Confidential climbs the stairs and creeps down the bedroom hall.
This January 1958 issue of Confidential, with Anita Ekberg and Gary Cooper starring on the cover, was released in the magazine’s prime, during the heyday of its special brand of slash and burn journalism. You can really see why Hollywood focused its efforts on neutralizing the publication—celebs and important figures get knocked down like ducks in a shooting gallery. Examples: Tita Purdom is caught cheating by her husband, Kim Novak got into movies with the help of a sugar daddy, Lili St. Cyr tried suicide twice and both times was saved by her husband Paul Valentine, and millionaire Bobby Goelet is dropped from the Social Register for dating a non-white woman. We'd like to get into each of those stories, but while we do have time to read them all, sadly we don't have time to write about them all.
Because we have to pick and choose, we're limiting ourselves today to Confidential's domestic violence stories. This was a regular focus of the magazine, and a very good example of just how untouchablepublisher Robert Harrison thought he was. First up is Rita Hayworth, who allegedly walked out on husband Dick Haymes because he beat her. Here's scribe Alfred Garvey: “Haymes' favorite form of assault was to grab Rita by her world-famed tresses and slam her head against a wall until her sense reeled. And the brutal beatings were part and parcel of their schedule wherever they went.” We should note here that Confidential was in no way a defender of women—the magazine published anything that made a celebrity look bad. It didn't publish this story to expose Haymes, but to expose Hayworth. She's the star—the reader must be left asking what's wrong with her.
For evidence consider the story that appears a bit later in which Confidential accuses actor Jack Palance of beating women. “You can't win all your fights, though, even with dames. One talked, and squawked, after a bruising evening with the ungentlemanly Jack and the result has been a tide of whispers [snip] literally a blow-by-blow report of how he conducted at least one romance.” The text goes on to describe theassault in first-hand detail, but even though the writer seems to know every word spoken in that closed room, he never names the victim. This is not because Confidential cares about protecting her identity—if editors can name Hayworth they certainly can name a random aspiring actress—but because she doesn't matter. Her identity would distract the reader.
The point to absorb is merely that Confidential had no compass, no aim at all except to generate terrible publicity for the famous. Some may have deserved it, but moral justice was never the goal. If the two previous stories weren't enough, Confidential hits the trifecta with yet another domestic violence story about Bob Calhoun and big band singer Ginny Simms. In this one Calhoun gets a co-starring role—he was rich, thus worthy of mention. “Grabbing his shrieking bride by her pretty unmentionables, Calhoun yanked her off their nuptial bed and, in the same swift movement, uncorked a right that spun Ginny across the room like a rag doll.”
As far as we know nobody mentioned in any these stories sued. Confidential was impervious—at least for the moment. Celebrities just hunkered down and hoped the stories would fade. But Confidential'scirculation kept growing. Soon it would be one of the most widely read magazines in America, the indisputable king of tabloids. Hmm… king of tabloids has a nice ring to it. We’re going to use that—Pulp Intl. is the king of tabloid websites. You can work your way through more than three-hundred individual tabloid entries here.
Liberace experiences tabloid wrath at its most merciless.
It was in this July 1957 issue of Confidential that journalist “Horton Streete’ infamously outed cover star Liberace in the most vicious and dehumanizing way with an article entitled “Why Liberace’s Theme Song Should Be ‘Mad About the Boy’.” We’ve talked about it before. Streete willfully attempted to damage the singer’s career by spinning a shocking tale of how he attacked a young, male press agent. The article refers to Liberace as Fatso, Pudgy, Dimples, and other, less flattering monikers.
Here’s a rule you can count on—when a journalist or on-air personality constantly refers to someone by other than his or her name or title, it’s a hit piece. Liberace was horrified and sued Confidential. California Attorney General Pat Brown had already managed to win an indictment of the magazine two months earlier. Owner Robert Harrison was about to spend his entire summer in court. He took these legal threats to heart and publicly promised to stop publishing stories about the private lives of Hollywood stars.
Up until then Confidential had been as reckless as a magazine could be. This issue accuses Gary Crosby of punching a woman in the face, and Eartha Kitt of trapping her friend’s boyfriend in her penthouse. An extraordinary story about boxer Jake LaMotta suggests the he got a bumrap in his morals trial. LaMotta was serving time for bedding a 14-year-old. Prosecutors had convinced a jury that the incident with LaMotta was a primary cause of the girl later becoming a prostitute. Confidential rides to the rescue, claiming that the girl’s father had already deflowered her, therefore LaMotta could not have had any influence on the girl’s fate. How’s that for a principled stand?
These early issues of Confidential are a cesspool of journalistic ethics, no doubt, but they’re also a visual treat. Using black, red, blue, and yellow, plus the white of the pages themselves, the designers put together a bold and gaudy package that would influence every other tabloid on the market. The layouts on Kitt, Liberace, Alan Dale, and Lex Barker are among the most eye-catching we’ve seen from the period. Elsewhere you get Anthony Quinn, and a host of other stars. We have a bunch of scans below. Remember, you can always see more from Confidential and other tabs by visiting our tabloid index at this link.
Confidential dishes dirt but tries not to cross the line.
Confidential gives Kim Novak the cover and Lili St Cyr the inset on an issue published this month in 1965. Inside, the editors offer readers mostly lukewarm rehash, as was Confidential’s usual approach during its fangless mid-1960’s years, but there are also a few interesting tidbits. We learn that Lili St. Cyr took more than thirty Nembutals during her 1958 suicide attempt, yet still managed to survive though as few as three pills can be fatal. Ramfis Trujillo’s wild Parisian parties are detailed, including the time he and his entourage shot up the lobby of the Hotel George V. And we find out that Frank Sinatra paid a $400 fine in Spain for disturbing the peace when he blew up after a woman threw a drink on him.
But make no mistake—the once mighty Confidential was walking on eggshells after being on the wrong end of some costly lawsuits. Maverick owner Robert Harrison had sold the magazine to Hy Steirman, who realized the easiest way to avoid litigation was to take on targets that either wouldn’t fight back or couldn’t be bothered to care. Ramfis Trujillo, for example, was a mass-murderer and likely found articles about his crazed partying flattering. Thailand’s dictator Sarit Thanarat is also slammed in this issue, and you can bet he gave less than a shit about the write-up—if he was even aware of it. Editors sling mud at Marilyn Monroe, who was dead. Amorphous group targets, like the “limp wrist set,” the Mafia, real estate swindlers, and escaped Nazis make up the rest of the subject matter.
But even if Confidential wasn’t kicking ass and taking names in 1965, its visuals were still quite nice, with those impactful black, white and red graphics, and that super hip language that’s so much of its time but which is still amazing to read today. Try this on for size: “Call the men in the white coats and get the whacky wagon rolling, your favorite swinging correspondent is ready for Flipsville!” We’re always ready for Flipsville, and we’re always ready for mid-century tabloids, too. How many of these do we have left in our collection? You wouldn’t believe us if we told you. We’d sell some, but how could we possibly part with them? We’re stuck with them. And so are you. Twenty-plus scans below.
Liberace is finally forced to take up arms against the tabloids.
A long while ago we shared the cover of a 1956 Whisper featuring George Sanders. The same issue had an article on Liberace, and we’re returning to that today as part of our look at mid-century tabloid attitudes toward gay culture. In general of course, the tabloids were brutally insulting, using overt as well as coded language to get intimations of homosexuality across. Theoretically, when dealing with public figures they had to be somewhat cautious, but both Rave and Inside had in 1954 written stories insinuating that Liberace was gay, and in 1955 Suppressed and Private Lives did the same. In Whisper, a journalist writing under the name Sylvia Tremaine refers to Liberace as a “creature,” labels his speech as “simpering,” and describes his move to television this way: “From there it was just a brief flutter to a local TV program.”
You’ll notice there’s deniability in all those words—Whisper could claim there was nothing defamatory in the language. Ridiculous, of course. Clearly the magazine was calling Liberace gay, and only a fool would claim otherwise, but defamation had not occurred to an extent that would stand up in court. Thus we see the joy of coded language. The same occurs in the U.S. today in certain media outlets with language directed at African Americans. The disparagement is clear, but deniable. Or for a cinematic example of coding, consider the Maltese Falcon and how the character of Joel Cairo is announced by flute trills on the soundtrack. Clear, and yet deniable. But in its Liberace article Whisper then throws deniability out the window with this: “Hollywood snickerers are wondering, in fact, if all the male hormones earmarked for the Liberace boys weren’t hogged by George, leaving Lee with only his nimble fingers.” That goes a bit beyond code, wouldn’t you say?
Liberace did not sue, and the tabloids simply built momentum. Later in 1956 Britain’s Daily Mirror called him a “deadly, winking, sniggering, snuggling, chromium-plated, scent-impregnated, luminous, quivering, giggling, fruit-flavoured, mincing, ice-covered heap of mother love.” Robert Harrison’s Confidential piled on in 1957. It published a three-part tale of Liberace attacking a hapless press agent. A sample from that hit piece: “Fatso plumped onto the couch alongside his young guest, and before you could say Gorgeous George, the pair were [wrestling]. In a matter of moments, it turned into a boxing bout, too, with the press agent throwing desperate lefts and rights at Liberace. The latter, his determination stiffening, merely clung tighter. The floor show reached its climax when Dimples, by sheer weight, pinned his victim’s shoulders to the mat and mewed into his face: 'Gee, you’re cute when you’re mad!'”
Liberace’s lawyer John Jacobs filed lawsuits against both Daily Mirror and Confidential, demanding a whopping twenty million dollars from the latter. Adjusted for inflation, that's about $174 million in today's terms. You can almost imagine Robert Harrison spitting up his coffee when he heard the settlement demand. Equally you can imagine Liberace’s reluctance to dignify the article, but Confidential at the time had readership in the millions. Something had to be done. It had become open season on his private life. Even the press photo below toyed with him. Thedescriptive text, written for newspaper staff, is meant to simply get across the basic facts of the photos and is typically pretty dry stuff. But this describes Liberace as "the curly-haired pianist" and says his walk is "jaunty." Clear, but deniable.
In the end, Liberace received $40,000 from Confidential and $53,000 from the Daily Mirror, substantial sums for the time. In addition to his legal victories, the constraints against tabloid journalism were becoming more defined. Of course, Liberace had won the cases by perjuring himself in court about being gay. In 1987 when he died of complications related to AIDS, Daily Mirror refused to show an iota of deference or respect and published a piece referring to the 1950s settlement. It was headlined: Any Chance of a Refund?
Who’s that knocking at my door?
This issue of Confidential from this month in 1955 was one of the magazine’s high points (or low points, depending on your perspective). In this issue the world learned about the infamous Wrong Door Raid in which a group of men that included Joe DiMaggio and Frank Sinatra broke down an apartment door in West Hollywood in an attempt to catch DiMaggio’s ex-wife Marilyn Monroe in bed with another man. We’ll let Confidential describe the delicious scene:
The human battering ram backed up and struck again—four or five times in all—before the hinges gave, the door toppled with a terrible crash, and his momentum carried him sailing inside. The rest of the amateur raiders tumbled right after him. A faint light coming from the window told the private eye they were in a bedroom. Any further confirmation he needed was coming from the bed in the form of shrill screams. The investigator had a camera slung around his neck and—without waiting for the lights to be turned on—he blasted away with his flash bulbs.
At some point, DiMaggio and Co. realized that it wasn’t Monroe in the bed and that they had invaded the wrong apartment. Cue panicked retreat, overturned furniture, broken glass, the works. The story is well known today and you can read full accounts on various websites, butwe thought we’d share this cover anyway because we love the photo Confidential chose for Monroe, and the entire episode is a reminder of how bland modern day celebrity scandals really are.
Confidential basked in the glow of its exposé, but events turned sour rather quickly. Even though DiMaggio, Sinatra and the rest were the ones who had broken the law (or several laws), and Confidential had merely reported the truth, Hollywood was fed up. The stars and studios mounted a concerted push in the state legislature, which resulted in indictments against the magazine. With the constant threat of lawsuits hanging over Confidential like a cloud, publisher Robert Harrison made a deal to refrain from writing about stars’ private lives. One of his biggest scoops had helped lead to his magazine’s de-fanging.
Whisper shows it’s still happy to wallow in the muck.
Hy Steirman’s Whisper magazine is generally considered to be less racy than when it was owned by Robert Harrison, but this issue from January 1959 shows a little of the old spark. It slams Elizabeth Taylor for stealing Eddie Fisher from Debbie Reynolds, with staff scribe Orson C. Green spewing forth this venom: But then Liz made clear to the whole world that beneath that lovely exterior there beats a heart of purest gall. She repaid the infinite kindness of her two friends by breaking up their marriage. Green goes on to describe Taylor trying to soak down New York’s PlazaHotel for two weeks of room charges, and then, when asked to pay, phoning up Montgomery Clift and getting him to help her trash the room. The article concludes: In short, Miss Taylor and friend Clift repaid [the Plaza] for its hospitality by deliberately making a mess for some forlorn chambermaid to clean up. Ingrate!
Whisper also takes on ex-King Farouk I of Egypt—who was a favorite tabloid target of the time—describing him as “Fatso Farouk”, “the roly-poly playboy of the Nile”, “the balding balloon boy” and worse. Readers are told that he was at Maxim’s in Paris one night and saw Coccinelle do a song accompanied by a striptease that left her in only a beaded g-string. Farouk, who was famously amorous, was so smitten that he sent his card and a bouquet of flowers backstage. Coccinelle came to say thanks, and when asked by Farouk agreed to go to dinner. Moments after she left thetable one of the ex-king’s aide’s hastily scurried over and explained that Coccinelle had once been a man. Allegedly, Farouk flipped. Whisper describes overturned tables, broken bottles, the works. Readers are told: The whole Riviera rocked with laughter. The bulging butt of the joke fled to Rome.
Whisper goes on to discuss sperm banks, state prisons, Vladimir Lenin, Josip Tito, and “white” slavery, but probably our favorite story is the one headlined: Do Ex-Prostitutes Make the Best Wives? A pertinent question. And whom did they get to write the answer? The byline says: by an Ex-Prostitute. We just love that. As far as whether Whisper gets any of its facts straight, we can’t really offer a guess, but this issue proves that even ten months after the sale from Harrison to Steirman, it hadn’t quite lost its spark. Things apparently went downhill pretty fast in the next few years, but we’ll judge that for ourselves as we examine more issues. Visit our entire Whisper collection by clicking its keyword at bottom.
The headlines that mattered yesteryear.
1942—Ted Williams Enlists
Baseball player Ted Williams of the Boston Red Sox enlists in the United States Marine Corps, where he undergoes flight training and eventually serves as a flight instructor in Pensacola, Florida. The years he lost to World War II (and later another year to the Korean War) considerably diminished his career baseball statistics, but even so, he is indisputably one of greatest players in the history of the sport.
1924—Leopold and Loeb Murder Bobby Franks
Two wealthy University of Chicago students named Richard Loeb and Nathan Leopold, Jr. murder 14-year-old Bobby Franks, motivated by no other reason than to prove their intellectual superiority by committing a perfect crime. But the duo are caught and sentenced to life in prison. Their crime becomes known as a "thrill killing", and their story later inspires various works of art, including the 1929 play Rope by Patrick Hamilton, and Alfred Hitchcock's 1948 film of the same name.
1916—Rockwell's First Post Cover Appears
The Saturday Evening Post publishes Norman Rockwell's painting "Boy with Baby Carriage", marking the first time his work appears on the cover of that magazine. Rockwell would go to paint many covers for the Post, becoming indelibly linked with the publication. During his long career Rockwell would eventually paint more than four thousand pieces, the vast majority of which are not on public display due to private ownership and destruction by fire.
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