We’re really cooking with gas now.
You can probably discern at a glance that this poster for A tutto gas was made for the Italian run of the American musical Speedway. This isn’t really pulp material, but we liked the art, so there you go. A tutto gas translates to “at full throttle,” and that’s where the cheese-o-meter is pegged in this musical romp starring Elvis Presley as an indebted stock car racer and Nancy Sinatra as the tax agent who falls in love with him. The movie is silly but it has its charms, and Elvis fans will certainly like it. Be forewarned, though, that it was released at the height of his fame but still tanked at the box office. There are reasons for that. A tutto gas opened in Italy today in 1968.
Hah hah, it always cracks me up when you ask me that, baby. No, you can’t drive my convertible.
Passion Is a Woman is a Hollywood melodrama by Kate Nickerson, née Lulla Adler, focusing on aspiring but untalented actress Linda March, who hooks up with a series of men, including a director, an optometrist, and others. She eventually steals the actor husband of a fading but still powerful starlet, and has to contend with the spurned woman’s wrath. The art is from Rudolph Belarski, and the flipside of the book, posed by two models, is rather interesting too.
Breakdown dead ahead.
Speaking of driving, here’s another poster for the thriller They Drive by Night. We already talked about it a bit last month and shared a French poster from 1947. The movie is excellent, considering how the last act is written, and Ann Sheridan is especially good. We also like her in the center of this photo-illustrated poster. They Drive by Night had its world premier today in 1940.
National Informer shares hunting tips with readers.
Like most cheapie tabloids, National Informer practiced the journalistic equivalent of: Hah! Made you look! That objective has been achieved on the cover of this issue from today in 1970, with its text that blares, Hunting Women Can Be Fun. Sounds provocative, but as you might guess, the editors are merely talking about the best places to meet single women, which include the office, bars, and blind dates. Regarding the office, after explaining that any bachelor who works in one will generally find that there are many secretaries, file clerks, and typists ripe for the picking, the article goes on to offer this advice: “In general it is best to take the office girl to lunch. That way if you find a loser you don’t waste an entire evening.” Yes folks, according to some sources of the time female office workers were little more than harem girls—just look over the selection and take your pick! What an obstacle course the workplace must have been for women back then. But what are we thinking? It still is. Scans below.
So I thought I’d wear something really sexy for you this evening and we could—wait, what’s burning?
Nothing kills romance like having to throw water over your flaming girlfriend. On the one hand you’d have saved her life. On the other, you'd spend the next decade hearing, “I honestly think you enjoyed drenching me.” Luckily that scenario doesn’t actually happen in The Lady Is Taboo. Instead it deals with a woman who believes she’s gotten sexually involved with a killer. Norman Bligh wrote it for Quarter Books in 1951, and the cover art is by the always wonderful George Gross.
Diane Webber brings a bit of warmth to winter.
Today’s Technicolor lithograph features a recognizable figure for once—the much adored Diane Webber, a California born model, dancer, and actress who was also known as Marguerite Empey and became one of the most important fixtures of the 1950s and 1960s nudist magazine scene. You can see a few examples of those here. Webber was also a two-time Playboy centerfold under her Empey persona, in May 1955 and February 1956. We’ve mentioned before that the blank spaces at the tops of these Technicolor prints were made for the insertion of advertising, and at right you see how that worked with a calendar for a Baltimore, Maryland establishment called Stanley’s Drive-In. The original image was called Exclusively Yours and appeared in 1955. The calendar came out in the winter of 1958.
Stop squirming, stupid, or you might make me cut the damned thing off.
It’s anonymously written and the cover art isn’t great quality, but we couldn’t resist sharing this one. This is as low rent as sleaze fiction gets, even from a company—Special Collection Series—that published such fare as Hot-Assed Snow Bunnies, Degradation of Nurse Mercy, and the worrisomely titled Her Security Dogs. Do you really wonder why these authors refuse credit for their work?
Here's a lama, there's a lama, and another little lama
To offset the ridiculous cover above, we thought we’d share something a bit more traditionally pulp, so here you see the front of Jerôme Caval’s 1964 thriller Le lama de Lima, which means, well, exactly what it looks like it means. The book is volume 30 of the Espionnage Service-Secret collection from the Parisian publisher S.E.G., and the brilliant art is uncredited.
If you’re looking for mercy you’ve come to the wrong place.
The Big Bird Cage finds writer-director Jack Hill at the top of his form as he sticks star Anitra Ford in a Philippine jungle prison where an evil warden uses the female inmates as slave labor to process sugar. Pam Grier and Sid Haig are revolutionaries who want to recruit women for their cause, so Grier infiltrates the prison and primes the women for a big break out. This is one of the most remembered of 70s B-romps, a sleazefest filled with iconic scenes such as Ford being suspended by her hair, and seven-foot model Karen McKevic slathering her body with grease and dashing naked through camp. The classic poster is above, a brilliant production photo appears below, and if you’re looking for actual reviews, well, there are about a thousand online. Wild, weird, and oh so incorrect, The Big Bird Cage premiered in the U.S. this month in 1972.
Cutting the head off the snake.
Above and below, a July 1956 issue of Real Adventure magazine with uncredited art on the cover and throughout the issue. Inside you get model Peggy Ray, and a self-written feature by boxer Sandy Saddler in which he denies being a dirty fighter. The article includes a photo, which you see in panels three and four below, of Saddler mugging Willie Pep. That’s not the first appearance on Pulp Intl. for that image. Police Gazette featured it on one of its covers in February 1951 with a little photo-illustrative tweak. It’s worth glancing at and you can see it here.
So was Saddler a dirty fighter? Consensus seems to be that if he felt victimized himself, he tended to cross the line. According to theboxingmagazine.com, this happened during Saddler’s fourth fight with Pep, which featured, “elbows, butting, heeling with the glove and lacing, they were everything-gos foul-fests from start to finish. While Pep and Saddler wrestled on the inside, Saddler thought nothing of putting Willie in a headlock before throwing him to the floor. Even the referee was knocked to the floor several times in an attempt to separate the two fighters. Needless to say, the boos and jeers shook the joint to the rafters. Saddler said afterward that he felt insulted by those who insisted he was a dirty fighter.”
Saddler won 144 bouts against only 16 losses, which would seem to indicate a considerable amount of talent. He retired in 1956, at the earlyish age of thirty, after he hurt his eye in a traffic accident. Afterward her became a trainer and counted among his clients a young George Foreman. He died in 2001 but was honored by The Ring magazine a couple of years later when editors ranked him as the fifth greatest puncher of all time. We have about twenty scans of Saddler, Pep, and others below.
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