Vintage Pulp May 16 2022
DEVIL OF A PROBLEM
Her situation is already bad, but as it unfolds it gets even worse.


A woman in a dire situation stars on this cover for Jack Leech's 1963 sleaze novel Satan's Daughters (interestingly, while Leech is credited as author on the outside, John Trimble gets credit inside, so take your pick). The artist here is Bill Edwards, and this is another foldout effort he painted for Europa Books. We love these things, but we wish there were more. As we mentioned previously, there are probably only five.

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Vintage Pulp May 15 2022
STACKED DECK
You ever get the feeling the game is rigged?


Above is a 1950s Technicolor lithograph with an unknown model losing her shirt and more in a poker game. The litho is titled “Out of Luck,” and it came from the company KLM. There are about eighty of these in the site, but we have a few favorites. See if this selection doesn't grab you: here, here, and here.

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Vintage Pulp May 14 2022
CLOSING TIME
Gosh, another broken down wreck of a man. Well, tonight I'm not being picky, so get your game face on, champ.


Georges Simenon was an incredibly prolific author who wrote two hundred books, starting at age seventeen, striking gold in 1931 when he invented the character of Inspector Jules Maigret. While he rode the honorable inspector like a sturdy horse for scores of outings, he also made the occasional splash with stand-alone books such as Four Days in a Lifetime, which you see above. It was originally published as Les Quatre Jours du pauvre homme in 1949, and is a tale narrated in two sections about lowly François Lecoin, who starts with little but achieves success via underhanded and amoral means. It's a rise and fall story, and a particularly turbulent one. The Signet edition came in 1953 with cover art by Stanley Zuckerberg.

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Vintage Pulp May 13 2022
TRUE, DETECTIVE
This club is boring. I think we should let a few criminals join.


Above: a cover for Le club des détectives from Librairie Hatchette, 1947. The author, credited here only as Berkeley, is British writer Anthony Berkeley and this is a translation of his 1929 novel The Poisioned Chocolates Case. Berkeley's franchise detective Roger Sheringham has an informal club called the Crimes Circle where he and several pals regularly examine cases unsolved by Scotland Yard and try to deduce a solution. It's all fun and games until Sheringham recieves a box of chocolates, but gives them away, leading to a club member's wife being poisoned to death. Sheringham also wrote as Francis Iles and A. Monmouth Platts, and published more than a dozen novels. Owing to the time period, those books don't generally have the type of art that attracts us, but this French cover caught our eye.

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Vintage Pulp May 12 2022
AN EXTASE TRIP
Pack light and leave your inhibitions behind.


This poster was made in Liege, Belgium for the romantic drama Extase, starring Austro-Hungarian beauty Hedy Lamarr. Based on a novel by the Vienna born author and actor Robert Horký, the film opened in Belgium today in 1933, after having premiered in then-Czechoslovakia as Ekstase in January of that year. It isn't a pulp style film, but it's significant, which is why we had a look. It's about a young upper class woman in an unfulfilling marriage who solves that problem by acquiring a sidepiece in the form of a worker played by Aribert Mog. This results in some steamy moments and—some viewers say—the first orgasm ever depicted onscreen. “Some viewers” are right. There's no doubt. In the midst of a nocturnal tryst Mog's head and torso slide off-frame, as Lamarr breathes more and more heavily before finally grimacing in lovely fashion and snapping her string of pearls.

Yeah, this is hot stuff for 1933. And we thought everyone was having a great depression. Shows what we know. If the title Extase doesn't tell you what's going on, consider the fact that Hedy's character is named Eva, and Mog's is named Adam. It's that kind of movie. In a way, an orgasm was inevitable. Lamarr also captures moviegoers' attention with a nude swim and sprint through the fields that occurs about twenty-eight minutes in. Why's she running around starkers? Her mare Loni decides to get herself some equine action and abandons Hedy—taking her clothes along for the ride. Always make sure to tie your mount to something, especially when it's horny. Lamarr really is naked in the scene, too, which few modern performers would do in this age of new puritanism. It's thanks to this run through the wild that she meets Mog, the eventual master of her clitoris, if not her heart.

Extase isn't a silent film, but it's close. There's a lot of orchestral music and only a dozen or so sections of dialogue. Even so, it's very watchable. The visuals tend to be laden with meaning in films such as these, but some scenes require no interpretation at all, like the bit where a couple of horses mate (not Loni and her love, sadly). They don't show it of course, but the crash zoom of a mare's backside from the point-of-view of the stud horse gets the idea across with remarkable subtlety—not. It was hilarious, actually. But hey—even horses feel extase, because it's just a natural thing, see. On its own merits we'd call Extase more of a curio than a cinematic triumph, but it certainly achieves what it sets out to do, and that's success of a form, even if it would be forgotten without the orgasm. But that's often true, isn't it?
Loni! Come back, you stupid horse! That jumpsuit doesn't even fit you!

Why hello, lovely naked creature.

You rude beast! Try taking a picture. It'll last longer.

Already done. With my mind. Deposited you right in the spank bank.

Bank— What? Spank what? Oh, never mind. Give me my clothes.

Objectify me, will you? Two can play that game. Duh... nice package! Duh... I'm an idiot!

Thanks. And you're not an idiot—many women agree with you about my package.

No, I'm objectifying you, like you did to me.

Like a sex object. I understand. That's cool. I love sex.

No, I mean I'm debasing you via the reduction of any unique and admirable qualities you might have down to the purely phy— Oh, forget it! You're too dumb to understand.

Oh... oh... oh! It's true he lacks... formal education...

But he sure knows how... to make a girl... SNAP HER PEARLS!

*sigh*

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Vintage Pulp May 11 2022
GILDA COMPLEX
She's okay when she's good but she's better when she's bad.


How could we not buy a book called Gilda? Rea Michaels' 1964 novel, with its uncredited art of a woman who looks like a burlesque dancer, is obviously not related to the classic film noir, but we figured anyone who'd appropriate the title probably wrote something interesting. Well, it's that, alright. Basically, a film director named Marc Sanders who drank away his career locates a good script and attempts a comeback, but there are several problems: the only financial backing he can garner comes from a gangster, he can't get a distribution deal, and he has creative differences with the screenwriter.

Then there's Gilda Moore, who has also fallen on hard times and convinces him to let her star in the movie. She's a sex addict and is almost guaranteed to sink Sanders' chance for professional redemption, but she's also inexpensive and talented. Can he actually make a good movie with a star who consumes male crewmembers like oatmeal cookies? Though Michaels is no literary wiz, everything she does here works, particularly the way she writes the film's mounting problems. Those reach absurd proportions, even to the extent of a location shoot causing a riot. On the negative side, Gilda is tame for a book that bills itself as sleaze, but that's okay—we've read far worse.
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Vintage Pulp May 10 2022
BAD DREAMS
Ever wake up but feel like you're still having a nightmare?


In vintage crime fiction getting the hero laid—or at least having the opportunity arise—is almost a mandatory requirement. The main character of Evan Hunter's, aka Ed McBain's, 1952 novel The Evil Sleep is a heroin addict who, at a certain point, has had cold and hot sweats all day long, hasn't showered, shaved, or brushed his teeth, yet manages to get laid by a clean, beautiful woman. This was a dead giveaway that she was shady, and dead giveaways in mysteries are something authors should avoid. Even so, The Evil Sleep is an interesting book. It's about a junkie who wakes up with a corpse, and must dodge the police, find the real murderer, and get a fix, or somehow keep his shit together without one. It was later published as So Nude, So Dead. The cover you see here, which is unattributed, came from an auction site. Our copy, which came cheap as part of a lot, is basically coverless. By which we mean the femme fatale was cut completely out, probably to end up as part of some high-school art student's collage that has long since gone to a landfill. Very naughty. If you want to buy this in good condition the price might run $400. That's even naughtier. 

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Vintage Pulp May 9 2022
ANYTHING FOR AVA
In The Killers she's absolutely to die for.


We've shared Swedish, French, Australian, and U.S. promo art for The Killers over the years. But there was more than one U.S. poster, and you see an alternate version above, a nice crimson effort that has no artist credit. You already know the plot of this film, so we won't rehash it, but we wanted to single out something we love about film noir—the spectacular entrance of the femme fatale. Remember Rita Hayworth's first screen moment in Gilda? “Gilda, are you decent?” “Me?” That might be tops. Lana Turner in The Postman Always Rings Twice, those white shorts and that weird headwrap. Lauren Bacall in To Have and Have Not. “Got a light?” There are many others, and men sometimes get good entrances too, but Ava Gardner's first moment in The Killers, sitting at a piano in a swank Manhattan apartment, with that light—you know the light we mean—glowing on her face, is another great example. Then she gets a song. You gotta love it.

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Vintage Pulp May 7 2022
YOU NEED ONLY AXE
Bad news, I lost the key. But before I was a kidnapper I was an orthopedic surgeon, so foot reattachment is no problem.


Above is another vibrant cover for Adam magazine, this one from May 1968, uncredited as always but painted by Phil Belbin or Jack Waugh. The pair did the bulk of the illustrations for the magazine, but it's not possible—for us, at least—to determine who was responsible for which pieces, because they worked in a similar style. On the occasions Belbin bothered signed something it wasn't only as himself—sometimes he signed as Duke, Pittsburgh, Humph, or Fillini. Waugh, as far as we know, was always Waugh. We've now uploaded more than seventy issues of Adam (we haven't done an actual count for a couple of years) and we'd say signatures appear on maybe one of every ten illustrations. Waugh's scrawl pops up here in the art for the H.M. Tolcher story, “Prize Sucker.”

The cover illustrates the Joachim Heinrich Woos story, “The Danger Behind,” which is is about a man walking through the woods at the exact moment some rural cops and a heavily armed posse are looking for men who robbed a bank. The robbers shot the guards and several police. Blinded by a lust for revenge, the mob mistakes the innocent hiker for one of the killers and chases him over hill and dale with the intent to end his life. He escapes by rowboat only to drift downriver and run into one of the real crooks, who's chained up a hostage and has bad ideas as well as an evil temperament. It's a decent story from Woos, who also wrote for Pocket Man, Argosy, Off Beat Detective Stories, Adventure, and Manhunt. We have thirty-three scans below.
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Vintage Pulp May 6 2022
THE OTHER HALF
Part of me really loves nature and solitude. But then part of me wants a frappuccino and a cheese danish.


Frisco Dougherty is back, and as impressed with himself as ever, if we judge by how many times he refers to himself in the third person. Last seen in 1951's Jewel of the Java Sea, he's still knocking around Indonesia in 1960's The Half-Caste, eternally seeking the big score that will earn him enough money to escape the tropics for San Francisco. His newest chance comes in the form of a trio of Americans who have arrived in Java to repatriate the bones of an anthropologist who died in the jungle. Dougherty suspects the coffin they plan to recover contains not a body, but a treasure, and formulates a complicated plan to steal whatever is inside. He follows the group into deepest Borneo, funded by the Wuch'ang crime cartel, who he also plans to betray.

There are two main positives to The Half-Caste. First, the exotic setting mixed with deep background concerning the Dutch East Indies evolving into an indepedent Indonesia influenced by a rising China is interesting; and second, the contents of the coffin are a clever surprise. Overall, though, we considered the book an unworthy sequel to Jewel of the Java Sea. Dougherty always verged on caricature, but now he's fully up that river. While still calculating, bigoted, chauvinistic, and pervy, he's bereft of charm, which used to be his saving grace. We suspect Cushman wanted to show how the tropics had decayed Dougherty's psyche since the first book, but he comes across too unsympathetic. It feels as if Cushman returned to the character unwillingly.

As for the half-caste of the title—Annalee, aka Sangra Brueger—she's one of the trio of coffin seekers, but because Dougherty spends nearly the entire book tracking the group from afar, she's barely in the narrative physically until the last forty pages. Dell Publications used Annalee's meager presence, with an assist from Robert McGinnis cover art, to lure readers, but it's a slight misrepresentation. The book is basically all Dougherty, along with his two male partners. During the era of good girl art there were nearly always women on paperback covers, no matter how flimsy the rationale, so you have to expect this sort of thing. We can't really complain, because certainly, the art is brilliant. We're happy to have it.
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History Rewind
The headlines that mattered yesteryear.
May 16
1918—U.S. Congress Passes the Sedition Act
In the U.S., Congress passes a set of amendments to the Espionage Act called the Sedition Act, which makes "disloyal, profane, scurrilous, or abusive language" about the United States government, its flag, or its armed forces, as well as language that causes foreigners to view the American government or its institutions with contempt, an imprisonable offense. The Act specifically applies only during times of war, but later is pushed by politicians as a possible peacetime law, specifically to prevent political uprisings in African-American communities. But the Act is never extended and is repealed entirely in 1920.
May 15
1905—Las Vegas Is Founded
Las Vegas, Nevada is founded when 110 acres of barren desert land in what had once been part of Mexico are auctioned off to various buyers. The area sold is located in what later would become the downtown section of the city. From these humble beginnings Vegas becomes the most populous city in Nevada, an internationally renowned resort for gambling, shopping, fine dining and sporting events, as well as a symbol of American excess. Today Las Vegas remains one of the fastest growing municipalities in the United States.
1928—Mickey Mouse Premieres
The animated character Mickey Mouse, along with the female mouse Minnie, premiere in the cartoon Plane Crazy, a short co-directed by Walt Disney and Ub Iwerks. This first cartoon was poorly received, however Mickey would eventually go on to become a smash success, as well as the most recognized symbol of the Disney empire.
May 14
1939—Five-Year Old Girl Gives Birth
In Peru, five-year old Lina Medina becomes the world's youngest confirmed mother at the age of five when she gives birth to a boy via a caesarean section necessitated by her small pelvis. Six weeks earlier, Medina had been brought to the hospital because her parents were concerned about her increasing abdominal size. Doctors originally thought she had a tumor, but soon determined she was in her seventh month of pregnancy. Her son is born underweight but healthy, however the identity of the father and the circumstances of Medina's impregnation never become public.
1987—Rita Hayworth Dies
American film actress and dancer Margarita Carmen Cansino, aka Rita Hayworth, who became her era's greatest sex symbol and appeared in sixty-one films, including the iconic Gilda, dies of Alzheimer's disease in her Manhattan apartment. Naturally shy, Hayworth was the antithesis of the characters she played. She married five times, but none lasted. In the end, she lived alone, cared for by her daughter who lived next door.
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