Vintage Pulp Apr 25 2022
SWEET DREAMS
Who can take a casino, walk in sight unseen, eliminate resistance, and collect up all the green? The candyleg. Oh, the candyleg can.


We just finished our second Ovid Demaris novel. The man could write, and his plot set-ups are compelling too. His 1961 mafia thriller Candyleg, also published as Machine Gun McCain, tells the story of McCain, an Alcatraz lifer, who's unexpectedly paroled and told it's so he can mastermind a Las Vegas casino robbery. Jack Falcon, the young and ambitious boss of the western states, wants the casino robbed because it's run by someone he dislikes. McCain is willing, plus he owes a debt for his release, but he soon learns that there are tricky crosscurrents.

Falcon has no doubt McCain can and will rob the casino, but knowing McCain is too independent to share information, Falcon commands his girlfriend Irene to keep McCain close—as in between the sheets—and report back everything going on. McCain, by the way, is Falcon's father. Why do they have different last names? Daddy issues. In any case, he's sending his girlfriend to lay his dad in order to pry info loose about the heist to relay back. It's precarious, family-wise, but high stakes require extraordinary efforts. Falcon needs the best for the heist, and his dad is the best.

Unfortunately, the controlling interests in the casino, who are all headquartered back east, catch vague wind of something related to their valuable and 100% legal investment, and one of their top bosses comes to town to impress upon Falcon that there can be no turbulence of any sort in Vegas—on pain of death. Absolutely, says Falcon, even as he's sweating the fact that McCain, who wants one big score followed by retirement in South America, has gone off-grid and is unreachable. Falcon is counting on Irene to keep in contact, but will she? She doesn't like her boyfriend nearly as much as she likes his dad.

We recommend this thriller. It has interesting characters, a lean but involving plot, good action, good movement, and a lot of moral ambiguity. In the crime fiction genre, Demaris is top notch. At least so far. We'll see if he can keep his streak going. Oh, and what's a candyleg, by the way? It doesn't have anything to do with Irene, though you'd think so reading the front cover blurb. It means a soft touch, and Irene uses it to describe McCain at one point. It's an interesting term, but she's wrong. McCain isn't soft. He's as tough as they come, and so is Demaris's fiction.
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Vintage Pulp Jun 27 2021
STATE OF EMERGENCY
The mob comes to California and spreads like a virus.


Above you see a piece of atypical Barye Phillips art on the cover of the 1957 crime thriller The Hoods Take Over, written by Ovid Demaris. We call it atypical because Phillips rarely painted in collage style, with multiple figures and elements crowded onto a canvas. In fact, this is the first we've seen of this technique from him, though we wouldn't be surprised if there are others. Working in this way, Phillips' beautiful visual style is simplified to the level of comic book art. We think it diminishes his genius, but hey, we bet it paid just as well as his other covers.

Turning to the story here, the title is perfectly descriptive—organized crime hoods are taking over L.A. But the overmatched cops are given a tool to check the rampant spread of lawlessness when a school teacher witnesses a brutal mob murder and—shockingly—is willing to testify even though it endangers his life. This is an excellent tale with a modern feel and pacing, told in numerous short chapters, and starring an array of characters. It hits the ground running, maintains a strong sense of dread, and never lets the tension abate.

We won't get into the plot too much except to say that we love novels where survivability for the good guys isn't guaranteed, and here you are in no way assured that the protagonists—embodied by that proud but possibly foolish teacher—will win. Will he stick to his principles when the mob comes a-knocking, threatening him and his pregnant wife? Most people wouldn't, but this particular citizen thinks he can make a difference. Because he never fought in World War II he believes the challenge now before him is how he's meant to contribute to the world's hard-won freedom.

The Hoods Take Over isn't a perfect novel. For one thing, its violent and messy ending is a shade on the improbable side, possibly conceived because Demaris felt it was the only way to conclude all his disparate character arcs in economical fashion. But unlikely or not, it's a slam-bang climax, and the book is very good overall. So good, in fact, that we immediately went online and located a couple more Demaris novels, and went way above our usual price ceiling for paperbacks to buy them. Guess we've come down with a bad case of Ovid. 

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Vintage Pulp Jan 5 2016
SHADOW AND FRIGHT
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.

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Vintage Pulp Jun 13 2015
WHEEL OF MISFORTUNE
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 Chiriacka, Robert Bonfils, Robert McGinnis, and many others.

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History Rewind
The headlines that mattered yesteryear.
May 20
1916—Rockwell's First Post Cover Appears
The Saturday Evening Post publishes Norman Rockwell's painting "Boy with Baby Carriage", marking the first time his work appears on the cover of that magazine. Rockwell would go to paint many covers for the Post, becoming indelibly linked with the publication. During his long career Rockwell would eventually paint more than four thousand pieces, the vast majority of which are not on public display due to private ownership and destruction by fire.
May 19
1962—Marilyn Monroe Sings to John F. Kennedy
A birthday salute to U.S. President John F. Kennedy takes place at Madison Square Garden, in New York City. The highlight is Marilyn Monroe's breathy rendition of "Happy Birthday," which does more to fuel speculation that the two were sexually involved than any actual evidence.
May 18
1926—Aimee Semple McPherson Disappears
In the U.S., Canadian born evangelist Aimee Semple McPherson disappears from Venice Beach, California in the middle of the afternoon. She is initially thought to have drowned, but on June 23, McPherson stumbles out of the desert in Agua Prieta, a Mexican town across the border from Douglas, Arizona, claiming to have been kidnapped, drugged, tortured and held for ransom in a shack by two people named Steve and Mexicali Rose. However, it soon becomes clear that McPherson's tale is fabricated, though to this day the reasons behind it remain unknown.
1964—Mods and Rockers Jailed After Riots
In Britain, scores of youths are jailed following a weekend of violent clashes between gangs of Mods and Rockers in Brighton and other south coast resorts. Mods listened to ska music and The Who, wore suits and rode Italian scooters, while Rockers listened to Elvis and Gene Vincent, and rode motorcycles. These differences triggered the violence.
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