|Vintage Pulp||May 29 2016|
Below, a cover and interior scans from the mid-century burlesque magazine Cancans de Paris, with Sophia Loren, Martine Beswick, Laya Raki, and Senta Berger, who the magazine mistakenly calls Santa. Well, ho ho ho—if you want to be even more naughty this Sunday click the links for the other two Cancans de Paris we posted here and here.
|Vintage Pulp||Mar 10 2016|
|Femmes Fatales||Dec 12 2015|
|Hollywoodland||Sep 15 2015|
On the Q.T. labeled itself “The class magazine in its field.” In practice that was less than true. This cover from September 1962 offers teasers about Liz Taylor’s inability to be made happy, the fatal ring beating of boxer Kid Paret, and the inside story about Ivy Nicholson’s suicide attempt. But the banner goes to the nude countess who shocked America. That would be Christina Paolozzi, aka Christina Bellin, who was a New York City fashion model and the offspring of United Fruit Company heiress Alicia Spaulding and Italian conte Lorenzo Paolozzi. The photo was shot by Richard Avedon and appeared in Harper’s Bazaar. Paolozzi was already considered “the first of the ’60s free spirits” by the tabloids, and by stripping for Avedon she became the first recognized fashion model to pose nude, a practice that is now common.
While Avedon earned widespread recognition for the shot, which you see at right, Paolozzi was dropped from the New York City Social Register, shunned by Manhattan’s upper crust, and subjected in the press to what is today sometimes called “body shaming.” Columnist Inez Robb wrote that Paolozzi was “no more favored by nature than the average daughter of Eve,” and added for good measure, “Harper’s Bazaar, with its excursion into overexposure, has unwittingly proved that not diamonds but clothes are a girl’s best friend.” If that wasn’t bad enough, just imagine what people wrote in the comments section. They had those then, right?
In any case, Paolozzi was a bold personality, and she went on to make waves yet again with her many wild parties and open marriage to cosmetic surgeon Howard Bellin, commenting in a mid-1970s newspaper article, “[It’s] just the way life is today—one man is simply not enough.” But she didn’t just spend the years having a good time. She also raised money for hospitals in Cambodia and Gabon, orphanages in Afghanistan, and supported eighteen foster children. In a sense, she gave the shirt off her back. Twenty-eight scans from On the Q.T. below.
|Sex Files||Feb 27 2015|
This issue of the Swedish magazine FIB Aktuellt appeared today in 1973 and its cover star, Sophia Loren, is exposed inside in exklusivt! photos from her 1951 campfest Era lui... sì! sì, aka It’s Him!... Yes! Yes! You probably know the story by now. Loren described the decision that led to her toplessness this way: “The scene involved several girls like myself in harem costume and, for the Italian version it was all right to wear clothes. The director asked that we do one take topless for the French version. I did not want to, but I was hungry. The other girls obliged him and, after a moment’s hesitation, I did too.” Loren said later that in general she couldn’t bear to be naked. “I’m not exactly a tiny woman. When Sophia Loren is naked, this is a lot of nakedness.”
It’s interesting that the photos are labeled exclusive by FIB Aktuellt, considering images from Era lui... sì! sì! had been floating around for years. We shared a page from the low rent Goodtime Weekly Calendar of 1963 featuring the same topless shot you see above. But we suppose in the days before the global internet the images were a scoop each time a new magazine acquired them. Playboy made a big deal of printing them in 1966. Loren’s nudity remained mildly controversial for decades due to her superstar status, but time marches on, and in 2011 she appeared on prime time television on Italy’s RAI 1 with a humungous topless still from Era lui... si! sì! in the background. That’s progress.
|Vintage Pulp||Dec 20 2014|
Most 1970s tabloids espouse the idea of easy sexual availability of women for men, but Midnight, more than others, made that its reason for existence. You’ve seen the covers here before—a wild and willing Nobu McCarthy, the girl that seduces an entire town, mail-order love slaves, et al. In this issue published today in 1965, cover star Raquel Welch tells readers she thinks married men should be free to roam. She explains: “Most adulterous men get that way because their wives don’t know how—or simply don’t give a damn—on satisfying them emotionally. Adultery serves to get rid of tensions and restore a man’s faith in his desirability.” Music to Midnight’s male readers’ ears, we’re sure, but did Welch ever say that? The article sounds more like a bad high school essay than an interview. It even ends with this bit: “That’s why I claim that adultery can very easily save a marriage!” Which is more like the summation after a debate rebuttal than anything from a real interview. It’s like—“Tah dah! Thank you. Thank you very much.” So we’re thinking this all came from the typewriter of a really bad Midnight assistant editor. But we love the cover.
|Vintage Pulp||Nov 5 2014|
If you’re thinking this West German poster for Sophia Loren’s 1954 drama Die Frau vom Fluss, aka La donna del fiume, aka The River Girl looks a bit like this promo for Riso Amaro, you're right—and the actual films are quite similar too. During the 1950s Italian filmmakers produced at least a few movies with identical blueprints—i.e. improbably hot peasant girls performing hard labor somewhere in the Po Valley while wearing bodyhugging clothing. Generally, the girls dream of better circumstances but possess little means to achieve such an end—until into their lives tumble dudes with big plans.
Sounds like light fare, but sultry summer settings and sexy attire notwithstanding, these were serious films—usually tragedies. Where the staple food in Riso Amaro (and Elsa Martinelli’s 1956 drama La risaia) was rice, here it’s eels. Loren works in an eel cannery by day, dances a mean mambo during her spare hours and, like Silvana Mangano in Riso Amaro, finds herself torn between a decent bore and a thrilling criminal. The choice she makes opens up a whole different can of eels and she spends the rest of the film having to manage the consequences. That’s about all we’ll say, except that we watched the flick last night and more or less enjoyed it. As for Loren, she’s 100% more and 0% less, a big personality whose stardom was a matter of destiny. The movie is worth seeing just because of her.
|Vintage Pulp||Oct 31 2014|
On the opposite end of the tabloid spectrum from yesterday’s Top Secret, we have an issue of National Informer Reader published today in 1971. You may remember our previous entries on National Informer Weekly Reader. What you see above is simply the earlier, monthly iteration of the same rag. You wanna be scared on Halloween? Just peel back the cover on this baby.
We have a few scans below, about fifteen issues of National Informer and National Informer Weekly Reader we’ve already shared (we’ll get you started in the archives here, here, here, and here), and we have nine more issues we hope to get through eventually. If that prospect doesn’t scare you nothing will.
|Vintage Pulp||Sep 18 2013|
|Vintage Pulp||Apr 6 2013|
Below are the covers of some promotional brochures made by Illustrierte Film-Bühne for movies released in West Germany during the 1950s and 1960s. The examples here, some of which have killer designs, feature Elizabeth Taylor, Marisa Mell, Cary Grant, Virna Lisi, Sophia Loren, Doris Day, Tony Curtis, et.al. IFB was founded in 1946 in Munich by Paul Franke, and over the years produced thousands of these pamphlets. We’ll share more later.