Above is a cover of the tabloid Whisper from January 1965, with actress Carroll Baker, convicted murderer Winston Moseley, and New York judge J. Irwin Shapiro starring on the front. But before we get into the magazine, we want to share the good news that our longtime scanning problems are fixed. We didn't get a new scanner, though. We got a new computer—a Mac Studio with plenty under the hood. It's quicker than the old Mac, but it also changed the functionality of the scanning interface. The whole process runs differently, and is about three times faster now. So you'll be seeing more magazines in the future.

Turning back to Whisper, Winston Moseley—who editors call William for some reason—was America's villain of the moment for the murder of Catherine Genovese, who he stalked, stabbed with a hunting knife, then found again where she had taken refuge in a building, and finished her off. Additionally, Moseley was a necrophiliac. He raped his victims—of which there were three total—post-mortem. Of the trio of victims Genovese is the one that's remembered today because her murder sparked a national reckoning about the relationship between citizens and the police, as well as life in big cities, because the press reported that thirty-eight people had seen the crime happening but had done nothing.

That's respectful—if not even compassionate—for a 1965 publication considered lowbrow by sophisticated readers. Is it a paradox that the magazine could be so evil toward gay men, yet so civil toward transsexuals? We think so, and we'd love to know the thought process behind it. While we're puzzling that out, you may want to move on to Whisper's slate of celebrity news. Everyone from Romy Schneider to Ernest Borgnine get their due exposure. We've uploaded the magazine's “Behind the Whispers” feature, so you can get the dish on a few Hollywood stars. Please enjoy.

We've talked before about the amazing Harlan Ellison. We came to know him as an unparalleled sci-fi writer, but later discovered he was also a juvenile delinquency author. These gang stories were obscure curiosities for us, but through running Pulp Intl. we've since learned that Ellison's juvie fiction is a much discussed and much collected part of his output. Above you see the rare 1958 Pyramid Books edition of his first novel Rumble, later published as Web of the City, with an amazing cover by Spanish artist Rudy De Reyna. Consider this an Ellison trial run that made it into the light of day. Anyone familiar with him knows this will be a strange and violent tale, but the craftsman who gave the world stories like “All the Birds Come Home To Roost” is not yet in evidence. Plotwise, the protagonist Rusty is leader of a street gang and wants out while he's still young enough to make something of his life. Quitting is a savage and harrowing ordeal. Staying out is impossible thanks to his little sister, whose involvement with the gang pulls Rusty back into the life. Ellison is a guy who once claimed he never revised his work. That isn't true because Rumble was cut down and cleaned up by him, and became Web of the City. Everyone says the revised version is much better. Without having read it, we suspect they're right. 

This is a pretty unassuming poster considering A Boy and His Dog is one of the top cult films of the 1970s. It was painted by Robert Tanenbaum, a major talent in the realm of American cinema illustration. Based on a novella by Harlan Ellison, and starring a young Don Johnson as well as early Pulp Intl. femme fatale Susanne Benton (who you can see in all her glory here), A Boy and His Dog is a post-apocalyptic tale of desperate survivors wandering radioactive wastelands scratching out a hard fought existence. Mutations have done a number on living creatures, which is why Johnson's co-star is a shaggy telepathic dog named Blood. Man and dog have a symbiosis, with Johnson offering protection, the dog sniffing out food and women, and both profiting companionship.

Sounds goofy, we know, but the telepathic dog bit really works. Blood is irascible, but funny, smart, and warm, while Johnson is a slave to his id and libido. Ultimately, circumstances offer a choice between a dangerous and unpredictable freedom on the wastelands, or a secure but tedious existence in an underground sanctuary. The final question becomes whether conventionality diminishes a man. Playing like a bizarro prequel to The Road Warrior, and ultimately revealing itself to be a barroom joke stretched out to feature length, this is a film we recommend, however be forewarned that Harlan Ellison's post-apocalypse is a tough place for women. A Boy and His Dog premiered in the U.S. today in 1975.

Two issues of Adam to share—one from Australia and one from the U.S.—proved too much work for one day, so we posted Aussie Adam yesterday, and today we’re on to the American Adam. These magazines have no relationship to each other apart from coincidentally sharing a name. U.S. Adam relies on photo covers rather than painted art, shows a dedication to cheesecake photography that far outstrips its Australian cousin, and also has less fiction. However, what fiction it does offer extends beyond Aussie Adam’s adventure and crime focus, such as the short piece from counterculture icon Harlan Ellison called, “The Late Great Arnie Draper.” We’ve scanned and shared the entirety of that below if you’re in a reading mood.

The striking cover model here goes by the name Lorrie Lewis, and inside you get burlesque dancer Sophie Rieu, who performed for years at the nightclub Le Sexy in Paris, legendary jazzman Charles Mingus, and many celebs such as Jane Fonda, Claudia Cardinale, Sharon Tate, and the Rolling Stones. There’s also a feature on the Dean Martin movie Murderer’s Row, with Ann-Margret doing a little dancing, and blonde stunner Camilla Sparv demonstrating how to properly rock a striped crop-top. We managed to put up more than forty scans, which makes this an ideal timewaster for a Monday. Enjoy.

Above is the cover of New Texture’s 2012 book Weasels Ripped My Flesh!, which co-editor Robert Deis sent to us back in December. It took a while, but we finally finished reading it, and as expected, it’s a supremely satisfying compendium. All the tales were drawn from men’s adventure magazines of the 1950s, ’60s, and ’70s, and authors include Robert Silverberg, Lawrence Block, Jayne Dolinger, Walter Kaylin, and Mike Kamens, who wrote the improbable but now classic crazed weasels story after which this collection is named.

Good news for pulp fans. Norton Records, through its publishing arm Kick Books, is releasing a collection of post-pulp author Harlan Ellison’s early juvenile delinquent fiction. Ellison, many of you already know, made his rep writing some of the most out there sci-fi of the 1960s and 1970s, including 1969’s classic novella “A Boy and His Dog,” 1974’s award winner “The Deathbird,” and 1978’s collection Strange Wine. The new Kick Books collection, entitled Pulling a Train, brings together Ellison’s juvenile delinquent fiction, which he wrote during the late 1950s and early 1960s.

For those unfamiliar with his work, we could cite chapter and verse some of the astounding prose he’s set to paper (“Croatoan,” “All the Birds Come Home To Roost,” “I Have No Mouth, and I Must Scream”), but instead just consider this: one of his favorite activities over the years has been to sit in a bookstore window beginning at opening time, and by the end of the day have written a complete short story. On a typewriter. And to make the feat more challenging, the premise or first sentence of the story would be supplied to him by a stranger. Yet, at least one of these tales went on to win awards. You can learn a bit more about the unique Ellison and his new collection at the Norton Records/Kick Books website.

When we first saw this poster for 1971’s The Godson, we were of course struck by its brutal nature. Then our realty filter kicked in and we realized that, though the art is a photo-illustration, an actress (Orita de Chadwick) probably wouldn’t sign up for that kind of abuse. Thankfully, our assumption was confirmed. The film frame used on the poster has been slightly but crucially altered to achieve a more violent effect. The reasons why an instance of sexual violence would be made to look even worse on a promo poster raises some disturbing marketing-related questions, but we’ll leave those for another time.

Moving on to the actual film, The Godson is just a sexploitation flick with bad direction (William Rotsler), bad scripting (William Rotsler), bad editing (William Rotsler), and astoundingly bad acting (everyone). It’s the story of an ambitious mafia thug played by Jason Yukon trying to succeed in his godfather’s organization, and it all goes wrong in the end and everyone dies. Is that giving away too much? Well, at least we saved you 90 minutes. We'll say this much for Rotsler, though—he did nothing halfway, as a visit to his website will illustrate.

Perhaps we should note that Uschi Digard and the awesomely beautiful Lois Mitchell appear in this film, super hot Debbie McGuire from Black Starlet and Supervixens gets a bit of screen time, and legendary sci-fi writer and firebrand Harlan Ellison pops up briefly (copping a feel of Mitchell, just below). Also, some of the film was shot at Ellison's bachelor pad. Does any of that make it worth watching? No. Besides, why bother when we've uploaded all the best parts for you? The Godson premiered in Japan today in 1972.

We’ve now posted eighteen issues of the great Australian men’s magazine Adam. But there was an American Adam too, unaffiliated with the Aussie mag (as far as we know) that published identical content during the same period. There were three major differences, though—the American Adam did not have painted pulp-style covers like Aussie Adam, it had access to more widely known actors and authors, and it showcased nude photography years earlier. For example, the above American Adam, from August 1966, has rising star Raquel Welch, famous glamour babe June Wilkinson, fiction from John Steinbeck and Harlan Ellison, and an extensive and revealing feature on burlesque. It also has a centerfold of Vicky Kennedy, aka Margaret Nolan, who appeared in Goldfinger, among numerous other films, and was one of the more popular nude models of the 1960s. We have thirty scans of all this below.