We ran across some issues of a German language magazine called Das Schweizer, which means “The Swiss,” and indeed, the publication originates from Switzerland. We thought only the French, Germans and Dutch produced magazines during the 1940s and 1950s that combined celebrity, photography, fine art, and eroticism. We stand corrected. Above is the cover of Das Schweizer #139, circa 1954, with Yvonne De Carlo, and interior pages featuring Brigitte Bardot looking especially hot, plus Joan Collins, Romy Schneider and others. You also get the great art of Paul Peter, and just for good measure we pulled a couple of scans from another Das Schweizer that had the cover and most of the photo pages cut out, but two more Peter art pieces left behind. Apparently whoever mutilated that issue didn’t see the value in his work. Hah! Philistines. Anyway, since we can’t make a decent post of that one, we added its Peters below (that just sounds wrong, doesn't it?). We can’t tell you anything about Paul Peter because his name is pretty much ungoogleable, if that’s even a word, however we’ll keep digging for facts on him and eventually something will turn up. It always does. 

Every year, a raft of Hollywood tell-alls hits the newsstands, all claiming to be filled with juicy revelations, with only a scant few actually delivering on that promise. Scotty Bowers' newly published Tinseltown memoir Full Service falls into the latter group. We think it's destined to be one of the most remembered show business memoirs ever written.

Bowers was a World War II vet-turned-bartender who arrived in Hollywood in 1946 and quickly found that his striking looks opened doors for him. Those doors allegedly led to the bedrooms of such varied personages as Edith Piaf, Spencer Tracy, Cary Grant, Vivien Leigh, and the Duke of Windsor.

Bowers soon became known on the Hollywood fast track as a guy who could arrange trysts for stars too cautious or too shy to manage it themselves, and located sexual partners for Vincent Price, Katherine Hepburn, Rock Hudson and scores of others. Some of his claims are just jawdropping. Among them: he says he procured about 150 women for Katherine Hepburn, had threesomes with Cary Grant and Randolph Scott, and learned Spencer Tracy was bi-sexual only when, in a drunken stupor, the star "began nibbling on my foreskin."

There's always a degree of scepticism aroused by books like these, but Full Service dovetails with rumors that have been floating around Hollywood for decades, and has been endorsed by Gore Vidal, who claims to have been privvy to much of what Bowers describes and has called the book "as revelation filled as Hollywood Babylon." Predictably, the relatives of some of the stars mentioned in the book are not happy with its content, but Bowers steers clear of any true libel and probably can't be sued. As to why it took him so long to reveal his many secrets, he said in an interview with the New York Times, "I'm not getting any younger and all my famous tricks are dead by now. The truth can't hurt them anymore."

The always-wonderful Japanese celeb magazine Screen produced this issue promoting James Dean’s epic drama Giant in January 1956. The film opened the next October, which means the magazine was put together well beforehand. Advance press isn’t unusual, of course, but advance press of this detail in Japan—it didn’t premiere there until nearly a year later in December 1956—suggests just how huge a worldwide star James Dean had become. Sadly, some of that had to do with the fact that he was already dead, killed in a September 1955 automobile crash as Giant was about to wrap. But while nearly all dead celebrities are eulogized as geniuses cut down too soon, Dean is one of the few whose work has actually withstood the test of time. Screen makes room for other stars in this issue, including Audrey Hepburn, who we've posted in panel two. On another note, we’ve shared quite a bit from Screen over the last two years, but if you missed those entries you can see some great covers here, here and here, and see a bit of what's inside here. 

American model and actress Cybill Shepherd, who took cinema by storm in The Last Picture Show and appeared in the hit comedy The Heartbreak Kid, as well as in the defining film Taxi Driver, seen here circa 1973. 

Summer is dwindling in the parts of the world that have actual seasons. As a reminder of everyone’s favorite time of year we’ve searched the internet and cobbled together a collection of thirty vintage images featuring some of yesteryear’s fittest femmes and hommes enjoying the sun, and sometimes each other. If you haven’t had a summertime moment like one of those below, there’s still time. Get to it.

Hush-Hush magazine goes for broke in this issue from August 1963, offering up a slate of tales narrated in their usual breathless style. First, they tell us how Roddy McDowall took nude photographs of Elizabeth Taylor on the set of Cleopatra and tried to sell them, but was thwarted when she “erupted like Mount Vesuvius”. They then demonstrate the limits of their imaginations by telling us that Italian singer Silvana Blasi reacted like “an uncontrollable Mount Vesuvius” when an African-American dancer was hired at the Folies Bergère. Two volcano similes in one issue is bad enough, but the same mountain?

For investigative journalism, Hush-Hush shows us photographs of a dead Carole Landis and an unconscious Susan Hayward, and concludes that sleeping pills are bad. And finally, the magazine stokes the fires of paranoia with two stories: in the first, they explain how Fidel Castro plans to conquer America with heroin, which he’s growing with the help of two-thousand Chinese advisors; in the second, they reveal that the second wife of Dr. Sam Sheppard is a Nazi who plans to revive the Third Reich, and that she’s being helped by—you guessed it—Fidel Castro, who is somehow a communist and a Nazi. Neat trick that.

As we’ve mentioned before, though these stories are laughable, people actually believed them, and believed them by the millions, as evidenced by Hush-Hush’s sales figures. The lesson is clear: the choice between popularity and truth is really no choice at all.

Assorted frolicsome images from Japanese celeb magazines, with “Sharlon” Tate in panel four and Sylva Koscina in panel eleven.     

We could hardly claim to be the go-to site for vintage tabloids if we didn’t include the National Enquirer. This actually isn’t a stretch, because the Enquirer first began publishing during the heyday of vintage tabs in the early fifties, and had published under another name for decades before that. The Enquirer’s paper stock was cheap, its printing low rent, and its use of color rare to non-existent, but the formula worked. Where the expensive tabs dazzled with their kaleidoscopes of color, the Enquirer offered single ideas paired with large, bold images. The formula set the paper apart, and it is the only vintage tabloid that survives today. This issue, with Belgian-born superstar Audrey Hepburn, was published March 3, 1963. 

In this January 1965 issue of The Lowdown, editors take up the cudgel for convicted murderer Dr. Sam Sheppard, who was serving a life sentence for the bludgeoning murder of his wife, Marilyn. Dr. Sheppard claimed that, during the early morning hours of July 4, 1954, he was in his home sleeping on a downstairs daybed, when he awoke to his wife’s screams. He ran to her aid and was attacked by a “bushy-haired man” and knocked out. When he came to he chased the man outside, fought him again, and was again knocked out. When he awoke once more, the intruder was gone and his wife was dead, having been severely beaten and apparently sexually assaulted. Police searched for the bushy-haired suspect, but eventually decided their perp was the good doctor himself. At a trial later that year a jury agreed, and Sheppard was sent up for life.

So you must be wondering why police focused on Sheppard in the first place. It wasn’t just because he was the husband, and his marriage was unhappy. Police investigators are very much like statisticians. Certain types of cases share certain traits, and the more traits a particular case shares with a certain category of cases, the more probable a certain conclusion begins to seem. An example: a home invader will nearly always immobilize the gravest threat first, meaning the man of the house; but in a staged domestic murder the man nearly always, somehow, is overlooked by the intruder, leading to a heroic rescue attempt that fails and results in injuries that are, somehow, never life-threatening. Another example: in a staged domestic murder the man will often remove clothing from the victim to imply that the motive was sexual assault by an intruder; but the rape is never consummated, for obvious reasons.