Bondage at www.goliathbooks.com, and at the photographer’s site here.
Ringing in the New Year in style.
Survived another year. And so have you. So let’s open 2013 by catching up with the Goodtime Weekly Calendar. We missed two weeks while we were in Morocco, and those pages are below. Above you see the January 1 page of this great publication, which also happens to be the cover, and it features model/actress/centerfold June Wilkinson shot by film director Russ Meyer. The photo is a variation of another Wilkinson image that appears inside the calendar later in the year. The images below are credited to Ron Vogel and L.W., whoever he is. Obviously, there's a three week backlog of jokes, but by now we’ve established that most of them are not in any way amusing, so rather than transcribe the entire collection, we’ve selected what we hope are the most interesting. Enjoy.
“A pedestrian: The man who didn’t believe his wife when she said the family needed two cars.”—Cannonball Adderley
“Many a man who would never think of gambling goes out and gets married.”—Sig Sakowicz
At Christmas time, every girl likes her past forgotten and her presents remembered.
Women are like modern paintings: you’ll never enjoy them if you try to understand them.
“Better a witty fool than a foolish wit.”—William Shakespeare
“People Who throw kisses are mighty near hopelessly lazy.”—Bob Hope
“Short skirts have a tendency to make men polite. Have you ever seen a man get on a bus ahead of one?”—Mel Ferrer
The French poster artist Hukel was a master, and for that matter so was this other guy named Hurel.
Another day, another unknown talent. The above promo poster was painted by a French artist who signed his work “Hukel.” We’ve found references to him online, but no details unfortunately—not even a full name. However, we know he was active for at least four decades, because he painted the poster for 1981’s Cannonball Run, as well as this quirky 1960 advertising poster. The masterpiece above is the Yugoslavian poster for the French prison drama Tous peuvent me tuer, which was released in English as Anyone Can Kill. The movie starred Anouk Aimée, she of the renowned hawk eyebrows, which are lovingly reproduced by the artist. We will try to dig up more Hukel pieces, or at least a bit of info, and if we find anything you can be sure we’ll share.
Update: While we did see some websites that referred to this person as "Hukel" (such as the link we provided above), we now see that he is actually Clément Hurel. We've located a small selection of his work here, and he even has a French Wikipedia page that tells us he was born in 1927 and died in 2008 after a career designing scores of movie posters. Once again, this highlights a problem with the internet—i.e., nobody knows what the hell they're actually talking about. You'd think Carter's Price Guide to Antiques (where we got the "Hukel" info) would have their shit straight, but we guess that's too much to expect in this day and age. The lesson? Check, double-check, triple-check, and don't assume that someone with a fancy title is automatically more informed than you. After all the errors we've found online, we really should know better than to fall into that trap. Anyway, we now know who Clément Hurel is, and we'll have more art from him soon.
These Yakuza never learn.
Above is a nice panel length poster for 1972’s Sukeban berûsu: mesubachi no chosen, aka Girl Boss Blues: Queen Bee’s Challenge, the second entry in the Girl Boss series made by Toei Studios in the early 1970s. This one stars Reiko Ike (before the tattoo), along with Chiyoko Kazama, and Miki Sugimoto in an appearance just lengthy enough for her to get a couple of bottles of cola sprayed up her ya-ya. If you can wrest your eyes from the constantly recurring tableaux of perfect skin, there is a plot, and it involves a pair of girl gangsters/bitter rivals captured by a yakuza boss and subjected to various sadistic tortures (including that old Japanese favorite—rope bondage, aka kinbaku-bi). Of course, the abuse in these films is inevitably followed by much deserved revenge against the evil males, up close and bloody. But it isn’t all violence and vengeance. There are some effective moments of comedy, and of course, the film is beautifully shot. All-in-all, Sukeban berûsu: mesubachi no chosen is a must-see for pinku fans. You’ll learn exactly how effective a handful of soap foam can be for covering a woman’s bush.
The headlines that mattered yesteryear.
1947—Prussia Ceases To Exist
The centuries-old state of Prussia, which had been a great European power under the reign of Frederick the Great during the 1800s, and a major influence on German culture, ceases to exist when it is dissolved by the post-WWII Allied Control Council comprised of the United States, the United Kingdom, and the Soviet Union.
1964—Clay Beats Liston
Heavyweight boxer Cassius Clay, aged 22, becomes champion of the world after beating Sonny Liston, aka the Dark Destroyer, in one of the biggest upsets in boxing history. It would be the beginning of a storied and controversial career for Clay, who would announce to the world shortly after the fight that he had changed his name to Muhammad Ali.
1920—The Nazi Party Is Founded
The small German Workers' Party, or DAP, which was under the direction of Adolf Hitler, changes its name to the National Socialist German Workers' Party. Though Hitler adopted the socialist label to attract working class Germans, his party in fact embraced mainly anti-socialist ideas. The group became known in English as the Nazi Party, and within the next fifteen years expanded to become the most powerful force in German politics.
1942—Battle of Los Angeles Takes Place
A object flying over wartime Los Angeles triggers a massive anti-aircraft barrage
, ultimately killing 3 civilians. Initially the target of the aerial barrage is thought to be an attacking force from Japan, but it is later suggested to be imaginary and a case of "war nerves", a lost weather balloon, a blimp, a Japanese fire balloon, or even an extraterrestrial craft. The true nature of the object or objects remains unknown to this day, but the event is known as the Battle of Los Angeles.
1945—Flag Raised on Iwo Jima
Four days after landing on the Japanese-held island of Iwo Jima, American soldiers of the 28th Regiment, 5th Marine Division take Mount Suribachi and raise an American flag. A photograph of the moment shot by Joe Rosenthal becomes one of the most famous images of WWII, and wins him the Pulitzer Prize later that year.
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