 But it's important to make sure the pain is someone else's. 
American author Frank Kane is well known for his many Johnny Lidell detective mysteries, which appeared from from 1947 to 1967. The Living End, from ’57, sets the world of detectives aside and tells readers about aspiring songwriter Eddie Marlon's meteoric rise from assistant at a radio station to the biggest disc jockey in New York City. Along with that, naturally, comes the usual doses of greed, betrayal, hubris, and the sowing of the seeds of his own potential destruction.
The cover art by Victor Kalin depicts the moment Marlon's ascent begins. A big shot record exec whips an ambitious singer until she's close to death, slumped shirtless in a chair. Marlon is called in to take the blame. It's a huge risk, because if she dies he's up the creek, but if she doesn't he'll be rewarded with anything he wants, which is his own radio show. The singer survives, keeps her terrible abuse a secret because she wants a career in music too, and Marlon gets an on-air slot and is soon rising through the ranks of FM radio deejays. The whole incident feels a bit Weinsteinian, which makes it all the more visceral. But did we mention those seeds of destruction? Getting to the top is hard, but staying on top is harder, particularly when you've stepped on so many people. The Living End is a good book, but one thing we didn't like was Kane's insistence on constantly—sometimes four or five times in a few pages—referring to Marlon as “the thin man.” Everyone within the narrative calls him “the kid.” So why not use that as his non-name reference? Strange. But otherwise, decent work, and a fun depiction of the payola days of FM radio. Apparently Kane revisited the music industry with a novel called Juke Box King. We'll try to find that and report back.
 Caught you! Get back to the book cover you came from, young lady, and stay there! 
Above is a rather nice cover for Knipoog naar de hel, which in Dutch means “wink to hell.” This was published by the Rotterdam based company Uitgeversmij, and it's a translation of Henry Kane's 1964 thriller Snatch an Eye. As you can see at right (unless you're on a mobile device, in which case it's above), Uitgeversmij borrows art from Frank Kane's (no relation) 1956 Dell Publications novel Green Light for Death. The art for that was by Victor Kalin. The Dutch art is obviously a reworking of the original.  So here we go again. Is the copy by Kalin? Was it licensed? In this case, we think the art is Kalin's original, rather than a knock off by some random unknown, because the actual figure is identical, though the background has been replaced and the spotlight has a marginally different outline. Perhaps this was licensed and Kalin actually got paid, but we doubt it. Why bother to change it in that case? More likely it was appropriated via the use of a good camera, a crisp negative, and a little retouching. Whatever the case may be, we really like this piece.
 They call it the Devil’s wheel for a reason.
It’s been a while since we’ve put together a pulp collection, so below you’ll find vintage cover art that uses the roulette wheel as a central element. They say only suckers play roulette, and that’s especially true in pulp, where even if you win, eventually you lose the money and more. Art is by Ernest Chiriaka, Robert Bonfils, Robert McGinnis, and many others.
 Does this look like one of the top sixty pulp book covers of all time to you? 
No, it doesn’t look like that to us either. Don’t get us wrong. It isn’t bad. But top sixty? Ever? Yet we found it on a site that included it in its top sixty, along with a collection of other covers of which we can honestly say only three were excellent. There was not one Fixler or Aslan to be found. Nary a J. David, nor a Peff, nor even a hint of a Rader. Clearly, whoever put the feature together took sixty random images off Flickr (yet watermarked the art they borrowed) and called it a day. This highlights one of the main problems with the internet: it’s difficult to know which sites are primarily focused upon providing information, and which exist solely to generate traffic revenue. A site can do both (as we try to do here with our very minimal ad presence), but when some corporate pulp site that possesses endless resources somehow misidentifies the pulp era as lasting from the 1950s to 1970s, and asserts that the term “pulp” was popularized by the movie Pulp Fiction, it’s clear that information has not only taken a back seat to traffic revenue—it’s being dragged 100 feet behind the car on a rope. We would never presume to do something as subjective as select the best covers of all time, because who the hell are we? But we have, we hope, earned some credibility over the last three years. So on this, our official third anniversary, we're going to do a pulp cover collection of our own. We don't claim these are the best—only that we like them very much. We’re posting twenty-four because we’re too lazy to do sixty, but we think all of them are winners. A few have already appeared on our site; most have not. Got better ones? Use our reader pulp feature to send them. So here we go. And thanks to the sites from which we borrowed some of these.                       
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The headlines that mattered yesteryear.
1967—Dorothy Parker Dies
American poet and satirist Dorothy Parker, who was known for her wit and wisecracks, and was a charter member of famed Algonquin Round Table, dies of a heart attack at age seventy-three. In her will, she bequeaths her estate to the Dr. Martin Luther King, Jr. foundation. Following King's death, her estate is passed on to the NAACP. 1944—D-Day Begins
The Battle of Normandy, aka D-Day, begins with the landing of 155,000 Allied troops on the beaches of northern France in an event codenamed Operation Overlord. The German army by this time is already seriously depleted after their long but unsuccessful struggle to conquer Russia in the East, thus Allied soldiers quickly break through the Nazi defensive positions and push inland in the largest amphibious military operation in history. 1963—John Profumo Resigns
British Secretary of State for War John Profumo resigns after the revelation that he had been sexually involved with a showgirl and sometime prostitute named Christine Keeler. Among Keeler's close acquaintances was a senior Soviet naval attaché, thus in addition to Profumo committing adultery then lying about it before the House of Commons, authorities pressed for his resignation because they also feared he had been plied for state secrets. |
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