Baby, you are something special. And to imagine I once thought a quality spread only referred to the stock market.
They say money can’t buy love, but it can certainly buy a reasonable facsimile. That’s not our opinion—that’s empirical reality. It works even if you’re even as old as this guy. Gordon Semple, aka William Neubauer, Norman Bligh, et al, explores the theme of love-for-money in Love-Crazy Millionaire, as a rich man gets tangled up with a woman who’s decided it’s time to get ahead in life. It comes from Croydon Publishing Company, and the excellent cover art is by Bernard Safran, who we need to feature more often. 1954 copyright on this.
And now, the top 20 financial terms that sound sexual but aren’t:
20: Backup withholding
19: Tender offer
18: Liquidity put
17: Horizontal acquisition
16: Gypsy swap
14: 30-day wash rule
13: In-service withdrawal
11: Open position
10: Jointly and severally
9: Receipt of deposit
7: Pump and dump
6: Naked straddle
5: Escheat period
4: Fallout risk
3: W-type bottom
2: Front-end load
You don’t want to get on her bad side.
She’s six-one-plus without heels, works as a special agent to the president, will go chopsocky on fools in a split second, and never loses her cool—or even her swanky red hat. The first Cleopatra Jones movie thrilled audiences in 1973, and the sequel Cleopatra Jones and the Casino of Gold ups the ante by piling on production value and a big Hong Kong backdrop. Other blaxploitation films did more with less, but then a lot of them did less with less. This one is visually powerful and well worth a viewing, especially to see Tamara Dobson as the devilish dervish Jones, Ni Tien as the smart alecky but lethal sidekick Mi Ling Fong, and ex-centerfold Stella Stevens as the evil Bianca Javin the Dragon Lady. The nice double-sided poster above was made to promote the movie’s run in Japan, which began today in 1975.
, Hong Kong
, Cleopatra Jones and the Casino of Gold
, Cleopatra Jones
, Tamara Dobson
, Stella Stevens
, Ni Tien
, poster art
, movie review
They were like shipments passing in the night.
Above, a classic piece of good girl art by illustrator Frank Cozzerelli for Si Podolin's Devil's Cargo, 1955, from Pyramid-Giant. The book is about a solder of fortune and an “Arab bellydancer” who team up in Marseilles to smuggle stolen weapons into French Morocco. It was written around the time of a lot of unrest there, which gives it some extra spice, and Morocco finally gained independence a year later.
This is the second time a warm front like this has passed through.
You may be thinking we already showed you this Diane Webber Technicolor lithograph, but nope. While it is almost identical at first glance, and Webber is even posing for the same company—A. Scheer—it's a completely different photo shot in a different place at a different time. Don't believe us? Compare and contrast here.
Avon Publications dared to ask—will readers pay to be turned on?
Avon Publications launched in 1941 as a direct competitor to the revolutionary Pocket Books. But while Pocket was basically a literary house, Avon directed itself toward the popular market, working with lesser known authors focused on pure entertainment, and promoting books by featuring more visually arresting covers. The company veered further in the mass market direction when it launched a subsidiary called Novel Library, which saw it begin experimenting with racier fiction. Jack Woodford, born in 1894 as Josiah Pitts Woolfolk, was one of the early practitioners of what would later become sleaze fiction. His books, mostly written during the 1930s and 1940s, were pretty chaste by later standards, but helped prove that pulp readers would pay for sexual thrills. Above are seven of the eight Woodford books published by Novel Library between 1948 and 1950. Some originally appeared under other titles, for example Free Lovers, which was aka Fiddler's Fee. The cover artists here are, top to bottom, J. Biernacki, Perlowen (not Perl Owen, as seen on many sites), D. Trager-Phillips, Ann Cantor, and unknowns. You can see Woodford's eighth Novel Library book in this group.
I love you so much, money—er, I mean honey.
As long as we're on poster art today, here's a colorful promo for the 1947 victorian thriller Love from a Stranger, starring Sylvia Sidney and John Hodiak in an adaptation of the Agatha Christie short story “Philomel Cottage,” the second pass Hollywood had taken at the material after a 1937 version starring Ann Harding and Basil Rathbone. The movie is a good example of the dangers of failing to be satisfied with a good thing when you have it. Sidney's character Cecily Harrington wins money in a lottery and instead of marrying her perfectly adequate fiancée decides to ditch him for life as a one-percenter. Cue Hodiak, a gold-digger who has already offed three previous wives and gotten away with it. He sets his sights on Cecily—and her pile of cash. She's oblivious at first, of course, but after the two marry disturbing clues start to pile up. Luckily her jilted fiancée cares enough about her wellbeing to keep a concerned eye on her from afar. Us, we'd never do that. We'd be like, “What? You get rich and then dump me for an obvious serial killer? ’kay, good luck. Have fun during your suspiciously isolated honeymoon.” Decent flick, excellent poster. Love from a Stranger V.2 premiered today in 1947.
In the land of the blind the painter is king.
Above, two more posters for the spaghetti western Blindman, starring Tony Anthony and Ringo Starr. We talked about the movie last month on the day of its 1972 Japanese premiere. Its Italian premiere was a year earlier, today in 1971. These two great pieces were painted by Rodolfo Gasparri, yet another top notch Italian poster artist, whose work you've seen before on his nice promo for Klute. We'll have more from him later.
Hello? I’m from next door! If you don’t turn down that infernal music I swear I’m going to shoot you!
Charles Williams’ A Touch of Death (published in Britain as Mix Yourself a Redhead) had several different covers, but this 1963 Gold Medal edition with uncredited art is easily the best. It’s a bit strange, though. It almost seems as if it depicts a blind woman. And it does—a woman who’s blind drunk. An intruder is sneaking up on her as she gets loaded and plays her record collection. Don’t worry though. The hero saves her and once she sobers up she reveals herself to be one of mid-century fiction’s greatest femmes fatales—the immortal Madelon Butler. This is a really good book.
Hmm… an Englishman to gut with my new blade. And here I was planning to go home and shave my monobrow.
We were talking recently about Harlequin’s early days as a publisher of more than romance fiction. Above is another example—Bats with Baby Faces by W. Stanley Moss, a former British Army officer who wrote such best sellers as Ill Met by Moonlight and A War of Shadows. Bats with Baby Faces, the title of which references bat-like masks rather than actual bats, deals with intrigue and smuggling in the Deir-ez-Zor region of Syria, and in Cairo, where Moss lived in a villa that became a hub for the British social set. The most famous of his numerous real-life adventures occurred during that period, and that time also served as inspiration for much of his fiction. Harlequin’s edition of Bats with Baby Faces was published in 1952, and the cover art, with its mean caricature of an Egyptian who’s so swarthy he’s—bizarrely—purple, is uncredited. More Harlequin here and here.
, Harlequin Enterprises
, Bats with Baby Faces
, Ill Met by Moonlight
, A War of Shadows
, W. Stanley Moss
, cover art
Aren’t you a little old for this sort of thing?
Bernard Wolfe is known for several reasons, not least of them for being Leon Trotsky’s personal secretary in Mexico City, but he was also a novelist of wide-ranging interests. Come On Out, Daddy was his Hollywood book, about a New York author who moves out west to cash in on an easy screenwriting job. While making a couple thousand dollars a week for doing very little he runs into the usual assortment of jaded Tinseltown characters—from big stars to little wannabes—and trysts with an assortment of disposable beauties before of course meeting the woman of his dreams. It’s episodic due to it being partly cobbled together from short stories published in Playboy and Cavalier, but reasonably well regarded as a cultural satire. Life described it as “garrulously and surrealistically told by a huge cast of people in varying stages of corruption.” 1963 on the hardback, and 1964 on the above, with cool cover art by James Meese.
, Mexico City
, Macfadden-Bartell Corporation
, Life Magazine
, Come On Out Daddy
, Bernard Wolfe
, James Meese
, Leon Trotsky
, cover art
The headlines that mattered yesteryear.
1922—Egyptologists Enter Tut's Tomb
British Egyptologists Howard Carter and Lord Carnarvon become the first people to enter the tomb of Pharaoh Tutankhamun in over 3000 years. Though sometimes characterized as scholars, Carter and Carnarvon were primarily interested in riches, and cut up Tut's mummy to more easily obtain the jewels and gold affixed to him.
1947—Hollywood Blacklist Instituted
The day after ten Hollywood writers and directors are cited for contempt of Congress for refusing to give testimony to the House Committee on Un-American Activities, the group, known as the "Hollywood Ten," are blacklisted by Hollywood movie studios.
1963—Ruby Shoots Oswald
Nightclub owner and mafia associate Jack Ruby fatally shoots alleged JFK assassin Lee Harvey Oswald in the basement of Dallas police department headquarters. The shooting is broadcast live on television and silences the only person known for certain to have had some connection to the Kennedy killing.
1971—D.B. Cooper Escapes from Airplane
In the U.S., during a thunderstorm over Washington state, a hijacker calling himself Dan Cooper, aka D. B. Cooper, parachutes from a Northwest Orient Airlines flight with $200,000 in ransom money. Neither he nor the money are ever found.
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