#50s sexploitation

[atomic-chronoscaph]

Betrayed (1955)

[atomic-raunch]

Pat Barrington in Sisters in Leather, 1969

[theartisticendeavor]

Vintage Paperback - Burial Of The Fruit by David Dortort

Avon (1951)

[lastchancevillagegreen]

Count Al-Kum (1971) d. None Listed (aka Dennis Ray Steckler)

Please, make it go away.  No more Steckler porn, no more Steckler anything.  (I still have seven more films in this box and one of them is four hours long.)

And yes, this is another film that had no poster nor opening credits.  I should have used a shot of him creeping up on an unsuspecting woman on his tippy-toes as if he were in a Looney Tunes cartoon.  Honestly, I’d rather sit through Doris Wishman’s Nudie Cuties again than have to suffer the indignity of Steckler porn.  After this box, I can say I’ve seen all the sexploitation I will ever need to see for the rest of my days on Planet Earth. 

And believe it or not, Jerry Delony, who is Count Al-Kum and Dr Cock-Luv is also in Richard Linklater’s Slacker (”Been on the Moon Since the 50's”)!                        

[tilbageidanmark]

Movies I watched this week #64

Honeyland, the only film ever to be nominated for Oscars in the two categories, for Best Foreign Film and for Best Documentary Feature. A story of an old beekeeper of wild bees, who lives alone in a remote Macedonian village with her bed-ridden mother. 100% Fresh on Rotten Tomatoes - Best film of the week.

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The Tale of the Princess Kaguya, a magical Ghibli Studio adaptation based on an ancient Japanese folklore story from the 9th century. It tells of a moon princess discovered as a baby inside the stalk of a glowing bamboo plant. The last film directed by Isao Takahata, with music by Joe Hisaishi.

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Helvetica, a 2007 documentary about the ubiquitous Swiss typeface, in connection with the 50 years since it was introduced. For the 15 anniversary of the movie, it is now shown for free at the link above. What does the font say about graphic designers who use it?

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Faster, Pussycat! Kill! Kill!, My first Russ Meyer. John Waters said, "This Is, beyond a doubt, the best movie ever made. It is possibly better than any film that will be made in the future." But I’m not sure about this strange, low-budget sexploitation tale of sex, violence, and fast cars. With the exceptional Tura Satana, and her go-go dancer friends out on a killing spree in the California desert. Pure kitsch. (Photo Above).

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Los Angeles X 2:

🎦🎦🎦 Los Angeles Plays Itself, a lengthy, meandering 2003 video essay by film professor Thom Anderson, about how local filmmakers presented LA in their films through history. Many salient points about representation, with hundreds of clips from all genre movies. His interpretations are often nonsensical or incomprehensive (to me). After living there for decades, it’s nice seeing landmarks and locals that are not as ‘famous’ as some others. . 

🎦🎦🎦 L.A. Confidential, stylish adaptation of James Ellroy’s neo-noir about police corruption in 1953, part of his LA quartet, and headed by 3 Australian actors. But did any of this corruption end? Of course not.

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From Andrew Saladino, AKA The Royal Ocean Film Society on YouTube, the essay How Alfonso Cuaron directs a one-shot.

Also, Why Molly's Game is Aaron Sorkin's Weakest Film.

I will check out his many other interesting shorts!

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I don’t care for spy/action heroes, and only seen a few of the James Bond films through the years. So I only watched Spectre, because it was mentioned in the above Cuaron essay as a misdirected long shot. And indeed, the long opening shot is technically-spectacular, but thematically and emotionally empty - just like the rest of the movie. The fantasies of narcissist teenager boys about beautiful women, guns and adventures are great, if you like that kind of a thing. At least it included eye candy Léa Seydoux -

...You shouldn’t stare -

- Well you shouldn’t look like this..  

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Most innovative animation shorts:

🎦🎦🎦 Double King, by the amazing Felix Colgrave.

🎦🎦🎦 Staying Positive in the Apocalypse, by Drue Langlois. (From).

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I used to like some of the early Pixar original shorts, some of which had certain quality that was presented in 6 or 10 minutes (Presto, Day & Night, La Luna, Lava, etc.) So I looked for some of the recent shorts they are producing, but they were disappointing,mostly ‘product-extension’-type bonbons: Ciao, Allberto, 22 Vs. Earth, Burrow, Lamp Life...

Out was slightly more interesting, as it presented an unapologetic gay couple coming out to one of the young men’s parents. However, considering Disney’s real political stand, it feels hypocritical & corporately hollow.

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(My complete movie list is here)

[chiseler]

ONCE UPON A TIME AT THE DRIVE-IN: The Testament of Al Adamson

It was 50 years ago last year that the cheap and peculiarly patchwork films of Al Adamson first began to assert themselves on drive-in and grindhouse screens across America. Initially recognized for his horror films (Blood of Dracula’s Castle, Horror of the Blood Monsters, Brain of Blood, and especially Dracula vs. Frankenstein), he went on to add biker, action, blaxploitation, sexploitation, and even family fare to his rickety roster before retiring from his director’s chair sometime in the 1980s and vanishing into private life. The rise of Adamson’s unpretentious output happened to coincide with the decline of the Hollywood studio system as well as such old guard avatars as American International Pictures, Britain’s Hammer Films and Amicus Productions, whose imprints always guaranteed a certain level of production value and class. Adamson’s work was something of a throwback to the gore films of Herschell Gordon Lewis (Blood Feast, Two Thousand Maniacs!), but whereas Lewis’ work in horror was a taboo-breaking branching-out from his earlier nudie-cutie fare, Adamson’s pictures were endearing for their sentimental casting of veteran character actors well past their prime; technically, they didn’t bear comparing even to the old Monogram or PRC titles where Bela Lugosi was often found slumming during the 1940s, but the average drive-in patron could look at them and think, after his third or fourth beer of the night, “Damn, I could do better than this!” And sure enough, Adamson’s rough-and-ready example and his impressive earnings played a part in encouraging the powderkeg of DIY horror breakthroughs that went epidemic around the turn of the decade. Just to name the Americans, these feral young newcomers included George A. Romero, Wes Craven, Tobe Hooper, Bob Kelljan, David Durston, Andy Milligan, S.F. Brownrigg, even Oliver Stone, not to mention the many young and international filmmakers associated with Roger Corman’s New World Pictures.

1969’s Golden Anniversary honors were largely drawn to Quentin Tarantino’s behind-the-scenes movie fantasy Once Upon a Time... In Hollywood, which was much praised for its magical extrication of the beautiful and talented actress Sharon Tate from her hideous murder on August 9th of that year. For some of us, Once Upon a Time... In Hollywood links directly to thoughts of Al Adamson; in early 1969, he shot parts of his biker thriller Satan’s Sadists at the notorious Spahn Movie Ranch in Los Angeles’ Ventura County, where thwarted songwriter Charles Manson lived with his “family” members, inculcating in them a blood-lusting resentment for the established Hollywood order that would not invite him in. When Satan’s Sadists was first released in June 1969 (its trailer promising “A Rebellion of Human Garbage!” led by West Side Story star Russ Tamblyn), it quickly disappeared… but in the wake of the Tate/La Bianca murders just a few months later, its distributor Independent-International shipped it back out with a new, sleazier publicity campaign that actually emphasized its prophetic Manson Family associations. “See the Shocking Story Behind the Headlines… Wild Hippies on a Murder Spree!,” crowed the ads; “Actually Filmed Where the Tate Suspects Lived Their Wild Experiences!”And just in case this wasn’t enough, the film was frequently co-billed with Tate’s 1968 British film Eye of the Devil, now being sold with the tagline “Weird, mystic cult slaughters innocent victims!”

As irony would have it, almost thirty years after so grossly pandering to the public’s prurient interest in the murder, the director of Satan’s Sadists got the biggest headlines of his career when Al Adamson was named as the murder victim in a crime story nationally broken in August 1995, a couple of months after his mysterious disappearance.

This story is now the subject matter of a feature-length documentary by filmmaker David Gregory: Blood and Flesh: The Reel Life and Ghastly Death of Al Adamson, which premiered late last year at the Fantasia International Film Festival in Montreal and at the UK Fright Fest.

The son of 1930s western star Denver Dixon (in truth, transplanted New Zealand native Victor Adamson), Al had been kicking around the exploitation film business his entire life. In 1960, working under the alias “Lyle Felice”, he took the lead role in a Western entitled Halfway To Hell, which he ended up co-directing with his father. The film was never released and the young Adamson wasn’t able to put another film together until 1965, when he wore all the various hats needed to make his first official feature Echo of Terror, a jewel heist programmer somehow given the breath of life on a mere $2,000 investment.

Low on thrills and boasting no stars, Echo of Terror followed in the footsteps of Halfway To Hell by never finding a distributor. It remained on the shelf until Adamson made the fateful acquaintance of Samuel M. Sherman, then working in the publicity department at Hemisphere Pictures, designing campaigns for the likes of Filipino imports like Eddie Romero’s war drama The Ravagers and Gerardo de Leon’s vampire opus The Blood Drinkers. Sherman had just finished a two-year stint as the editor of the Warren Publications magazine Screen Thrills Illustrated, devoted to the movie serials of the 1930s and ‘40s – so he was familiar with the name Denver Dixon and formed a fast friendship with his son. He screened Edge of Terror and, while agreeing it was unviable in its present shape, he was impressed by what Adamson had accomplished with so little money. They didn’t yet have the means to produce an entirely new picture, so they made a reel’s worth of changes to what they had, and that’s how Echo of Terror – with a modicum of new footage featuring some go-go dancers - became Psycho A Go Go.

Through Hemisphere, this jarring concoction was shipped out in support of The Ravagers in Rochester, New York at the end of 1965, and it remained in circulation in New England and Midwestern states through 1967, first playing with another Gerardo de Leon picture, Curse of the Vampires (retitled Blood Creatures) and later appearing at the bottom of triple – and even quadruple - bills with Hammer’s Dracula Prince of Darkness (1965) and Plague of the Zombies (1966).

Even as Psycho A Go Go was tempting sullen motorists to stick around for the free donuts and coffee being served to anyone who lasted till the fourth feature, Sherman and Adamson could see that the clock was ticking against the timeliness of its title. So yet another scheme was hatched to squeeze maximum earnings out of a minimal further investment. Sherman knew more about the film business than Adamson did, so it was likely he who suggested they write some additional mad scientist gobbledegook, hire John Carradine for a day or two, and ship out their brand new picture with a more exploitable title like Fiend With the Electronic Brain – pretty much exactly what producer Jerry Warren had done some years earlier with the reels of unmarketable Swedish and Chilean footage that he sold to unsuspecting patrons as Invasion of the Animal People (1959) and Curse of the Stone Hand (1965), starring John Carradine!

They followed through on the plan and did indeed secure a distribution deal (or at least an arrangement) with David L. Hewitt’s American General Pictures, who got Fiend With the Electronic Brain into a couple of drive-ins in Corpus Christie and Austin, Texas in late 1967 and early 1968 as a co-feature to Jack Hill’s as-yet-unrecognized classic Spider Baby. On the books, it gave them credit for having produced and released a new picture that year, which made their new partnership the beneficiary of a much-needed tax break and a foundation from which they were able to produce their first real joint effort. This was Blood of Dracula’s Castle (1969, also starring Carradine), made in partnership with Paragon International Pictures, as was its co-feature, Bud Townsend’s Nightmare In Wax starring Cameron Mitchell. Released through Crown International, the double bill premiered in May 1969 and Blood of Dracula’s Castle in particular was never out of theatrical circulation for the next two years.

You might think they would have moved on to more important things, but the Frankensteinian efforts to make a bigger, better Fiend With the Electronic Brain continued to occupy Sherman and Adamson. Sherman’s success with Blood-titled campaigns – ranging from 1970s Mad Doctor of Blood Island to 1971’s Frankenstein’s Bloody Terror – had convinced him that “Blood” was the most commercially vital word in horror terminology. His theory was subsequently bourne out by the success of his 1972 “Chiller Carnival of Blood” – a drive-in festival composed of old, decomposing Hemisphere titles (1959’s Terror Is A Man retitled Blood Creature, Mad Doctor of Blood Island retitled Blood Doctor, Theater of Death retitled Blood Fiend, and Brides of Blood retitled Blood Brides). Sherman’s “good luck noun” was prominently applied to their old warhorse the next time it surfaced, this time with new footage featuring Kent Taylor and Adamson’s wife Regina Carroll, who had become a fixture of his work since Satan’s Sadists. The rechristened Blood of Ghastly Horror actually headed drive-in triple bills upon its release in January 1973 – and some ticket buyers may have been understandably annoyed to discover that it was the same film that had been playing on television stations across the country as early as April 1972 under the title Man With the Synthetic Brain.

This is but one of numerous stories of patchwork reinventions and retitlings attending the filmography of Al Adamson, which will receive the fullest possible examination when Severin Films releases the mind-staggering tributary box set Al Adamson – The Masterpiece Collection, on April 21st. Compiling all 32 of Adamson’s surviving feature films and variants on 14 Blu-ray discs (all Region A, except for Discs 1, 12, and 14, which are region free), a 128-page book, as well as the David Gregory documentary, this Matterhorn of home video retrospectives will be limited to only 2,000 copies and supply is dwindling fast. The dwindling is faster still for two variants packed with additional incentives: you’ve already missed the “Bundle of Ghastly Horror” (limited to 200 copies and containing posters signed by Adamson stars John “Bud” Cardos and Zandor Vorkov), but the limited 300-copy “Bundle A Go Go” retains most of the contents - a T-shirt, dimestore vampire fangs, 7” soundtrack single of music from The Female Bunch, and Adamson patch and enamel pin - while substituting a signed postcard for the posters. Pick your poison at severin-films.com.

If you’re wondering, “Do I need this?,” only you can answer that question reliably. However, should you be open to further temptation, I can whole-heartedly recommend the documentary Blood and Flesh: The Reel Life and Ghastly Death of Al Adamson, which is available for purchase separately and now streaming on such outlets as Amazon Prime, Vudu, and Google Play.

by Tim Lucas

[sciencespies]

Species-saving Galapagos giant tortoise Diego can take a rest

https://sciencespies.com/biology/species-saving-galapagos-giant-tortoise-diego-can-take-a-rest/

Species-saving Galapagos giant tortoise Diego can take a rest

Diego is pictured on Ecuador’s Santa Cruz Island in the Galapagos, in February 2019

Job done, prolific Galapagos giant tortoise Diego is being released back into the wild after being credited by authorities with almost single-handedly saving his species from extinction.

The 100-year-old tortoise, who was recruited along with 14 other adults for a captive breeding program, will be returned to his native island of Espanola in March, the Galapagos National Parks service (PNG) said Friday.

“About 1,800 tortoises have been returned to Espanola and now with natural reproduction we have approximately 2,000 tortoises,” Jorge Carrion, the park’s director, told AFP.

“This shows that they are able to grow, they are able to reproduce, they are able to develop,” said Carrion.

Diego’s contribution to the program on Santa Cruz Island was particularly noteworthy, with park rangers believing him responsible for being the patriarch of at least 40 percent of the 2,000-tortoise population.

Around 50 years ago, there were only two males and 12 females of Diego’s species alive on Espanola, and they were too spread out to reproduce.

Diego was brought in from California’s San Diego Zoo to join the breeding program which was set up in the mid-1960s to save his species, Chelonoidis hoodensis.

The PNG believes he was taken from the Galapagos in the first half of the 20th century by a scientific expedition.

Now, Diego is returning to his original home “almost eight decades after being extracted,” the park service said, adding that he had lived at the San Diego Zoo for several decades.

“He’s contributed a large percentage to the lineage that we are returning to Espanola,” said Carrion.

“There’s a feeling of happiness to have the possibility of returning that tortoise to his natural state.”

Diego weighs about 80 kilograms (175 pounds), is nearly 90 centimeters (35 inches) long and 1.5 meters (five feet) tall, if he really stretches his legs and neck.

Before being returned to Espanola, tortoises must go through a quarantine period to avoid carrying seeds from plants that are not native to the island.

Ecuador’s Galapagos Islands, located in the Pacific Ocean, were made famous by Charles Darwin’s studies of their breathtaking biodiversity.

The story of Diego’s prowess contrasts sharply with the sad tale of Lonesome George, a different type of Galapagos giant tortoise, who had refused for years to breed in captivity.

Hopes for his species, Chelonoidis abingdoni, faded when Lonesome George passed away in 2012 at more than 100 years old.

Explore further

Sexploits of Diego the Tortoise save Galapagos species

© 2020 AFP

Citation: Species-saving Galapagos giant tortoise Diego can take a rest (2020, January 11) retrieved 11 January 2020 from https://phys.org/news/2020-01-species-saving-galapagos-giant-tortoise-diego.html

This document is subject to copyright. Apart from any fair dealing for the purpose of private study or research, no part may be reproduced without the written permission. The content is provided for information purposes only.

#Biology

[atomic-chronoscaph]

Girls Incorporated (1959)

[theprogressivesamurai-blog]

Remember the porn industry is extremely racist and stereotypical to people of color while the men are treated as stereotypes and women are often forced to be submissive to whites while both only getting 50% the pay of their white counterparts #blackpornracism #risingabove #sexploitation

[kevindurkiin]

Sexploitation 2

Sexploitation 2

Anonima Assassini – Gianni Ferrio (2:39) Bacchanalia – Billy Strange (3:14) Caribbean Sunrise – Clay Pitts (1:10) Coming And Going – Ray Brown Orchestra (3:25) Cuisses Nues Bottes de Cuir – Philippe Nicaud (2:26) Dingo – Roland Vincent et Olivier Despax (5:34) Dirty Beat – Gert Wilden (2:50) Doin‘ It – Magnetic Sounds (2:44) Erotica 1 – Jiri Bezant & Jiri Malasek (1:06) Fai Piano, Fai Presto – Gianni Ferrio (3:16) Finale – Yannis Spanos (2:42) Freak Baby – Tom Zacharias (3:48) Get It On With Music (89bpm) – Zane Cronje (3:12) Grilo – Orchestra St. Moritz (1:59) I Robot – Nora Orlandi (2:15) Juego 1 – Jacques Denjean (0:57) La Course Endiablee – Illustration (1:02) La Rinuncia II – Piero Umiliani (2:28) Latino – Tony Bruno (2:25) Love Call – Jean Jacques Robert et Jean Michel Guise (2:36)

Sexploitation 2 published first on https://soundwizreview.tumblr.com/

[mynewsblog21]

B Movies - A Primer

For whatever length of time that there have been films, there have been B motion pictures. Generally low-financial plan, scarcely pitched undertakings, B motion pictures are typically type films (science fiction, Western, awfulness, and so on.) highlighting entertainers of practically no notoriety, regularly made by little claim to fame studios and wrenched out as though on a mechanical production system https://putlocker-online.com/genres Albeit lesser highlights, early B motion pictures were well known, gainful, and delivered their own different gathering of stars, unique in relation to the significant entertainers of the day. They additionally gave a section into Hollywood to numerous European chiefs. Back in the Golden Age, a night at the motion pictures for the most part comprised of a newsreel, a scene of a sequential, (for example, Flash Gordon or Buck Rogers), a few kid's shows and a twofold element of a B film and the principle highlight an "A film." B motion pictures were the main film and consistently thought about the less significant film.

In the 1930's, the prevalent B film classification was the Western. During the '40s, criminal motion pictures and movies noir got mainstream. During the '50s, with the ascent of awesome, the virus war, and the youngster as a social power, B motion pictures detonated into a various scope of regions: awesome flicks, adolescent reprobate and dragster melodramas, science fiction/ghastliness pastiches with Red Scare hints, and remote movies named into English (e.g., the Japanese Godzilla, the Italian Hercules).

The '60s B motion pictures saw the ascent of the Hammer Films from Britain, the "sea shore motion pictures" with Frankie and Annette and organization, the Elvis motion pictures (which, in spite of the fact that they featured the most popular artist on the planet, were distinctly low-quality creations), Russ Meyer's nudie cuties, and Roger Corman's some low-spending artful culminations. Likewise, the extreme social changes of the '60s were reflected in the B movies of the day some time before they made it to the "genuine" films. Obviously, the most renowned model would be Easy Rider.

The extricating moral mentalities of the '60s likewise helped birth the primary carnage flicks, graciousness of Herschell Gordon Lewis. Despite the fact that Lewis contributed extraordinarily to B motion pictures, his most compelling film was Blood Feast, the principal genuine splatter film. Despite the fact that mellow by the present principles, at the time it was considered very upsetting. Motion pictures, for example, this and his Color Me Blood Red made ready for the current vogue of "torment pornography" films, for example, the Saw and Hostel arrangement.

In spite of the fact that the seeds of misuse were planted during the '60s, they unquestionably worked out as intended during the '70s grindhouse scene. Hand to hand fighting movies were a major most loved in grindhouses everywhere throughout the nation. Created in Hong Kong, frequently by the amazing Shaw Brothers Studio, and named into English before being appropriated in America, these movies made stars of Bruce Lee and Jackie Chan and generated an entire subculture that is as yet prospering.

The '70s likewise observed the introduction of the 12 PM film marvel. The counterculture had made its mark and where preferred to have a good time over a medication powered late-evening appearing of El Topo or The Rocky Horror Picture Show. At this point, all gloves were off. Essentially anything no-no was reasonable game: blaxploitation, sexploitation, ladies in jail flicks, and, maybe generally persuasive, bad-to-the-bone awfulness best exemplified by Tobe Hooper's The Texas Chain Saw Massacre.

The entirety of this carries us to the '80s, the decade where the low-spending blood and gore movie truly made its mark. The accomplishment of the efficiently made Texas Chain Saw Massacre and Halloween during the '70s reared the Friday the thirteenth arrangement, The Evil Dead films, et al., and an authentic '80s ghastliness blast resulted. Numerous great B film awfulness assets exist on the web, for example, lethally yours.com and theronneel.com. One of the significant powers in B motion pictures during this decade was Lloyd Kaufman and Troma Pictures. Established by Kaufman in 1974, Troma hit its sweet spot during the '80s with movies, for example, Surf Nazis Must Die and The Toxic Avenger.

During the 1990s, with the passing of the grindhouse and ascent of digital TV, B films lost dramatic settings, yet figured out how to make due because of the home video unrest. What once would've appeared in a grindhouse was presently showing up on the racks of your nearby Blockbuster. Direct-to-video creations flourished, comprising generally of cheapie activity flicks and sensual spine chillers.

The ascent of the computerized age has seen B film live on in direct-to-DVD films, which are regularly spin-offs of fruitful movies made by significant studios, for example, Disney. The current expense of a component film midpoints $50 million to $70 million. With the advances in computerized innovation, decent movies can be made for a small amount of that cost, making low-spending motion pictures an "unrealistic" suggestion for any film studio stressed over its main concern which is each film studio.

[the-outer-topic]

About this blog

Please keep reading, I promise it’s funny.

 At least I tried to be!

(names withheld to protect the witnesses, some editing done)

(originally submitted to notpulpcovers.com back in 2014, but meant for all the owners of blogs that post stuff I like) 

Greetings and long letter from a fellow collector

Hello!

This is a very long letter of appreciation for the wonderful job you do in this site. No, I regret to tell you in advance that I am not sending you a cheque as a token of appreciation, so you can delete this message now and read no further. However, if you have trouble sleeping or have two hours to spare with nothing better to do, like watching the paint dry, read on. Allow me to introduce myself, I am a connoisseur of art and a man of taste. The quality of said art and taste may be debatable, quesitonable even. By the way, I am not an American nor a native English speaker, but come from Spain, if you are American, that’s in Europe, not south of Mexico, Google maps is your friend. So please forgive any spelling and grammar errors and be thankful I don’t grate your ears with my horrible accent. Over the last few years I started collecting, retouching and posting in forums military and battle paintings to use as wallpapers and screensavers. If for no other reason that I had lot of time in front of the screen and I wanted to stare at something else than the dull Windows background. Oh, and because since I got married I couldn’t have naked girls on the screen anymore like normal guys do. Everybody needs a hobby. Until I find one, collecting and photochopping paintings for desktop will do. At some point I got a bit jaded of the monotony of images of war, death, destruction and the implements of it,  so for a change I started collecting images of art I like and find cool. So I turned to the hobbies of the age most mentally retarded of my life, that is my teenage and wasted youth years, and added to my art galleries the themes of roleplaying games, fantasy illustrations and computer games from the 1980s box art. Then I dug deeper and started with the genre of movie posters: the more lurid and trashy the better. adventure, sci fiction, horror, action, sexploitation.. etc. But my craving for bad art eye porn wasn’t satisfied. I wanted more, more! So one day in the bookshop I came across a book about the “Men’s adventure” magazine covers. A Taschen brick, coffee table size. Since it was too big to conceal, even under my trenchcoat, and was on discount sale, I bought it. I hit bottom with that one. I loved the pulp art. Being a World War Number Two freak, I specially enjoyed the Nazi and BDSM themes. That probably is Too Much Information… relax, I am kidding. In fact I was repelled by those covers. I like the whole “damsel in distress” theme, but trivialization of Nazi attrocities and the outright sadism of those covers were quite sick. One thing is being kinky, being sick and twisted is another entirely different thing. What was wrong with the American people who bought that? In the same way never liked gore movies. Anyway, the rest of the pulp covers I loved. Such great art technique! And such gorgeous women they had in the 50s and 60s, curvy and with slim waists! (just like my beloved wife). But there was a problem, the pics were either too small, or couldn’t get decent wallpapers of the full size covers because the book was a bitch to scan, being so heavy and thick, and I loathe taking a razor to it. So having hit bottom, I started to dig. I searched the internet for pulp covers of those masters. And found your site. From somebody that shares the same obsessive compulsive collecting disorder, I have to tell you that I can fully appreciate the work, no, the labour of love involved in finding all these wonderful pieces of art, collecting them, and sharing them. I spent days, weeks going through the archives downloading images I liked. Frankly, a lot of the images are rubbish, but what to one is trash, to somebody else may be a treasure, so please keep posting indiscriminately, we all have our own tastes. You probably don’t share my unhealthy obsession with sharp things or things that spit hot pieces of metal and things that go boom. I spent days arranging the images you posted, retouching them for better fit or improvement, and making collections for them. I use an old Webshots desktop application, wich was responsible for this  obsession with wallpapers. The sotfware allowed downloads of pretty photographs for wallpaper, and you could add your own images. It’s dated but it works, and allows me to manage my collections much better and has better settings than simply use Windows default screensaver. So thanks to you, my wallpaper galleries have now about 3 Gigabytes in size, numbering eight thousand images in several dozen cathegories. As I said the pulp covers are a welcome break from the images of tanks, airplanes, warships, soldiers and battles. It’s not just the pleasure of viewing the images when I am taking  a break, I switch on the screen saver and watch the paintings cycle on the screen for a few seconds, it’s just that the search for suitable images became an end to itself, I get a thrill when after hours of tedious internet search I stumble upon a source of good images. A gallery like this is a godsend. We are not worthy! Come to think of it, if you are a god, then I would have to send you some offering more suitable than a mere cheque, but I am afraid that sacrificial virgins are in short supply nowadays. In addition to the images you supply, the links you provide to other insane collectors like ourselves are very valuable. I bookmarked the 80s and 90s stuff site, and the Back in the Dungeon gallery. Even if the pics in itself are not good enough, they give a lead for finding other artists images. Over the years of posting war paintings at forums I have become frustrated and bitter about the lack of recognition and appreciation from people. Seems only a few freaks have the artistic sensibility (or the shared bad taste) to appreciate them. I got very few rewards in return for my effort to disseminate these paintings. I thought that after so much effort, it would be a waste that those images would die with me, and I want to share them with more people than just a couple close friends. Well, there really a lot of people interested in this stuff, judging by the thousand of views the paintings threads have. I was bitter that forum admins didn’t thank me for my contribution, but I no longer care about that. What kept me going was the encouragement and appreciation from some people that enjoyed my postings and thanked me. But alas, those faitfhul were few and far in between. Most people just click on the thread, download image and say nothing. No comments, not even a simple “thank you” message or “I liked this one”. Ungrateful bastards. So eventually I got fed up and burned up with forums. I only got aggravation from them and no respect. And some subjects are exhausted after retrieving and posting every painting of that theme, from museum galleries to book scans to box art. I had only kept going for the past couple years by inertia, and because the forum served as a backup of my images. I have lost a lot of work a few times due to computer crashes, despite precautions and periodic backups. Now that imageshack killed my old accounts, I have given up totally in messageboards. Their loss not mine. All this self pitying bitching and moaning is just to tell that if you ever feel unappreciated or get frustrated with posting the images in your blog, I know how you feel and want to know how much I value and appreciate your effort in this blog, and how thankful I am that you gathered all these pieces of art and preserved them for fellow enthusiasts and future generations. With every cool painting you posted that I liked, you gave me a little pleasure and made my life a little happier, and for that, I give you a big heartfelt thank you. I am sure I am not the only one that feels the same. Your example is also inspiring. I had posted my images in forums because it was easier. It never occurred to me that you could do a blog on illustration. I thought it was too much work, but everybody is doing it, so I can too. Once more, thanks again for your effort, and I hope this letter made you smile and feel good. Very best regards.

PS

If you wonder about the name of this blog is because it’s an off topic gallery of  all the paintings that I like and are not war paintings. And “outer”, because is a nod to sci-fi B-movies that had the “from outer space” in the title

My main gallery:

https://www.tumblr.com/blog/pinturasdeguerra

[carlahkrueger]

Sexploitation is not purely a female thing. Boys make up 50 percent of the sex trafficked victims in the U.S. alone #Themes

carlahkrueger July 28, 2017 at 05:55PM

[scarlettohairdye]

Tickets on sale now! http://showbeasts.brownpapertickets.com/ Unnatural Redhead Productions in association with Theatre Off Jackson is proud to bring you Showgirls of Beast Island! A full-length, badly lipsynced, live burlesque B movie! Queer characters! Spurious nudity! Ridiculous horror! Continuity errors! This show has everything you love about 50’s and 60’s sexploitation horror movies with added burlesque and none of the misogyny! The Scintillating Showgirls of Seattle are the city’s premier burlesque troupe, and they’re excitedly preparing to depart for a highly-anticipated tour of Australia. Tragedy (and lightning) strikes their plane, however, leading to an emergency crash-landing on a small tropical island somewhere in the Pacific! Though filled with bright sun and beautiful beaches, the island is hiding a dark secret, and showgirls start disappearing one by one. Will they discover the island’s secret before it’s too late? Come find out in Showgirls of Beast Island! Featuring burlesque performances by Bolt Action, Sara Dipity, Apollo Vidra, Alexa Perplexa, Briq House, Eddie Van Glam, Karmen Sutra, Onyx Asili, and Scarlett O'Hairdye! Sponsored by Mad Scientist Journal and GetJuliet! July 7th and 8th, 2017 - Doors 7:00pm - Curtain 8:00pm Theatre Off Jackson - 409 7th Ave S Seattle, WA 98104 Tickets $25 Presale - $30 at door - VIP Tickets $40 http://showbeasts.brownpapertickets.com/ 21+ Theatre Off Jackson and the producer strive to be as accessible and inclusive as possible. Please contact us if you have any questions.

[atomic-chronoscaph]

Bettie Page - Teaserama (1955)