We mentioned Romanian-Tatar dancer Nejla Ates yesterday, and commented on her appearances on numerous bellydancing album sleeves. Well, above are five of those with Ates as the model. At the height of her fame, she danced in some of the most famous clubs in the U.S., and at one point, to promote her role in the 1954 Broadway production Fanny, producer David Merrick commissioned a nude statue of her and had it clandestinely installed in New York City’s Central Park. The statue didn’t last long, but the publicity helped Fanny run for 888 performances. Ates eventually returned to Istanbul, where she died of cancer in either 2005 (if you believe most sources) or 1995 (if you believe her husband’s detailed account). Below are three shots of her in her prime performing at the NYC nightclub Latin Quarter in 1953. If you want to see her in actual motion, her short dance from 1955’s Son of Sinbad is here, and there’s more of her in yesterday’s post. 

At the end of last month we posted a few images of Bettie Page that hadn’t appeared online before. They came from an issue of Carnival we were too lazy too scan in its entirety at the time. Today we have the rest of that great issue, vol. 1, no. 2, published out of Chicago, U.S.A. by Hillman Periodicals, who were the same people behind the magazine Show. The cover star is burlesque queen Lilly Christine, aka The Cat Girl, and she reappears in all her wild-eyed glory in a photo set we've placed at the very bottom of this post. We’ve seen at least two of those photos before in other magazines, however Carnival claims it was an exclusive set, shot especially for them, and indeed, that could be true, since theirs appeared before the others we saw.

After a peek behind the scenes of the Miss Universe pageant, readers get a profile of Ernest Hemingway’s most recent trip to Spain. Hemingway was visiting the Festival of San Fermin in the Basque Country town of Pamplona in order to see how his favorite sport of bullfighting had fared in the years since he’d last visited. Since the text in these digest-sized magazines scans large enough to be legible, you can read whatCarnival says about the famed festival yourself. We will note, however, that the writer’s description of Pamplona as dull when San Fermin isn’t happening is wrong. Spain in general, and the Basque Country in particular, are never dull. Trust us—we’ve spent a lot of time there. If you’re interested, you can read our firsthand observations of San Fermin here and here.

Carnival next presents readers with photos of dancer Nejla Ates, whose short set begins just below. We first saw one of these shots in an issue of Uncensored dating from June 1954, but once again Carnival seems to have gotten there first—their photos are from 1953. Ates, who for some reason often appears online unidentified, was Romanian born ofTatar descent, and danced her way through Cairo, Rome, Paris, and London, before finally gaining international fame in New York City. She appeared in three American films during the 1950s, and was the go-to cover model for Middle-Eastern and bellydancing themed album sleeves, but despite her successes suffered the usual slate of dead end affairs and romantic heartbreaks with such men as, among others, Billy Daniels, George Sanders, and Gary Crosby.

Following Ates is a photo feature on American actress and party girl Barbara Payton, who burned a swath through Hollywood during the 1950s, bedding co-stars, feuding with her studio, and generally raising a ruckus before eventually drifting into prostitution and dying at age forty of heartand liver failure. She’s described here as possessing the “assets of Hedy Lamarr, Jane Russell and Marilyn Monroe” all at once. Not sure about that, but we'll be finding out more about her later, because we will be examining her very pulpish life story in detail.

Next you get a great close-up photo of Jersey Joe Walcott having a disagreement with Rocky Marciano’s fist. Does that shot also look familiar? Perhaps because it was the cover of a January 1953 National Police Gazette. We had no idea that the fight was considered controversial at the time. Apparently, many thought Walcott took a dive. Since thisphoto is of the actual the shot that sent Walcott to the canvas, we have to respectfully disagree. It’s lights out, and anyone can see that. In any case, you can take a gander at that Gazette cover and learn a bit about Marciano and Walcott here.

A few more treats: panel 24, just below, contains a hot shot of Marilyn Monroe at a charity baseball game; panel 26 features actress Sheree North, who doesn’t look very impressive, which means you should clickover to our lovely femme fatale post on her here and get a sense of what a knockout she really was; and lastly, in panel 28, above, you get a killer shot of Zsa Zsa Gabor, who, believe it or not, was already nearly forty at the time and had been married three times on the way to her final tally of nine.

Looking at all these pages and visiting the accompanying links, you perhaps get a sense of how the mid-century tabloid industry was fueled by handout photos, with all the publications using the same shots but concocting editorial angles to create the illusion that the images were exclusive. But in Carnival’s case, it does seem to have published many of these images first. It billed itself as “a magazine of excitement”, and we have to agree. It’s also a magazine that, because of its tightly bound construction, we had to destroy in order to scan. But even though this particular issue of Carnival is now only loose leaves scattered across the room, there are other issues out there, and we’ll have some of them later, hopefully.  

Above, a cover of the Turkish lifestyle magazine Hayat with a commemorative photo of John F. Kennedy featuring the slain president striking a beatific pose. It appeared today in 1963, six days after Kennedy’s assassination. 

We found this great vintage poster for the Turkish illusionist Zati Sungur, who began performing during the 1920s and parlayed his talent into international fame. Spending most of his career touring Europe, the Middle East and South America, he performed not only as Zati Sungur, but as Zati Bey, Sati Richmond, and Conde Sati von Richmond. In the 1930s he developed the famous illusion of sawing a model in half, which was adopted by nearly every illusionist in the world. He eventually opened the famous Universal Magic and Illusion Tricks Studio, where he taught scores of Turkish students his secrets. Sungur died in 1984, but is well known among today’s illusionists as one of the masters of the craft. We located a few other vintage posters for famous and semi-famous magicians, illusionists and seers, circa 1930s, 1940s, and 1950s, and we’ve shared them below. 

Below, assorted covers of Hayat, which became one of Turkey’s most popular celebrity magazines beginning in the 1950s. From top to bottom the cover stars are Jayne Mansfield, Ursula Andress, Anita Ekberg, no idea because we can't read Turkish and her name isn't on the cover, Marilyn Monroe, Debra Paget, Ava Gardner, Natalie Wood, Ann-Margret, and Brigitte Bardot. 

Women’s prison is such a rollercoaster ride. One minute you’re enjoying a water fight with other beautiful cons in the communal shower; the next you’re getting the rubber glove slapdown from a Barbie-coiffed matron. But with a little teamwork you can escape, even if you happen to be handcuffed to someone you don’t particularly like at first. Black Mama, White Mama isn’t quite The Defiant Ones, but it’s got Pam Grier and Margaret Markov fleeing a blaxploitation neverland located somewhere between Hazzard County, Nicaragua and the South China Sea, so it’s all good fun. It’s also got the killer Turkish one sheet you see above. If you like b-movies, carve out a little time to watch this flick. It isn't particularly deep, but then neither are we. 

Above is a rare promo poster for Yaguz Figenli’s thriller Kara Boga, aka Black Bull, 1974, with Behçet Nacar and Yonca Yücel. You might not deduce this from the art, which features a woman sensually eating what looks like a Tostitos chip, but this is actually a vampire movie, a sort of polyester clad take on the legend of Vlad Tepes, aka Vlad the Impaler. Like a lot of Turkish movies from the seventies, this one has numerous flaws: the acting is over the top, the sound effects are bad, the music is distractingly symphonic (except for the percussive slow burners used for the love scenes), and the original celluloid has yellowed, which makes every frame look like it was shot through a slice of lemon. But there’s action aplenty and a lot to laugh at. Wanna see a guy get stabbed in the back but for some reason clutch his stomach before falling over dead? Got ya covered. Wanna see a hunchback whose hump is clearly two day's worth of laundry stuffed under his shirt? Check. Wanna see Vlad Tepes—Vlad the frickin' Impaler—suffer a brutal beatdown from a guy who looks like Mark Spitz? Then look no further. Let's just say this one really bites, but in an entertaining way. 

The other day we realized that nearly all of our femmes fatales released records at some point, so we have a megapost of sleeves below representing a fraction of these multi-talented women’s musical output. We’ve heard most of the music, believe it or not, and while its quality varies, we do suggest you check out both Marilyn Chambers and Reiko Ike—their simulated orgasms are quite pleasing to the, er, ears. 

Assorted Turkish language pulps published by the pop culture magazine Hayat, circa 1960s and early 1970s. The authors are, top to bottom, Allison L. Burks, Gerald de Jean, William McGivern, Ngaio Marsh, William Irish, Mignon G. Eberhart, Nora Roberts, Ellery Queen (aka Daniel Nathan and Manford Lepofsky), John Dickson Carr, and Robert Bloch.