|Intl. Notebook||Apr 15 2015|
England’s tabloid newspaper/website Daily Express has an interesting story today about the discovery of a Nazi propaganda book Hitler had banned because its photos made him look undignified. The book was called Deutschland Erwache, aka Germany Awaken, and was written in the 1930s by Baldur von Schirach, the former Hitler-Jugend leader who died in Spandau Prison after his conviction at the Nuremburg Trials. His book had been mostly forgotten, but now it’s about to be republished after an intact edition was found amongst the war souvenirs of a deceased British private. The volume was aimed at younger readers, which is why Hitler was portrayed in lighthearted fashion, such as in the above rural photo showing him in shorts working his Uncle Adolf vibe.
As dedicated documenters of Hitler’s horrors, we welcome the republication of Deutschland Erwache. Anything that shows der Führer as human rather than a monster is useful, because it can hopefully remind people that he didn’t arrive here by oozing through an orifice from an alien dimension, but was rather a member of Earth’s human race—and one from just a single lifetime ago, when people had the exact same needs, fears, pressures, desires, lusts, hatreds, and political confusion as they do right now. Which means if we aren't careful and diligent everything that happened during Hitler’s rule could happen again. And we don’t mean in some benighted corner of the planet, but anywhere—even in the well-lit, well-paved, heavily-policed havens some people call home. The top photo is a good reminder that Hitler put his shorts on one leg at a time—just like the rest of us.
|Vintage Pulp||Mar 26 2015|
A Yank on Piccadilly is another book that sounds blatantly pornographic, at least to us, but it's merely the adventures of an American soldier in World War II London. Mild sexual involvement? Yes, there's some of that. Dick yanking? Lamentably, no. In case you’re curious, the name Piccadilly comes from “piccadill,” which was a stiff—cough cough—collar with scalloped edges and a lace border that was the fashion rage during the late sixteenth century. The websites we checked have this cover as by an unidentified artist, but it’s Earle Bergey’s work, clearly. 1952 publication date.
|Intl. Notebook||Mar 23 2015|
Archaeologists have uncovered a set of stone ruins in Argentina they believe were constructed to serve as homes for Nazis fleeing Europe during the aftermath of World War II. The buildings are located in a mountainous, barely accessible area of the Teyu Cuare national park in northern Argentina where it meets the border with Paraguay. The archaeologists believe these are Nazi structures because they uncovered German coins minted between 1938 and 1941, and fragments of a plate made in Germany. The fact that such structures were found in Argentina isn’t a surprise—another stone house found years ago (below) in the same park is believed to have been built for Parteikanzlei chief Martin Bormann, who never got to use it. In the end the Nazis never really needed their Teyu Cuare lairs—as many as 9,000 of them fled to Argentina openly, welcomed by the government of Juan Peron.
Argentina was hardly unique in that respect. Thousands more Nazis settled in Brazil, Chile, and in the fascist dictatorship of Paraguay. Hundreds fled to the Middle East. At least one resided for a brief time inQuebec. Via Operation Paperclip, high ranking Nazi party members such as Wernher von Braun, Kurt Debus, and Arthur Rudolph were welcomed into the U.S., mainly due to their knowledge of physics and rocketry. Hubertus Strughold (at right) was also brought over. He had a different kind of knowledge—direct awareness of and possible involvement with fatal medical experiments relating to extreme environments and atmospheric pressure. All four men were given jobs at NASA.
There’s no word yet on what the Argentine government plans to do with the newly discovered Teyu Cuare structures. The alleged Borman house still stands and even has a sign noting its unusual history. However most countries prefer to wipe out evidence of government or citizen collaboration with the Third Reich by opting to raze Nazi structures.
|Intl. Notebook||Mar 5 2015|
Everyone knows booze makes people shoot their mouths off, so what better way for a liquor company to support the Allied effort during World War II than by producing a propaganda poster that says—basically—don’t let our product affect you the way our product affects people? The Montreal based whiskey distiller House of Seagram did exactly that when it hired artist Essargee, aka Henry Sharp Goff, Jr. to paint the above poster warning of the potentially disastrous combo of booze, chattiness, and military secrets. You can see Essargee’s signature just about in the middle of the poster.
This piece is pure genius, not just because it features a highly stylized, almost new wave Führer, but because it could be produced today with slightly different text and instead of talking about Hitler it could be cautioning that drinking too much can make you listen to punk-ass Justin Bieber. This is a message the people need today. We had no idea Hitler and Bieber resembled each other so closely, but you see that, right? Like twins, these two. Now if only all Bieber’s music could be doused with petrol and incinerated we’d be getting somewhere.
In any case, the House of Seagram and Essargee cooked up several of these propaganda pieces together, all of which are highly collectible today. We have another two of their collaborations below for you to check out, and you can see a third—entitled “Starve Him with Silence”—at our previous post on World War II propaganda from Germany, Japan, Russia, England, and the U.S. here.
|Vintage Pulp||Dec 19 2014|
Just in time to ruin everyone’s Christmas shopping, this National Police Gazette from December 1960 splashed Adolf Hitler’s face on its cover along with an inset of Swedish actress May Britt (who could hardly have appreciated the inclusion). George McGrath’s story minces no words, opening with this: Indisputable evidence that Adolf Hitler is alive and living in the Argentine has has been uncovered by the Police Gazette. Although this new information is in the hands of government intelligence chiefs, the United States and its allies are not lifting a finger to catch the runaway Nazi dictator.
|Vintage Pulp||Dec 15 2014|
|Vintage Pulp||Nov 17 2014|
We’ve seen these paperback covers in different places around the internet and thought they’d make an interesting collective post showing the progression of their dance-themed covers. The first is from 1950 with art by Rudolph Belarski, the next is from an unknown who nonetheless painted a nice rear cover as well, and the last is from Harry Shaare. Macamba concerns a group of characters in Curaçao, and how one in particular struggles to deal with his biracial background as he grows to manhood. He first tries to become a witch doctor, then excels at conventional learning in university, and eventually ships off to World War II and becomes a hero. Returning home, he has many romances and seeks to find his place in the world. You may wonder if there’s any actual dancing in the book, and indeed there is—the main character watches a performance of the tamboe or tambú, a native dance and music that the Dutch colonizers of Curaçao had made illegal.
Lilla Van Saher captures certain aspects of indigenous culture in Curaçao, even sprinkling the dialogue with some Papiamento, but the book is not derived directly from her personal experiences. She was born Lilla Alexander in Budapest, lived an upper class life, modeled, acted in French fims, married a Dutch lawyer named August Edward Van Saher, and through him was introduced to Dutch culture and its island possessions. During her first trip to Curaçao she claims to have been imprisoned by natives in a church because they thought she was a local saint.
In private life, she was a close friend of Tennessee Williams, traveling with him aboard the S.S. Queen Federica in the early 1950s, entertaining him in New York City, and accompanying him during a press junket of Sweden, acting almost as an agent and introducing him to the upper crust of Stockholm, where she was well known. During this time she was Lilla van Saher-Riwkin, and often appears by that name in biographies of Williams as part of his retinue of admirers and associates, though not always in a flattering light. Later she did what many globetrotting dilletantes do—published a cookbook. Hers was called Exotic Cooking, which is as good a description of Macamba as we can imagine.
|Sex Files||Oct 25 2014|
Of all the books Berlin-based publishing company Goliath has produced, perhaps none is more essentially pulp in nature than Private Pornography in the Third Reich. 1950s and 1960s men’s adventure magazines were obsessed with Nazis, and Third Reich spies littered post-war pulp fiction. The stories and art were often sexual in nature, such as here and here, sometimes hinting at or portraying depravity behind closed doors. With Private Pornography in the Third Reich the doors are closed no more. Stepping into forbidden salons, we’re presented not only with challenging images, but the social questions pornography raises, plus the specter of Third Reich authoritarianism and eventual war.
In another few years the Reich would have near total control of life in Germany, and operate a chain of concentration camps in which those deemed sexual deviants could be imprisoned. As a historical document of the sex industry during the anti-lust years leading up to that period, PrivatePornography in the Third Reich is fascinating. The subject is taboo, the photos perhaps more so. They range from artful salon compositions to raunchy reverse cowgirl penetration shots, which means it may not be coffee table material for everyone, but for the adventurous it’s certain to live up to aesthetic expectations, and provoke vigorous debates as well. Read more at Goliath Books.
|Vintage Pulp||Oct 14 2014|
The cover of this Nous Deux, with its happy and colorful holiday theme, is by Aslan, a prize-winner in his own right (he was given the prestigious Commandeur des Arts et Lettres in 2003). Some online sources say his covers appeared on the magazine only in the early 1960s, but 1968 is the date on this, and it’s one of his more beautiful pieces, we think. Now it’s time to put our French material aside and focus on other countries the way Cino Del Duca did. We’ll have more from him and Nous Deux later.
|Vintage Pulp||Sep 3 2014|