These are people who definitely pay attention to the poles.
When you look at lots of paperbacks sometimes a common thread suddenly jumps out at you that went unnoticed before. Such was the case a few weeks ago when we noticed the large number of characters on mid-century covers leaning against poles—light poles, telephone poles, sign poles, etc. We suggested someone should put together a collection, but of course we really meant us, so today you see above and below various characters deftly using these features of the urban streetscape as accessories. Art is from Benedetto Caroselli, Harry Schaare, George Gross, Rudolph Belarski, James Avati, et al. You can see a couple more examples here and here.
Even the Prince of Darkness needs love.
Italian illustrator Bendetto Caroselli painted this cover for Cuori per Satana, which means “hearts for Satan,” and it was written by Silver Ales for I Capolavori della Serie KKK's series Classici dell'Orrore, and published by Edizioni Periodici Italiani in 1968. Silver Ales was a pseudonym used by Silvano Alessandrini, a prolific poet, playwright, author of twenty-six detective novels, and longtime school teacher. His weird pen name sounds like a category of fancy microbrews, but we approve—it definitely sticks in the head. And of course Benedetto Caroselli was an artistic genius, which you can confirm yourself by looking here and here.
Getting into the spirit of things.
A bit more foreign paperback art today. Among the pantheon of excellent vintage paperback artists, Benedetto Caroselli has become a favorite, as our many posts of his work attest. He painted this cover in 1964 for Sheila Norman's L'anima nuda, or "naked spirit," which was number thirty-three in Grandi Edizioni Nazionali's macabre series I Capolavori della Serie KKK Classici dell'Orrore. Norman was a pseudonym for Oretta Emmolo, who also wrote as Christoph Bonig, Valerie Greeves, and Reg Sattle. We have plenty more Caroselli art in the website. Just click here.
The shape of bad things to come.
Above and below are assorted covers featuring yet another fun mid-century paperback art motif—the looming or threatening shadow. The covers are by the usual suspects—Rader, Phillips, Gross, Caroselli, Nik, as well as by artists whose work you see less often, such as Tony Carter’s brilliant cover for And Turned to Clay. That's actually a dust jacket, rather than a paperback front, but we couldn't leave it out. You’ll also notice French publishers really liked this theme. We’ll doubtless come across more, and as we do we’ll add to the collection. This is true of all our cover collections. For instance, our post featuring the Eiffel Tower has grown from fifteen to twenty-two examples, and our group of fronts with syringes has swelled from thirteen to twenty-six images. We have
twenty-four twenty-six—see what we mean?—more shadow covers below, and thanks to all original uploaders.
Giovanni Simonelli was a virtual one-man industry in Italian cinema.
It’s been too long, so today we’re back to the incomprable Benedetto Caroselli, with a cover he painted for L’incubo scarlatto, aka “The Scarlet Nightmare,” by Simon O’Neil for EPI’s I Capolavori della Serie KKK Classici dell’Orrore, 1970. O’Neil would have been an Italian writer working under a pseudonym, and in this case it was Giovanni Simonelli, who wrote about seventy-five screenplays between 1958 and 1998. Some of those gems include L’uomo dalla pistola d’oro, released in English as Doc Hands of Steel, Dos pistolas gemelas, aka Sharp Shooting Twin Sisters, and Agente 3S3: Passaporto per l’inferno.
L’incubo scarlatto is set in London and involves a woman who thinks she might be a vampire because men around her keep turning up violently killed. Considering one was her potential rapist and another was a sadistic drug lord, they both deserved it, but she needs to know the truth and pairs up with a psychiatrist to get to the bottom of the mystery. Simonelli did more than write macabre books and scripts. He also directed, composed music, and even acted in two movies, appearing in 1966’s Kommissar X - Jagd auf Unbekannt, aka Kiss Kiss, Kill Kill, under the name Sim O’Neill. Quite a career. We wouldn’t be surprised to run across his work again. Meantime, you can see plenty more art from Benedetto Caroselli here.
Where it stops looking good nobody knows.
Below, a selection of beautiful Benedetto Caroselli covers for ERP’s giallo series I Narratori Americani del Brivido, with various Italian authors such as Aldo Crudo and Mario Pinzauti writing under Anglicized pseudonyms. We have much more from Caroselli. Just click and scroll.
What a strange country. I was arrested for baring my breasts but called a hero for carrying a gun.
Bersaglio a 5 was published in 1968 by E.P.I./Ottimo as entry fifty in their series Agente Segreto. The title means “Target 5,” and the art by Benedetto Caroselli hits the target too.
This is a mean old world, baby, to live in all by yourself.
Above, the cover of Gli Amante Perduti, which means “the lost lover,” published 1962 by Grandi Edizioni Internazionali. The author, Horace Robinson, was in reality the prolific Maria Luisa Piazza, and the evocative cover art, showing a woman distressed and alone against a backdrop of blackness, is by the incomparable Benedetto Caroselli.
All roads lead to Renato.
Today we have yet another excellent cover from Benedetto Caroselli—Anima e corpo, aka Body and Soul, written by Lucien Le Bossu for Edizioni Periodici Italiani’s I Capolavori della Serie KKK Classici dell’Orrore, 1965. Le Bossu, perhaps unsurprisingly, was one of about twenty literary pseudonyms belonging to Renato Carocci. In fact, Carocci even wrote under the name Tom Ewell, who was a well-known American actor of the period. How he got away with that we don’t know. Anyway, you can find out a bit more about Carocci here, and see more art from Caroselli by clicking his keywords below.
Murder by any other name.
As long as we’re on Italy today (see below), here’s another top effort from the Italian genius Benedetto Caroselli. Il suo nome era omicidio, aka His Name Was Murder was written by Mary Steel, who is in reality a pseudonym of author and editor Laura Toscano, and it appeared in 1971. See more amazing Caroselli covers by clicking his keywords below. |
The headlines that mattered yesteryear.
1924—St. Petersburg is renamed Leningrad
St. Peterburg, the Russian city founded by Peter the Great in 1703, and which was capital of the Russian Empire for more than 200 years, is renamed Leningrad three days after the death of Vladimir Lenin. The city had already been renamed Petrograd in 1914. It was finally given back its original name St. Petersburg in 1991.
1966—Beaumont Children Disappear
In Australia, siblings Jane Nartare Beaumont, Arnna Kathleen Beaumont, and Grant Ellis Beaumont, aged 9, 7, and 4, disappear from Glenelg Beach near Adelaide, and are never seen again. Witnesses claim to have spotted them in the company of a tall, blonde man, but over the years, after interviewing many potential suspects, police are unable generate enough solid leads to result in an arrest. The disappearances remain Australia's most infamous cold case.
1949—First Emmy Awards Are Presented
At the Hollywood Athletic Club in Los Angeles, California, the Academy of Television Arts & Sciences presents the first Emmy Awards. The name Emmy was chosen as a feminization of "immy", a nickname used for the image orthicon tubes that were common in early television cameras.
1971—Manson Family Found Guilty
Charles Manson and three female members of his "family" are found guilty of the 1969 Tate-LaBianca murders, which Manson orchestrated in hopes of bringing about Helter Skelter, an apocalyptic war he believed would arise between blacks and whites.
1961—Plane Carrying Nuclear Bombs Crashes
A B-52 Stratofortress carrying two H-bombs experiences trouble during a refueling operation, and in the midst of an emergency descent breaks up in mid-air over Goldsboro, North Carolina. Five of the six arming devices on one of the bombs somehow activate before it lands via parachute in a wooded region where it is later recovered. The other bomb does not deploy its chute and crashes into muddy ground at 700 mph, disintegrating while driving its radioactive core fifty feet into the earth, where it remains to this day.
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