Just stay over there a minute. I want you to get the full effect of this awesome pose.
In Evan Hunter's 1954 novel Don't Crowd Me an NYC advertising copywriter seeks tranquility in the lake region but instead finds himself encountering two sisters with very different temperaments who both seem to find him irresistible. Then, of course, there's a murder to spoil everything, and it looks like he's the only one who can solve it. The plot may sound improbable, but Hunter, born Salvatore Albert Lombino, was better known by his pseudonym Ed McBain, which means you would expect this to be decently written. And in fact you would be correct. The cover art, which is great, was painted by Walter Popp.
Secondhand smoke is the least of his problems.
Above is another entry from Éditions le Condor’s collection Môme Double-Shot, Pas de salade, j’en vends!, appearing in 1953, with badass heroine Hope Travers showing how useful a lit cigarette can be. The cover art is by Jean Salvetti, and you can see other covers of his from this series here, here, and here.
Hitchcock's epic thriller shows his directorial gifts but misses the mark.
This Italian poster for Io ti salverò, aka Spellbound is wonderful. The movie, directed by Alfred Hitchcock, isn't. The central plot device involves a man who may have blacked out committing a murder. That's a good place for a thriller to start, but the actual psychiatric science is approached clumsily, the love story is overwrought, and the orchestral musical score is omnipresent and overbearing. You have to wonder if composer Miklós Rozsa actually watched the film, because while Spellbound is big, his music is positively galactic. A re-edit with 60% of his output removed would make this one a much smoother ride. It's always a danger to criticize a classic film, we know, but not all classics are created equal. This one lives on Hitchcock's reputation, the overall technical execution, and a groundbreaking dream sequence designed by renowned artist Salvador Dalí. At the end of the dream a faceless man drops a wheel. Maybe it was a steering wheel, because despite all the money and star power poured into Spellbound, somehow it went down a middling road. It premiered in 1945 and reached Italy as Io ti salverò today in 1947.
She’s one red hot môme.
We’ve shared several examples from Éditions le Condor’s collection Môme Double-Shot, which as we’ve discussed was written by George Maxwell, aka Georges Esposito, and deals with the adventures of gun-toting heroine Hope Travers. Today we thought we’d share two more. Above you see covers for La belle se joue à deux and J’peux pas l'encadrer, both with art by Jean Salvetti, aka Salva. We love these. Besides the art being so striking, there’s a lot of charm added by the haphazard freehand lettering. If you want to see more from this series, just dig around our site. They’re in here somewhere.
Mussolini’s watergoing love nest pops up in criminal proceeding.
You’ve won a colonial war of choice by shattering a non-violent Ethiopia as world powers such as Britain and France stood by and watched. You’ve rammed through privatizations, laws favoring the wealthy, and made unions virtually illegal. And you’ve got an ultra-nationalist, militarized police force to help you crush social unrest. What does a satisfied dictator do to unwind? Clearly, he takes his yacht out for a spin on the Tyrrhenian Sea. Italian strongman Benito Mussolini used that yacht—the Fiamma Nera or “Black Fire”—for aquatic romps with his hot mistress Clara Petacci, but scuttled the boat in 1943 after Italy’s World War II fortunes turned for the worse. The boat was raised and had several owners over the decades, but is in the news today because it was part of €28 million worth of assets seized from alleged organized crime figure Salvatore Squillante.
Squillante was thought to be just another high flying one-percenter until his dealings with a Rome-based mafia network run by neo-fascists emerged as part of a legal investigation. He already had been convicted of filing a fraudulent bankruptcy in 1993, and the new information suggests he may be tied to systematic corruption in Rome involving politicians and businessmen who teamed with mobsters to scrape profits off the top of public contracts. Squillante is also connected via property dealings to convicted murderer Salvatore Buzzi, who as part of the aforementioned investigation was caught on tape telling criminal associates that schemes taking advantage of desperate Middle Eastern and African migrants were more profitable than the drug trade. The implications of that statement are truly frightening considering the drug trade is so profitable that some of the biggest banks in the world are connected to it.
But as interesting as Squillante and Buzzi are (who, by the way, have a long way to go before they hold a candle to slippery Silvio Berlusconi, whose antics we detailed here, here, and here), it’s the bit about Mussolini’s love boat that’s most fascinating. We suspect it was totemic for its various owners, who all certainly knew Il Duce was a sex maniac who trysted with hundreds or thousands of women—at sea and land—during his time in power. Fiamma Nera is destined to increase even more in value now that people outside Italy are aware of its existence. Will we be subjected to the spectacle of some hedge fund manager buying it for a fortune? Some software princeling or fat oligarch? After all, it's been bought numerous times before. But by virtue of its seizure it's now owned by the state for perhaps the first time, which means there's an alternativeto selling it—make it a floating monument dedicated to the crimes and hubris of Il Duce and the evil of fascism. Or destroy the thing completely and eternally.
Big trouble in little Chinatown.
Du Sang dans le Champagne translates in English to Blood in the Champagne, and that's always something to avoid. This paperback dates from 1953 and is part of Éditions le Condor’s collection La Môme “Double Shot,” a series you shoud be getting to know pretty well, since we've recently shown you two other examples. George Maxwell wrote twenty-two books in this franchise in two years, which is simply amazing output, quality notwithstanding. In this one murder and mystery takes the hero Hope Travers to L.A.’s Chinatown, where she goes up against a shadowy organized crime sect. The cover art is by Salva, aka Jean Salvetti, as usual. See the other Double Shot covers by clicking the keywords Éditions le Condor just below.
The shape of bad things to come.
Above and below are assorted covers featuring yet another fun mid-century paperback art motif—the looming or threatening shadow. The covers are by the usual suspects—Rader, Phillips, Gross, Caroselli, Nik, as well as by artists whose work you see less often, such as Tony Carter’s brilliant cover for And Turned to Clay. That's actually a dust jacket, rather than a paperback front, but we couldn't leave it out. You’ll also notice French publishers really liked this theme. We’ll doubtless come across more, and as we do we’ll add to the collection. This is true of all our cover collections. For instance, our post featuring the Eiffel Tower has grown from fifteen to twenty-two examples, and our group of fronts with syringes has swelled from thirteen to twenty-six images. We have
twenty-four twenty-six—see what we mean?—more shadow covers below, and thanks to all original uploaders.
The deadliest shot in Tinseltown.
Above, the cover of Calibre 45… et culottes de soie, by George Maxwell for Éditions le Condor’s collection La Môme Double Shot. The English title of this would be something like “Calibre .45 and silk panties,” and if you’re thinking only a Frenchman could come up with something like that you’d be right, because Maxwell was, of course, a pseudonym. It was inhabited by numerous writers, but in this case was used by Georges Esposito to pen a story set in Hollywood and starring the character Hope Travers, whose skill with a sidearm makes her someone not to be trifled with—hence “Kid Double Shot.” There were twenty-two books in the series. The cover art on this one and most of the others is by Salva, aka Jean Salvetti, who we’ll have more from later. The book appeared in 1953
Uncensored takes readers from New York City to Spain to Havana in search of dirt.
Uncensored returns to Pulp Intl. for the first time in over a year with an issue published this month in 1955. The story of Ava Gardner and Frank Sinatra’s tumultuous relationship (and the Spanish bullfighter who helped ruin it) has been covered numerous times, so no need to get into it again just now, but the photos are certainly worth a look. Uncensored shares other nice images as well. There’s Eartha Kitt (described as not much to look at “unlike such Negro beauties as Dorothy Dandridge and Lena Horne”), Sarita Montiel (who in Mexico was allegedly on the receiving end of a horsewhipping by Miguel Aleman’s jealous wife), and Marlene Dietrich (seen both onstage performing and offstage fulfilling a G.I.’s request for a kiss). The latter photo, from 1945, appeared in Life and many other magazines and remains one of the most famous Dietrich images. So Hollywood starlets take note: if you want millions of dollars in free publicity, no need to get arrested or leak nude photos—just kiss a fan.
Uncensored readers also meet Father Divine, (who we wrote about here), his alleged rival Prophet Jones, get a glimpse of nightlife in the so-called Bohemia of NYC’s Greenwich Village, and are introduced to “The World’s Hottest Hot Spot,” Havana, Cuba. Readers see photos of an actual drug deal taking place on some backstreet and learn that the city is “Babylonian bedlam,” where “one can buy marijuana, cocaine, forbidden wormwood liquor, illegal bon bons, or just oblivion.” There’s a photo of a woman outside a revolving repository at Havana’s Orfanato Beneficia (Beneficia Orphanage) where mothers could leave their unwanted babies as easily as mailing a postcard. The caption on the photo? “Despite its bawdiness, Havana has a heart.” A baby depository? Is it any wonder there was a revolution? Twenty-four scans below for your enjoyment. |
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