|Intl. Notebook||Jun 16 2020|
|Hollywoodland||Oct 19 2016|
Exposé for Men is a new tabloid for us, which is saying something, since we've posted about 350 inside Pulp Intl. You can pick your way through those at our tabloid index. Exposé was originally launched as Sensation by Skye Publishing of New York City. The rebranding came sometime in 1959. This issue, which was published this month in 1960, flogs similar themes as other tabloids, including the blaming of women for rape in an article by criminal specialist Robert Mines where he proclaims that “frequently it's not the perpetrator but the victim of a [sex] crime who is most responsible for it.”
|Vintage Pulp||May 24 2016|
|Hollywoodland||Mar 18 2013|
Sometimes we get a little lazy with our scanning. You already know that. A couple of years ago we shared the cover and two pages from an issue of The Lowdown and discussed the murder trial of Dr. Sam Sheppard. In that issue were some other interesting pages, particularly of German actress Elke Sommer. We had made her our very first femme fatale way back, so we always thought she was amazing, but we gained a new appreciation for her after watching her in Deadlier than the Male. Really, scientists should double-check that global warming didn’t start in 1967, because that’s how hot she is in that movie. Anyway, we realized The Lowdown’s photos of Sommer might not have appeared online before, so we decided to take care of that today. What are those naughty secrets about her, you ask? The Lowdown says she was a swinger before she got married.
|Vintage Pulp||Feb 10 2013|
Anonymous photographer L.W., who produced nice images for September and December, returns this week with another nice glamour shot of an unknown model. Sadly, we still have no idea who L.W. is, and we probably never will, because this is the last of his contributions to Goodtime Weekly, and in fact the entire calendar ends next week. That’s right, we’ve gone through fifty-one images and have one more to go.
Update: Actually, because we scan these pages a few weeks in advance, we forgot that we had some in our hard drive. Next week is not the last week of Goodtime. There are three weeks to go.
|Vintage Pulp||Jan 28 2013|
A few of the contributors to the Goodtime Weekly Calendar of 1963 have been anonymous. This week we have another mystery photog (or perhaps the same single person who shot all the anonymous photos), and an image of an unknown model paired with a winged statuette. The anonymity of the photo dovetails with the provenance of the sculpture, which is a miniature of the Greek statue Winged Victory of Samothrace, a representation of the goddess Nike carved by an unknown artisan sometime in the second century B.C. But deities inevitably lose their power, and at some point someone looked at the goddess of victory, sneered, “Loser,” and pushed her over, rendering her armless and headless. But you’re just looking at the boobs behind the statue, aren’t you? Fair enough. So are we. Like the Greeks, we’re sensual that way.
|Vintage Pulp||Jan 6 2013|
We’re back on schedule with Goodtime Weekly and a page for today in 1963 featuring none other than Jayne Mansfield, who's making her third appearance for the calendar. After being lensed twice by Bernard Wagner, here and here, British photographer David Hurn gets a shot. We love the pose because it looks like she’s signaling a touchdown or a field goal—appropriate this first weekend of playoff football in the U.S. (which is something we can watch live thanks to the wonders of the internet). We doubt Hurn was thinking of sports when he suggested the pose. More likely he simply said, “Um, Jayne, I can’t see your breasts with the fabric bunched up like that. Can you raise your arms? Higher? Perfect.” The result was an image that’s quite famous, which is to say, it’s one of only three from the calendar that we’ve seen before. That doesn’t surprise us. Hurn is a significant photographer who shot everything from political events to the Beatles, and is still kicking around today. He also shot this amazing image of Jane Fonda for the film Barbarella. Okay, we're off. Enjoy the games, everyone.
|Vintage Pulp||Apr 7 2012|
Our fifth installment of the Good Time Weekly Calendar of 1963 features a model that is damnably familiar, but we just can’t come up with her name. We can tell you she was shot by renowned pin-up photog Ron Vogel, if that helps. Love the ornamental wine decanter, by the way. The week’s quips are below, and for a change a couple of them are actually clever.
Apr 7: “Girls who accept rings from men they don’t know are telephone operators.”—Sam Cowling
Apr 8: Why girls kiss and make up? Because the stuff rubs off.
Apr 9: Think now or pay later: Are your in-laws legalized charities?
Apr 10: “It doesn’t take much for a girl to hook a guy: He usually supplies the line himself.”—Tom Poston
Apr 11: “To a smart girl men are no problem—they’re the answer.”—Zsa Zsa Gabor
Apr 12: Three more days to decide either the debt is going to be the U.S.’s or yours.
Apr 13: “He who will gladly listen to both sides of an argument is a neighbor on the party line.”—He-who Who-he
|Intl. Notebook||Feb 22 2012|
At the end of last month we posted a few images of Bettie Page that hadn’t appeared online before. They came from an issue of Carnival we were too lazy too scan in its entirety at the time. Today we have the rest of that great issue, vol. 1, no. 2, published out of Chicago, U.S.A. by Hillman Periodicals, who were the same people behind the magazine Show. The cover star is burlesque queen Lilly Christine, aka The Cat Girl, and she reappears in all her wild-eyed glory in a photo set we've placed at the very bottom of this post. We’ve seen at least two of those photos before in other magazines, however Carnival claims it was an exclusive set, shot especially for them, and indeed, that could be true, since theirs appeared before the others we saw.
After a peek behind the scenes of the Miss Universe pageant, readers get a profile of Ernest Hemingway’s most recent trip to Spain. Hemingway was visiting the Festival of San Fermin in the Basque Country town of Pamplona in order to see how his favorite sport of bullfighting had fared in the years since he’d last visited. Since the text in these digest-sized magazines scans large enough to be legible, you can read whatCarnival says about the famed festival yourself. We will note, however, that the writer’s description of Pamplona as dull when San Fermin isn’t happening is wrong. Spain in general, and the Basque Country in particular, are never dull. Trust us—we’ve spent a lot of time there. If you’re interested, you can read our firsthand observations of San Fermin here and here.
Carnival next presents readers with photos of dancer Nejla Ates, whose short set begins just below. We first saw one of these shots in an issue of Uncensored dating from June 1954, but once again Carnival seems to have gotten there first—their photos are from 1953. Ates, who for some reason often appears online unidentified, was Romanian born ofTatar descent, and danced her way through Cairo, Rome, Paris, and London, before finally gaining international fame in New York City. She appeared in three American films during the 1950s, and was the go-to cover model for Middle-Eastern and bellydancing themed album sleeves, but despite her successes suffered the usual slate of dead end affairs and romantic heartbreaks with such men as, among others, Billy Daniels, George Sanders, and Gary Crosby.
Following Ates is a photo feature on American actress and party girl Barbara Payton, who burned a swath through Hollywood during the 1950s, bedding co-stars, feuding with her studio, and generally raising a ruckus before eventually drifting into prostitution and dying at age thirty-nine of heart and liver failure. She’s described here as possessing the “assets of Hedy Lamarr, Jane Russell and Marilyn Monroe” all at once. Not sure about that, but we'll be finding out more about her later, because we will be examining her very pulpish life story in detail.
Next you get a great close-up photo of Jersey Joe Walcott having a disagreement with Rocky Marciano’s fist. Does that shot also look familiar? Perhaps because it was the cover of a January 1953 National Police Gazette. We had no idea that the fight was considered controversial at the time. Apparently, many thought Walcott took adive. Since this photo is of the actual the shot that sent Walcott to the canvas, we have to respectfully disagree. It’s lights out, and anyone can see that. In any case, you can take a gander at that Gazette cover and learn a bit about Marciano and Walcott here.
A few more treats: panel 24, just below, contains a hot shot of Marilyn Monroe at a charity baseball game; panel 26 features actress Sheree North, who doesn’t look very impressive, which means you shouldclick over to our lovely femme fatale post on her here and get a sense of what a knockout she really was; and lastly, in panel 28, above, you get a killer shot of Zsa Zsa Gabor, who, believe it or not, was already nearly forty at the time and had been married three times on the way to her final tally of nine.
Looking at all these pages and visiting the accompanying links, you perhaps get a sense of how the mid-century tabloid industry was fueled by handout photos, with all the publications using the same shots but concocting editorial angles to create the illusion that the images were exclusive. But in Carnival’s case, it does seem to have published many of these images first. It billed itself as “a magazine of excitement”, and we have to agree. It’s also a magazine that, because of its tightly bound construction, we had to destroy in order to scan. But even though this particular issue of Carnival is now only loose leaves scattered across the room, there are other issues out there, and we’ll have some of them later, hopefully.
|Vintage Pulp | Politique Diabolique||Nov 25 2010|
How times have changed. Could one of the most brutal killers in the world openly hobnob with the Hollywood set today? We doubt it. But back in the day, a few rumors of murder only bolstered a man’s adventurous reputation, as proved by this November 1958 Whisper showing Rafael “Ramfis” Trujillo, Jr. charming Zsa Zsa Gabor and Kim Novak. One or both women, you may notice, actually appear courtesy an X-acto knife and glue, but what self-respecting tabloid has time to locate a legit photo when paste-up will do the job almost as well? Trujillo did date and bed both Gabor and Novak in real life, which makes this cover technically accurate, and makes him the second most enviable Dominican jet-setter in history.
Ramfis Trujillo reportedly gave most women that frisson some find irresistible, but his life wasn’t all starlets and champagne. Though he wanted nothing more than to be a playboy, there was an obstacle in the form of family baggage. Specifically, his father was a sadistic military dictator who had been put in power in the Dominican Republic by the CIA. Trujillo, Sr. expected his son to continue in the family business. This had been abundantly clear to Ramfis since the day his father made him a full general—with full pay—at age nine. For this and other reasons, he grew up with a warped sense of power and by the time of this Whisper cover had already ordered several murders and indulged in the occasional gang rape. He might have been considered a classic chip off the old block, save for rumors that Ramfis’s father was actually a Cuban named Rafael Dominicis—hence the “illegitimate dastard” tag in the banner. But the story about Ramfis being illegitimate was strongly denied by everyone involved (except Dominicis, who “disappeared”).
In any case, through the late fifties Ramfis tomcatted his way from Hollywood to Paris, and only occasionally let his urbane manner slip to reveal someone considerably less charming beneath. He seemed to have settled into his chosen lifestyle permanently when he married an actress named Lita Milan, below, who had starred opposite Paul Newman inThe Left-Handed Gun. But back in the Dominican, the impulsive Rafael Trujillo, Sr. was behaving less and less like the good lap dog the CIA had put in charge three decades earlier. Eventually, his U.S. benefactors turned against him and he died in a fusillade of possibly CIA-arranged bullets.
Junior succumbed to the pull of familial duty, as well as the desire for revenge, and flew back to the Dominican to restore order. This involved personally killing some of the participants in his father’s assassination. While this must have given him great satisfaction, it did little to stabilize the country. Under pressure from both internal enemies and the U.S., Ramfis Trujillo fled to Spain less than a year later with a casket containing millions in cash, jewels, bonds, and his father. By 1969 he was dead too, due to complications stemming from an automobile accident. In the end he presents an interesting question of nature versus nurture, i.e. was he meant to be a ladykiller, a real killer, or both?