This is going to hurt you considerably more than it's going to hurt me.
Some years ago one of us bought a bullwhip. The opportunity was there to acquire a twelve foot version and be taught to use it by someone who made his living by wielding them at medieval fairs, so we leapt at the chance. As you may know, the crack comes from part of the whip breaking the sound barrier. It seemed like a cool idea to sew a piece of piano wire onto the end, which made the whip capable of gouging chunks out of trees. Generally, it only worked for five or six strikes before the wire tore loose from the tip, but it seemed like good, clean, twenty-something stupid-fun.
Whip Hand reminded us that bullwhips are no joking matter. Preferred instrument of torture for slave owners of the American south, they become central to the narrative of W. Franklin Sanders', aka Charles Willeford's Texas-based thriller when a character has his face flayed to pieces by an angry whip master. It's a brutal and bloody sequence in an uncompromising book constructed around a multi-p.o.v. first person narrative, each participant telling their own part, with not all of them managing to survive until the end.
The thrust of the story involves a kidnapping-turned-murder, a theft of the ransom money, and a chase to recover the stolen cash. The whip is never used by any of the female characters as suggested by the cover, but when it comes to paperbacks from the mid-century period you have to expect a bit of hyperbole. In this case the art is by the always brilliant Bob Abbett. Even without whip wielding femmes fatales, overall we liked Whip Hand. It's often barely realistic and isn't brilliantly written, but it's the type of tale that will get your attention and keep it. You can see some more whip themed paperback covers here.
Rule number 1: don't leave fingerprints. Rule number 2: if you have to wear gloves, make them fabulous gloves.
This promo photo shows U.S. actress Leigh Chapman, who after appearing in about fifteen films during the 1960s transitioned into a career as a screen writer. Probably her most significant screenplay is 1974's Dirty Mary Crazy Larry, which starred Peter Fonda and Susan George. She mainly wrote for television, penning six episodes of Wild Wild West, and episodes of Mod Squad and Walker, Texas Ranger. This shot of her dates from around 1965.
Uncensored turns its unique journalistic eye toward Anita Ekberg.
There's nothing quite like tabloid writing, a fact once again amply demonstrated by Uncensored. This issue is from June 1963, and check out this short paragraph from its feature on Anita Ekberg: “This is the Uncensored story of how Prince Philip bagged a rare and exotic Scandinavian pouter pigeon. Though its native habitat is Sweden, this double-breasted dove prefers the warmer climate of Italy. It also migrates as far from home as London and Hollywood.”
Double-breasted dove? They don't write like that anymore, and a good thing too. It's sexist, of course, but the tabs were generally belittling of both females and males—though in different ways. Women were derided for dating around, such as when Uncensored refers to Ekberg as “Sexberg,” whereas men were usually disparaged for not being manly enough. That typically involved either being rebuffed by women, not scoring with enough women, or sexually preferring men. You see this in the story on Marcello Mastroianni, who's called “lazy” for passing on Brigitte Bardot. And you see it in the story on the United Nations, which is referred to as the “U.N. pansy patch.”
From the perspective of 2017, the heteronormative insecurity is pretty obvious. Men are to be prowling wolves, and any failure to live up to the ideal prompts insults; women are to be readily available for action, but not to other men. The story on Ekberg treads the line of admiring her beauty, but being suspicious about the freeness of her affections. There's a photo of her dancing with a black G.I. in Rome, and while the caption is neutral, in the context of the story the meaning of the shot is clear: “Ekberg will even dance with a black man!”
We love the photo. Ekberg looks a bit baffled, as if the soldier is telling her, “We'd be in mortal danger for doing this in most of the United States, you know,” and Ekberg is saying, “What the hell are you talking about?” The photo also shows how tall Ekberg was, almost 5' 7”, probably 5' 10” in heels, which is towering for an actress who needed to star alongside all those mid-sized leading men. We think this is the first time this image has appeared online.
Other elements worth noting in this issue include French actress and Pulp Intl. femme fatale Dominque Boschero as a mermaid, Marlene Dietrich looking dapper in a tux, Jayne Mansfield and one of her famed toy poodles, and burlesque queen Blaze Starr sudsy in a bathtub. There are plenty of other great shots too, and you can see them all below in nearly forty scans. Uncensored will return.
Jealous murder strikes a John Wayne movie set.
This Master Detective published today in 1960 has a nice cover by Al Drule, and inside the issue are several interesting stories, but the one we're looking at today is “The Crime that Wasn't in the Script,” about a murder that took place during the filming of John Wayne's western The Alamo. The story is kind of forgotten, but basically, an actress named LaJean Etheridge was killed by her boyfriend Chester Harvey Smith, who was angry that Etheridge had decided to move closer to the movie set in Brackettville, Texas. Such a killing is impossible to understand under any circumstances, but putting on your jealous madman cap for a second you can picture a possessive man losing it over his girlfriend moving thousands of miles away. Like if someone told you the story you'd nod and go, “Umm hmm,” because you could see it.
But Etheridge wasn't moving thousands of miles. She and Smith had both scored work as extras on The Alamo, had traveled from Hollywood together, and were living in Spofford, Texas with three other extras in lodgings set up by Wayne's Batjac Productions. Etheridge had decided to move from Spofford to Fort Clark, ten miles north, a relocation precipitated by her landing a larger part in the film. Was she simply moving closer to the set to facilitate the changed demands of her role? Or was she leaving her boyfriend? Still wearing your jealous madman cap, you can picture Smith believing the latter. Etheridge would be out of sight, living with unknowns, possibly having fun with production staff and carousing with handsome actors. But she never got the chance—as she was packing Smith stabbed her in the chest with a Bowie knife, and she died on the scene. He was arrested when police arrived fifteen minutes later, pled guilty to murder, and was sentenced to thirty years in prison.
The final assessment by Smith's lawyer was that the murder was a crime of “passion and professional jealousy.” As details emerged a clearer picture of Smith formed. He had once struck his ex-wife's roommate in the head with a hatchet, and earlier had tried to run her, her roommate, and their dates down with his car. His rage wasn't reserved only for ex-lovers. He also once attacked a bus driver. So Smith needed no excuses to hurt people. It's just what he did. But maybe this particular episode really was a so-called crime of passion. Rumors circulated during the trial that Etheridge had been seeing John Wayne, but he never testified nor was officially involved with the case in any way. And under the circumstances, it was probably inevitable that such rumors would spring up. Yet Etheridge had completed her part, and Wayne, according to several accounts, had asked her to stay on at Fort Clark. So there's no telling.
Etheridge's part in The Alamo was left on the cutting room floor. No surprise. The murder caused enough bad publicity as it was, so naturally there was no way she could have remained in the film. It wasn't until an extended version was released in 1993 that her role as Mrs. Guy was seen by movie fans. Though the story of the murder hasfaded somewhat, author John Hegenberger used the events as the backdrop for a 2017 crime novel called Stormfall. Chester Harvey Smith, John Wayne, and others are characters, and the star is Hegenberger's detective creation Stan Wade. The book opens with the murder, and Etheridge uttering her final words to Smith before she dies. What were the words? According to the statement Smith gave police, Etheridge said, mortally wounded and bleeding to death, “I love you.” You can take off your jealous madman cap now.
All bets are off when the Für starts flying.
4 für Texas opened in West Germany today in 1968 after premiering in the U.S. the previous December as 4 for Texas. This was a high powered production, starring Frank Sinatra, Dean Martin, Anita Ekberg, Ursula Andress, Charles Bronson, and incredibly, The Three Stooges. The movie was terribly reviewed when released, but it isn't as bad as all that. Sinatra and Martin vie for a fortune in stolen cash, and later for ownership of a profitable Galveston riverboat casino, but join forces to deal with Bronson, the villain. Ekberg and Andress are mainly interested in getting married. Critics of the time might not have been dazzled, but today, with Andress the only main member of the cast still living, 4 for Texas emits a strong aura of Rat Pack nostalgia. The poster art is by Rolf Goetze, a prolific illustrator who produced something like eight-hundred promos between 1958 and 1972, of which this one is surely among the best. See another example of his work here.
I think we should consider a separation. And I have just the body part in mind.
A gringo detective with an agency in Mexico City is hired to locate his crooked ex-partner, who has bailed with the agency's money, and now is causing trouble for the client. The PI takes the job, glad to be paid to track down his betrayer, and starts in the Mexican town of Rio Bravo where the partner immediately turns up dead. From there the hero delves into local corruption, crosses the border to Texas, uncovers a human trafficking ring, meets a cantina dancer named Arden Kennett, deals with a dangerous wife, watches murders pile up and the police begin to suspect him, and learns that knives can be thrown just as effectively as they can be brandished.
The book was published in the U.S. as an Ace Double in 1959 with Paul Rader art and bound with Charles Fritch's Negative of a Nude, but the rare edition above is from Aussie imprint Phantom Books and appeared in 1960. We can't identify the artist, which is an affliction we've been dealing with quite a bit of late. But don't blame us—as we've mentioned once or twice before, including just a few days ago, Phantom didn't credit art, possibly because much of it was copied from U.S. editions. Many of the covers do, however, look like the same hand, so hopefully someone will be able to ID the owner of that hand at some point in the future.
Yup. Done gave myself more’n a few painful burns over the years with this trick but I got it down pretty good now.
The cover art by Robert Bonfils makes The Passion Cache look like a western but it’s actually set in the present day, or at least 1968, which is when Don Bellmore, aka George H. White, wrote the book. It deals with two fraternity buddies who go looking for twenty-thousand dollars worth of Spanish gold in the mountains above El Paso, Texas. But this is sleaze fiction, not adventure fiction, so the quest for gold is really secondary to the main character Jud’s quest to do some prospecting between the thighs of his friend’s wife Viola, an Indian girl named Desert Rose, and an eager virgin/tomboy named Sally. He’s successful on all counts, multiple times. Does he eventually end up with the gold? No, but he ends up with Desert Rose, and that’s pretty much what these books are all about.
The rocker, the roller, the out of controller.
Mad Max premiered in Australia in April 1979 and made its way to Japan a few months later. Significantly, the U.S. premiere came after Japan—as well as Portugal, Italy, Holland, and Spain—and when it finally happened it was at The Motorcycle Film Festival in Seguin, Texas, several months before a wide U.S. release. The point is it’s amazing how careful the filmmakers were about releasing the movie in what was the world’s most lucrative film market. They weren't sure how American audiences would react to something so leftfield, but of course it did well enough there to become a series, and now a rebooted franchise helmed by original director George Miller. The Japanese poster above, painted by Tom Beauvais, was made for the movie’s Tokyo premiere today in 1979.
A Rampage of epic proportions.
Lots of skin this week. Don’t blame us. It’s all a matter of publishing randomness. You know we like to share items on the date they originally appeared, and it seems the stars have aligned for a naked mid-November. Above you have a Rampage published today in 1973, with rare photos of German actress Alice Arno and men’s mag fave Joyce Gibson. The monster referenced on the cover is Dean Corll, a serial killer who abducted, raped, tortured, and murdered at least 28 boys in and around Houston, Texas, from 1970 to 1973. He had been killed two months earlier by his accomplice Elmer Wayne Henley during a showdown over two potential victims, and terrifying details of the crimes had been laid bare for the American public, which was still trying to wrap its head around the concept of serial killers. We may get into the Corll murders a bit later. This is our eighth issue of Rampage, and you can see the others at our trusty tabloid index.
Good things come in small packages.
Here’s a new addition to the ever expanding roster of mid-century tabloids on Pulp Intl.—Inside, which we mentioned in relation to our post on Liberace a while ago. Inside was a pocket-sized magazine that came to newsstands in 1955 thanks to New York City’s Dodshaw Publishing Corporation. It seems to have lasted only three years. This August 1955 issue, which was originally scanned and uploaded by Darwin’s Scans, features singer Mario Lanza, filmmaker Elia Kazan, and actors George Raft and Gail Russell, among other subjects. Because the print in a pocket publication is readable when scanned and enlarged, we’re going to let you check out the stories yourself. You can read a bit more about Inside here. Enjoy.
The headlines that mattered yesteryear.
Pierre Laval, who was the premier of Vichy, France, which had collaborated with the Nazis during World War II, is shot by a firing squad for treason. In subsequent years it emerges that Laval may have considered himself a patriot whose goal was to publicly submit to the Germans while doing everything possible behind the scenes to thwart them. In at least one respect he may have succeeded: fifty percent of French Jews survived the war, whereas in other territories about ninety percent perished.
1966—Black Panthers Form
In the U.S., in Oakland, California, Huey P. Newton and Bobby Seale form the Black Panther political party. The Panthers are active in American politics throughout the 1960s and 1970s, but eventually legal troubles combined with a schism over the direction of the party lead to its dissolution.
1962—Cuban Missile Crisis Begins
A U-2 spy plane flight over the island of Cuba produces photographs of Soviet nuclear missiles being installed. Though American missiles have been installed near Russia, the U.S. decides that no such weapons will be tolerated in Cuba. The resultant standoff brings the U.S. and the Soviet Union to the brink of war. The crisis finally ends with a secret deal in which the U.S. removes its missiles from Turkey in exchange for the Soviets removing the Cuban weapons.
1970—Angela Davis Arrested
After two months of evading police and federal authorities, Angela Davis is arrested in New York City by the FBI. She had been sought in connection with a kidnapping and murder because one of the guns used in the crime had been bought under her name. But after a trial a jury agreed that owning the weapon did not automatically make her complicit in the crimes.
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