It was a good thing for its readers Hush-Hush didn't know the meaning of the term.
No, we're not going to get into teen-age rapist story that dominates this cover of Hush-Hush published back in January 1965. Though based on a real occurrence, the article is titillation disguised as crime reporting, written during an era when many men thought of rape in one of three ways: vandalization of personal property if the victim was his wife or girlfriend; an attack on the family castle if she was a relative; and she asked for it, which was reserved for most other women. We stress “many men,” not all. From what we gather the majority properly saw it as a heinous attack on the woman. Of course, the vicious nature of it didn't stop it from being widely used as a cinematic and literary device, but that's another discussion, one we've already had and doubtless will again.
Elsewhere on the cover you get photographic proof that topless bathing suits really did exist during the 1960s. There are only a few photos of the things, but Hush-Hush adds to the library of visual confirmation. Now we need proof of the existence of David Dodge's completely backless cache-sexe that made women look nude when viewed from the rear. He says they were worn on the French Riviera during the 1950s, but we have a feeling proof won't be forthcoming anytime soon, absent a time machine and careful coordinates. Lastly, the cover's bottom banner touts wife swapping. How popular was this practice? We can't know. We suggest asking your grandma. But first compliment her cooking: “This casserole is delicious, gram-gram. Did you and paw-paw ever screw other married couples for kicks? Can I have more peas?”
The next article we want to call attention to is, “How Do Tahitian Beauties Drive Men Wild?” Vintage novels that waxed pornographic about the sexual attitudes of Pacific Islanders were almost an official sub-genre, so this story was a must-read for us. And for you too, which can do below. At least mostly. We couldn't upload the entire thing. It's too long, but there's enough to give you the gist. And the gist is simply that Tahitians apparently had no taboos concerning sex, partners, and privacy. The story is framed around alleged trysts with various Hollywood stars, and how Hush-Hush avoided lawsuits from those stars is really a mystery. You'll be entertained. We will say, though, that it's rather unfortunate that the story is couched in insulting terms toward Tahitian women.
As a final note, Hush-Hush used a cheaper printing process and lower quality paper than other publications from the same rank. Those two aspects of the magazine worsened as time passed. By 1965, it was barely a step above the National Informers of the world in terms of technical values. Because of that our scans aren't great. The cheap printing resulted in a scanner moiré pattern on most of the black and white content (though the color came out fine). It's actually fixable in Photoshop or Gimp, so we hear, and we have both programs, but do we want to do all that work for cheap-ass Hush-Hush? We decided we didn't. Therefore, what you see is what you get—twenty-plus scans below.
He doesn't have a hook for a hand yet, but he's always practicing for that day.
The first thing to know about Naked Paradise is that it's an early Roger Corman movie, made by Sunset Production and distributed through American International Pictures, companies he helped establish. Corman also directed, so it's safe to say he had near-total control of the movie on and off the set. While he's made some real stinkers over the years, by his standards Naked Paradise isn't terrible. That doesn't mean its good. It's still laughably dopey in parts, the type of movie you can riff on from start to finish, but narratively it hangs together reasonably well and a couple of the actors practice their craft with competence.
Plotwise, three criminals led by Leslie Bradley travel to Oahu disguised as pleasure cruisers to try lifting a massive pineapple and sugar cane plantation's payroll. Their escape is via the same method as their arrival, unbeknownst to their boatmates, who at first are too busy sunning themselves and romancing to realize there are three dangerous criminals in their midst. Tensions between the boat's captain Richard Denning and the crooks soon come to a frothing head when the lead heister and his arm candy Beverly Garland acrimoniously split from each other.
The group are then stuck together during a tropical storm, a plot turn which brings to mind Key Largo. In fact we can hear screenwriter Robert Wright Campbell's pitch to Corman: “You see, it's Key Largo, sandwiched on one side by deep backstory showing the audience why Johnny Rocco and his henchmen are on the run, and on the other by an extended aquatic climax.” That's exactly the movie Corman made, though doubtless done far more cheaply than Campbell ever envisioned.
Corman has a genius for conjuring final results that are better than their shoestring budgets should allow, and he certainly is an unparalleled wrangler of nascent talent. He's given opportunities to directors such as Coppola, Demme, Scorsese, and Ron Howard, and performers like Jane Fonda and William Shatner. If there's such as thing as a pulp filmmaker he's the guy. His stories nearly always aim for the gut by focusing on action with a hint of innuendo, and rely upon the most standard of cinematic tropes. Naked Paradise is quintessential Corman. Is it good? Not really. But it's certainly watchable. It premiered this month in 1957.
It was the Whisper heard from coast to coast.
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.
As it turned out, that number was wildly inaccurate, but never let the truth get in the way of perfectly cooked, juicy tabloid outrage. A quote appeared in nearly every story about the murder: “I didn't want to get involved.” New York City—where the crime occurred—and other metropolitan centers were criticized as uncaring places. Author Harlan Ellison, who at that time was writing urban crime fiction, weighed in, saying, “not one of [the witnesses] made the slightest effort to save her, to scream at the killer, or even to call the police.” Peak outrage was achieved by New York State Supreme Court Justice J. Irwin Shapiro when he expressed a desire to execute Moseley himself. In the end, Moseley wasn't executed at all. He died in prison in 2016 at age eighty-one.
Elsewhere in Whisper, you'll notice that the magazine is—unsurprisingly, given the time period and nature of the publication—antagonistic toward gay men, as demonstrated by the panel with the blaring text: “Who's Queer Asked the Peer?” But what is a surprise is that later in the issue the editors run a detailed piece on transvestites and transsexuals, and the approach is very different than the contempt shown toward homosexuality. As we've pointed out many times before, mid-century tabloids had a deep interest in trans issues. The story is titled, “A Doctor Answers What Everyone Wants To Know About Sex Change Operations.” The tone is as follows:
The condition he referred to was the common plight of all male transsexuals. Physically he was a man, but emotionally and personality-wise he was a woman, a condition that made it difficult to find successful employment, and to live at all happily. Fortunately, in his case, he had a lawyer and a wise judge who were able to help him in his wish to go to Europe for a sex change operation so that his body could be brought into greater harmony with his mind, and enable him to work and live with a degree of happiness he had never known before.
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.
Inside Story goes where other tabloids tread—then claims not to have gone there.
It's been a few years since we posted an issue of Inside Story, but we don't run out of tabloids, we just run out of time to scan them. Today, though, there's time aplenty, so above you see an issue that appeared this month in 1963 with a cover touting a feature on the new generation of young actresses in Hollywood taking over from Brigitte Bardot, Kim Novak, and Marilyn Monroe. At the time, Bardot was twenty-nine and Novak was thirty-five. Those aren't exactly geriatric years for actresses, even back then, but Inside Story said there was a young new guard: Angie Dickinson, Ann-Margret, Jane Fonda, Connie Stevens, Tuesday Weld, and Julie Newmar. Dickinson was actually older than both Bardot and Novak, but we get the general point.
Later in the issue there's a story dedicated to Monroe that describes her fans as a death cult. The interesting aspect of this is that the author Kevin Flaherty accuses people of obsessing over Monroe—while himself obsessing over Monroe. The gist of his article is that a cottage industry of films, books, and magazine articles were cashing in on her suicide, which had occurred the previous August. This was, of course, shaky ground for any tabloid to tread upon, as they all made their profits via unauthorized articles about various celebrities, which one could define as exploitative by nature. But never let the facts get in the way of a good story angle.
Flaherty tells readers that Monroe's life was marred by abandonment, depression, and rape, and suggests that if she had been given a little peace by constantly clamoring fans and intrusive reporters she might not have taken that fatal dose of pills. We think it's just as valid to conclude that without stardom she wouldn't have lasted as long as she did. Since she isn't around anymore to speak for herself (she'd be ninety-six this year), we view her on the terms she chose. She started as a model and worked hard to become an actress, and we think those achievements are far more important than what she had no control over. But there will always be debate over Monroe's legacy, and Inside Story shows that the discussion was already in full swing. Twenty-plus scans below.
Portrait of the actress as a young woman.
This Warner Brothers promotional portrait of U.S. actress Jane Fonda was painted by Italian master Angelo Cesselon for her 1960 film Tall Story, which premiered today in 1960 and later played in Italy as In punta di piedi. It's an amazing piece, and we especially like the green hair and eyebrows. Cesselon produced several of these featuring various stars of the period. We may share those later. We've already shown you plenty of his posters and paperback covers. To see those, just click his keywords below.
She was one of the most watched people in the world—onscreen and off.
Whisper magazine, in this issue published this month in 1961, offers readers an interesting story about an unnamed millionaire's obsession with Ava Gardner. Apparently the millionaire hired people to follow Gardner around 24/7, all over the world, and report back to him, with this surveillance going on for years. The purpose? If he couldn't have her, he at least wanted to know what she was doing. Whisper focuses on a particular spy named Bill, the fourth of four spies employed by the millionaire, who Gardner came to be friends with and let live on her property, rather than have to sleep in his car night after night. Is this tale true? Maybe. Money buys a lot—including tolerance for bad behavior.
And speaking money, there's also a story on gangster Mickey Cohen, who counted among his consorts Liz Renay and Candy Barr, both of whom we've discussed, Renay here, and Barr here and here. Barr has also shown up in five magazines we've posted. The easiest way to see those is click her keywords and scroll. Cohen proves that no matter what people try to tell you, money is an aphrodisiac, because there's no way trolls like him could score beautiful dancers and models if it weren't for wealth. Take a look at the worst man in the world, and if he has money, he has a wife far more beautiful than makes sense.
Whisper goes on to talk about Burt Lancaster's and Charlie Chaplin's lovers, teen-age drunks, Soviet honeytraps, U.S. prisons, Jane Fonda's professional and family lives, and more. It was a Robert Harrison publication that morphed from a cheesecake magazine with painted pin-up covers into a gossip rag. That happened around 1954, when the original Whisper, launched in 1946, began going broke thanks to an inability to compete with girly magazine numero uno—Playboy. But there was plenty of room in the tabloid market and Harrison made Whisper a staple monthly on par with Confidential, his flagship publication. We'll have more from Whisper later, as always.
All the best people showed up.
The West German pop culture and celeb magazine Party, which was produced in Hannover by Lehning Press, is an obscure publication. It's very vivid, with bright color, many full page photos, and many film celebrities represented. Equal time is given to unknowns too, for example, the cover features Annelies Niessner, who was... we have no idea, and inside a color page is given to Cornelie, identified only as a “millionärstochter geht eigene wege,” a millionaire's daughter who goes her own way.
In terms of celebs you get Carol Lynley, Jane Russell, Sandra Dee, Stella Stevens, Laya Raki, a beautiful portrait of Jane Fonda, numerous shots of Ursula Andress, and many others. This publication didn't waste words, even on the copyright date. The cover tells us this is issue eight, so we're going to say it came in August, and we're thinking it's from 1967. Though it may be short on info, Party is an appropriate name, because it's a very fun magazine. We have several more issues, so look for those later.
She's light years ahead of her time.
Pretty much every promo poster for Barbarella has been uploaded to the internet at this point, but this one is at least a bit rare. We aren't saying you haven't seen this shot of Jane Fonda in a fur coat before, but we sure hadn't. No need to write more about a movie that has been thoroughly covered by everyone and their nephew, so we'll just let the image speak for itself. And what the hell—we'll even add a few more below for good measure, with Fonda trying out a different ray gun in each. Barbarella, the best sex adventure ever set in the 41st century, opened in the U.S. today in 1968.
Getting down to the fine details.
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.
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