Hip Pocket Sleaze: The Lurid World of Vintage Adult Paperbacks
Author: John Harrison
Date: 2005-01-01 05:00:00+00:00
Keywords: History
Description: Hip Pocket Sleaze is an introduction to the world of vintage, lurid adult paperbacks. Charting the rise of sleazy pulp fiction during the 1960s and 1970s and reviewing many of the key titles, the book takes an informed look at the various genres and markets from this enormously prolific era, from groundbreaking gay and lesbian-themed books to the Armed Services Editions. Influential authors, publishers and cover artists are profiled and interviewed, including the "godfather of gore" H. G. Lewis, cult lesbian author Ann Bannon, fetish artist par excellence Bill Ward and many others. A companion
Publisher: Headpress

HIP POCKET SLEAZE
the Lurid WorLd of

Vintage
aduLt PaPerbacks
by JOHn HArrISOn
www.worldheadpress.com

COnTEnTS

Introduction

1

A Short History Of Paperbacks

5

The Birth Of Pulp Fiction

6

Armed Services Editions: Selected Titles

8

Adult Paperbacks

11

Strange Sisters & Queer Daddies: Lesbian & Gay Paperbacks 14

The Smut Peddlers

21

Writer Profiles & Interviews

Victor J. Banis

21

Ann Bannon

25

Lawrence Block

37

Richard E. Geis

39

Jim Harmon

57

Ron Haydock

70

Robert Tralins

75

Edward D. Wood, Jr.

81

Masters Of The Provocative Art

89

Gene Bilbrew

89

Eric Stanton

92

Bill Ward

95

Interview with Dede Aday Macdonald

98

Vintage Adult Paperback reviews

106

The 1970s

126

When Softcore Hardened &

The Sleaze became Sick

1970s Adult Paperback Reviews

129

Linda Lovelace

134

Greenleaf, The Way It Was

143

Horwitz

154

New English Library

181

Interview with D.J. Norman

205

Other Genres

210

Turning On and Dropping Out: Drugs and Counterculture 210

Scream & Scream Again: Horror Tie-Ins

220

The Gore Novels Of Herschell Gordon Lewis

239

Interview with Herschell Gordon Lewis

241

The Devil Made Them Write It: Witchcraft & The Occult 244

Witchcraft magazine

252

Charles Manson: Paperback’s First True Crime Hero

255

Miscellaneous Offbeat & Esoteric Titles

271

Classic Smut Film rags

278

Adam Film World

278

Interview with Kevan Jensen

291

Cinema Blue

295

Daring Films & Books

297

Exciting Cinema

300

Torrid Film Reviews

305

X-Films

307

Sex For Sale

309

8mm — The Dirty Little Film Gauge

309

Photo Sets & The Sounds Of Sex

312

Collector Interviews

315

Chris Eckhoff

315

Miriam Linna

319

Appendix

Notable US Publishers and Their Titles

326

Corinth Paperback Manuscript Guidelines (circa 1965)

348

8mm Stag Shorts & Loops: A Partial Listing

349

Sordid Sources

354
recommended reading

357

Index

360

About the Author

A freelance writer based in Melbourne, Australia, John Harrison grew up obsessed with the pop fantasies of comic books, old amusement parks, glam rock and horror movies, all offset with a grim fascination for the seedier things in life that came out of growing up in the suburb of St Kilda, at the time one of Australia’s major hubs for crime, prostitution and drugs (not to mention a thriving punk music scene).

Aside from contributing to the true crime volumes Death Cults, Bad Cop Bad Cop and Guns, Death, Terror, Harrison has written for such publications as Fatal Visions, Cult Movies, Is it Uncut? , Filmink, Headpress, Scary Monsters and Bachelor Pad, as well as penning reviews and liner notes for many DVD and VHS releases from Something Weird Video.

An obsessive archivist (read: hoarder), Harrison’s extensive collection of vintage sleaze paperbacks, 1960s monster model kits, James Bond memorabila and Charles Manson artefacts was featured on the national Australian television series Col ectors. His stash of old 8mm stag films (including a print of Anal Dwarf) was, however, strangely omitted from the show.

Harrison is currently working on his first novel, a violent crime thriller set in the 1980s, with a nod to the classic noirs, titled Kil Me, My Love.

A Note About the bibliogrAphies

In most cases, bibliographies contained throughout this book are listed alphabetically by publisher (generally the most accepted way in which paperback collectors like to see them). However, for the sake of convenience and ease of reference, paperbacks in the review sections have been listed alphabetically by title.

While I have endeavoured to be as accurate as possible regarding publication dates, serial numbers etc., such information in some cases was difficult and occasionally impossible to obtain. Any corrections or omissions will be pointed out either in future editions of the book, or in the pages of the Hip Pocket Sleaze fanzine.

Keys to Abbreviations
ca
cover artist
nd
no publishing date listed in book’s indicia
nn
no publishing number listed in book’s indicia

1

InTrODUCTIOn

The books without pictures weren’t worth bothering about. All you get is little mentions of sex, just enough to keep you going through the story, but there’s nothing in them really, nothing like the books you get round North Africa.

Take this one I noticed particularly, Seduction it was called. One, the cover was a picture of a young thing being kissed in a field of grass. Her skirt was slid up so you could see all her legs. Underneath it said: “In the heat of summer a young girl learns for the first time the secrets of love.”

Translated that means, one more virgin is had away by some dirty b—.

Peter Loughran, The Train Ride (1966) In 1978, when I was fourteen years old, there was a second hand bookshop I used to frequent nearly every Saturday morning (and damn I wish I could remember its name). It was situated towards the end of the Acland Street shopping strip, diagonally opposite Luna Park. For the uninitiated: Luna Park is (and was, even then) an archaic, white-framed amusement park which you entered through the gaping mouth of a giant clown. It was a creepy, eerie place to this kid, and walking through that giant mouth was like stepping back in time, to an era of rattling, dangerous roller-coasters; dodgem cars that showered a continual rainbow of electric sparks over your head; a ferris wheel that looked like it was about to fall off its axis at any moment; a rickety ghost train whose scariest feature was the occasional derelict slumped in the corner cradling a half-empty bottle of cheap red, and a tunnel of love that smelled like a sewer and put you in the mood for anything but romance.

It was a wondrous, magical place…

HIP POCKET SLEAZE

2

Luna Park was one of the main attractions and landmarks of St. Kilda, the Melbourne (Australia) suburb which I grew up in. In the late seventies, St. Kilda was still a dirty and dangerous place, full of intrigue, crime, sleaze, sex and corruption. The famous Fitzroy Street (which Acland Street emptied out onto) was a garish twenty-four hour parade of buzzing neon, greasy fish and chip shops, dingy pubs, low-class junkie hookers, and dealers plying their trade on every street corner.

All of these surrounds added greatly to the atmosphere of this small and very nondescript bookshop. Taking the fifteen minute walk there on a Saturday morning (the meagre wages from my after school super-market job burning a hole in the pocket of my grey canvas jeans) always seemed like an adventure. My obsession with horror films and comics had grown steadily over the preceding two years, and instead of it being the fad that my parents hoped it to be, my love for the genre showed no sign of abating. With Star Wars still playing cinemas on its initial release, and Close Encounters of the Third Kind, Superman The Movie and Alien on the horizon, an interest in science fiction and fantasy had also begun to develop.

These were the kind of books which I journeyed to the shop to seek.

On the floor, and doubled-up along cheap home-made bookshelves, would be masses of horror, science fiction and fantasy paperbacks. Many were newer titles, but I would always dig around for the older titles, which exuded a musty odour of nostalgia, and featured more colourful and outrageous cover graphics. I dug up some amazing titles during those long archaeological digs, everything from Hammer horror tie-ins ( Lust for a Vampire) to vintage printings of the classics. Occasionally I would happen upon a small stack of Warren or Skywald horror comics (usually they’d be the cheaper Australian reprints, but back then who cared?), and I even managed to build a small but nice collection of 1940s science fiction pulp magazines from my pilgrimages to the store.

There was another section of the shop, pushed back into the dark recesses of the rear, which I never dared to venture into. It was separated from everything else by a cheap pull-across curtain that I remember having an ugly flower pattern. Each time I visited the shop, I would become increasingly more intrigued by what lay hidden behind this curtain, this

3

InTrODUCTIOn
flimsy piece of material that might as well have been constructed of solid steel, such was the power of impregnability which it seemed to wield over me. A hand-written sign above the entrance read ‘Adults Only’, and the only people I ever saw go behind there were older, single men. The mystique which this curtain created was quite powerful to my young, impressionable (and sexually awakening) young mind.

I never did get to look behind that curtain. I was tempted and believe me I tried, but I was always scared off by the big, bearish man who ran the shop, whose piercing eyes seemed to constantly follow me wherever I went, as if he was convinced I was going to try and steal something (the fact that he resembled a particularly hated and feared teacher at my school did nothing to lessen his intimidating demeanour). By the time I had turned eighteen — old enough to have ventured into this hitherto forbidden zone — it was too late. The bookshop had by that time been closed down for a good two years, replaced by some swanky, pretentious clothing store. But my curiosity for what lay behind that curtain (both real and imagined) no doubt fired my interest in the subjects which this book primarily devotes itself to.

An extension of a digest fanzine which I began publishing in 1999, Hip Pocket Sleaze is a celebratory overview of vintage paperback genres which were targeted at strictly adult audiences (making them all the more mysterious and desired by the more curious minors). Although devoted predominantly to the multitude of sex titles which proliferated amongst the mass market paperback industry of the 1950s and sixties, portions of the book are also given over to counterculture and drug awareness titles, sleazy war stories, horror movie tie-ins and various other eclectic genres which, in my view, fit comfortably under the general umbrella of weird, wild and wonderful paperback curios from a bygone age (and one which can never be repeated).

This is not intended to be a definitive history of paperback publishing (that has been done adequately elsewhere — see the bibliography for details), nor have I set out to document every single known adult book published within a certain era. To undertake such a task would require more time and patience than any one normal person is able to marshal. It would also result in a book much larger than this one, and

HIP POCKET SLEAZE

4
likely become obsolete almost immediately upon publication, such is the regularity which previously unheard of titles are turning up in the hands of collectors and dealers. Any ultimate reference work on vintage adult paperbacks will need to be an online resource, continually updated and corrected (and if you are the person who endeavours to undertake such a task, you have my best wishes and my sympathies). However, my love for the subject is certainly strong enough for me to compile a follow-up volume to this book, should the interest warrant it…

In some respects, I feel as though I’ve waited just a little too long before starting work on this book, as several notable people whom I would have loved to interview — in particular, cover artists Eric Stanton and Bill Ward — have passed on in recent years. I was also saddened to hear of the death of New English Library author and co-editor Laurence James (aka Mick Norman) while this book was still in its very early planning stages. Thanks to Stewart Home (who interviewed James for his excellent book Confusion Incorporated) I was put in touch with James’ son, who shared his thoughts and memories about his father’s work with me.

As I tracked down and interviewed other surviving relatives of important or influential people, I realised that this would make a nice sub-theme to run throughout the book — a nice way of paying tribute to these people, if you will. I hope this book helps keep their memories and legacies alive.

If this book sends you racing straight down to your own local second hand bookshop in search of cheap, lurid treasures from the past, then I’ll feel as if I’ve done my job.

Stay sleazy, and enjoy!

John Harrison

July 2011

5

A SHOrT HISTOry

OF PAPErbACKS

Paperbacks have appeared and vanished a number of times throughout history, before attaining the position in pop-cultural history which they now enjoy. Sermons were often bound between paper covers during colonial times, and in 1831 the Boston Society for the Diffusion of Knowledge started a short-lived line of paperbacks, publishing such ambitious titles as Discourse Delivered Before the Boston Mechanics Institute. Gaudy paperback ‘dime novels’ also became popular for a brief time after the close of the Civil War.

With the decline in paper prices in the late 1800s, paperbacks pirated from British publishers began to flood the American market, before the introduction of the International Copyright Law in 1891 put most of these rogue publishers out of business.

The introduction of the Penguin line in the UK in 1935 heralded the re-popularisation of the paperback novel. Spurred on by Penguin’s success, Robert de Graff, a New York based publisher, launched Pocket Books in the US four years later. Among Pocket Books’ initial wave of releases was the tie-in to the Laurence Olivier film Wuthering Heights, as well as printings of Bambi and Agatha Christie’s The Murder of Roger Ackroyd. Since the majority of hardcover publishers perceived little threat in Pocket Books’ move, de Graff was able to obtain reprint rights to many classic works for a fraction of their worth, which allowed him to market his line for a modest twenty-five cents each (large print runs and the use of cheap binding also helped to keep production costs down).

Another important factor was the way in which de Graff distributed and marketed his line. Featuring a Kangaroo logo, de Graff took his pa-

HIP POCKET SLEAZE

6
perbacks out of the bookstore and — using the services of magazine distributors — onto the news-stands of America. This helped place his paperbacks right between the eyes of Mr. and Mrs. Middle America, in drugstores, train stations and bus terminals.

Initially looked down upon, de Graff ’s success forced his peers in the hardcover field to sit up and take notice, and it wasn’t too long before the competition started to appear. Ian Ballantine opened up an American division of Penguin in 1939, importing the British Penguin paperbacks, followed by Avon in 1941, Popular Library in 1942, and Dell in 1943 (these companies were helped along by the paper shortage during WWII, which forced many of the hardcover publishers into cutting back on their releases and print runs). When Ballantine quit Penguin in 1946

(after the publisher accused him of vulgarity, for providing illustrations for their formerly staid, plain text covers), he established Bantam Books.

Bantam was quickly joined by names like Fawcett, Crest, Pyramid, Ace, Signet, Berkley and a myriad of others.

In 1945, Pocket Books once again steered the trend of paperback publishing, by putting out the first ‘instant’ books, volumes written in quick time to cash in on an important current event. FDR: A Memorial was issued only days after President Roosevelt’s death (it’s safe to say Pocket Books saw it coming — Roosevelt had been looking ill for some time — and had the majority of the book primed and ready to go as soon as the moment arrived), while The Atomic Age Opens was published within weeks of the atomic bomb attacks on Hiroshima and Nagasaki.

the birth oF pulp FiCtioN 

The term ‘pulp fiction’ was originally coined as an easy way to categorise fiction magazines such as Black Mask, Amazing Stories and Fantastic Adventures, published from the 1920s to the 1940s (pulp fiction magazines certainly continued to be published beyond this date, but these pre-television years were their peak period of popularity). Used to describe the cheap, rough-grade paper which the magazines were printed on, pulp fiction also became an easy label for many to slap

7

A SHOrT HISTOry OF PAPErbACKS
on the booming paperback trade — particularly those titles which dealt with the more vicarious genres, such as crime thrillers and science fiction stories.

Targeted squarely at an increasingly literate American public, paperbacks were conceived as a cheap, affordable alternative to hardcover books. In 1945, with WWII having come to a close, hundreds of thousands of battle-hardened veterans began returning to the United States.

To keep troops occupied during the boredom which would often accompany the long lull between action (not to mention recovery periods in the infirmary), the Morel Branch of the US War Department began supplying G.I.s with specially printed, small paperback books, which were oblong-shaped and designed to fit perfectly into uniform pockets.

Known as Armed Services Editions (ASEs), some of these books were reprints of exciting, classic works of fantasy (such as The War of The Worlds, Frankenstein, Tarzan of the Apes, and even George Lowther’s The Adventures of Superman, now the most valuable and sought after of the ASEs), but others were more modern novels — mysteries and thrillers, as well as romance titles that were a bit on the risqué side. As a result, a generation of young Americans developed a taste for exciting literature which the majority of them would have never been made aware of on the home front. Upon their return to the US, paperback publishers suddenly found themselves confronted with a booming audience who shunned the hardcover format (both for reasons of convenience of format as well as content).

While their husbands, sons and brothers were off fighting for their country on exotic foreign soils, the women back on the home front were also undergoing significant changes. Thrust into unfamiliar roles as workers at munitions factories, military base secretaries and sole bread-winners of the family, American women began to realise a potential for themselves which lay far outside the boundaries of the traditional, dot-ing housewife role. This also drove them to seek out the adventures to be found in paperback originals, which often portrayed women as exciting, alluring and infinitely more deadly than the male (unlike the hardcover novels, mainstream movies and television of the 1950s, which continued

HIP POCKET SLEAZE

8
to portray women as the subservient, loving wife and mother who only left the kitchen to go shopping or attend PTA meetings).

Armed serviCes editioNs
seleCted titles

Debuting in September 1943 with Leo Rosten’s The Education of Hyman Kaplan (a collection of humorous stories), a total of 1,322 ASE titles were eventually published and distributed to the forces by the end of the war. The following list represents a selection of the more interesting and memorable titles.

 The Adventures of Superman (George Lowther, 656)

 The Big Sleep (Raymond Chandler, 751)

 Calamity Town (El ery Queen, 680)

 Deadlier Than The Male (James Gunn, 946)

 Deep West (Ernest Haycox, 1-245)

 Dracula (Bram Stoker, 909)

 The Fal en Sparrow (Dorothy B. Hughes, 869)

 Frankenstein (Mary Shel y, 909)

 Is Sex Necessary? (James Thurber and E.B. White, M-2)

 The Lively Lady (Kenneth Roberts, Q-29)

 The Passionate Witch (Thorne Smith, 953)

 The Return of Tarzan (Edgar Rice Burroughs, 0-22)

 Selected Short Stories of Edgar Al an Poe (Edgar Al an Poe, 767)

 Star Spangled Virgin (DuBose Heyward, C-74)

 The Strange Case of Dr. Jekyl and Mr. Hyde and Other Stories (Robert Louis Stevenson, 885)

 Tarzan of the Apes (Edgar Rice Burroughs, M-16)

 The Time Machine (H. G. Wel s, T-2)

 The War of The Worlds (H. G. Wel s, 745)

 When Worlds Col ide (Edwin Balmer and Philip Wylie, 801) On the coattails of the disillusionment that began to seep into the US
in the post war period, a new, bleak film genre began to emerge. Dubbed film noir (black film) by the French media, the new wave of cinema was descended from the traditional crime and gangster films, but featured tougher, hard-edged storylines where the good guys didn’t always win,

9

A SHOrT HISTOry OF PAPErbACKS
and were distinguished by their use of atmospheric lighting and shadows; dark and rainy urban streets reflecting cheap neon; anti-heroes who carried their fair share of neurosis and doubt, and most important of all, a stunningly beautiful femme fatale — usually a tough, strong-willed woman who existed in a continual haze of cigarette smoke, often leading her weaker male counterpart’s life straight down the toilet.

The emergence of the film noir genre had a dual effect on the paperback and pulp industries. It drove audiences to the drug store bookracks in search of similar tales of sex-laced violence, increasing the readership significantly, while film producers turned to the books as a potentially endless source of plots, situations and characters.

Another important ingredient which helped fan the fire for the paperback publishers was the emerging juvenile delinquency (or JD) problem that started to emerge during the war. As parents, church groups and school principals battled hard to control the problem, the publishing industry was only too happy to cash in on it, creating a wave of JD paperbacks.

During the late 1940s and fifties, paperbacks found themselves competing on the racks with the lurid detective magazines which were immensely popular in their day. It didn’t take long for the paperback publishers to realise that what sold the detective magazines were their promised combination of sadism and sex, usually illustrated with a suitably garish cover. It was a combination which the paperback publishers were to profit from, with their covers becoming progressively more graphic and revealing.

One definite contribution which the paperback industry made was that many significant authors were first published within their pages, writers whose work may not have otherwise seen print in book form.

Many, such as Jim Thompson and Cornell Woolridge, wrote books that were banded in amongst all the other hard-boiled detective and crime paperbacks, yet whose originality within the genre weren’t appreciated until years after their publication. Other writers like Jack Kerouac and William Burroughs attained almost instant recognition — and generated considerable controversy — with the publication of their early books in paperback form (indeed, one of the most desirable of all paperbacks

HIP POCKET SLEAZE

10
is the Ace printing of Burroughs’ Junkie, published in 1953 as a double book, backed with Maurice Hellbrant’s Narcotic Agent. Published under the pseudonym of William Lee, the Ace printing of Junkie frequently sells at auction for up to $500, when found in nice condition).

All that really remained was for Dr. Albert Kinsey and his associates at Indiana University to publish Sexual Behaviour in the Human Male, followed by Sexual Behaviour in the Human Female in 1951 (also known simply as ‘The Kinsey Report’). One of the largest studies conducted on human sexual behaviour, the Kinsey Report revealed — amongst other things — that sixty-eight per cent of American males and fifty per cent of females had engaged in premarital sex. It was also revealed that thirty-seven per cent of males and thirteen per cent of females had instances of at least one homosexual experience that resulted in orgasm. Suddenly, it appeared almost overnight as if Middle America had discovered how to swing.

Needless to say, paperback publishers were only too happy to swing along with them.

11

ADULT

PAPErbACKS

Adult paperbacks, of the type we know and love and are dealing with here, really hit their stride towards the end of the 1950s.

Late in the previous decade, Novel Library had begun publishing a series of forty-six paperbacks which — although containing very little in the way of risqué text — certainly presented themselves with provocative artwork and cover blurbs, and can be considered one of the pioneer lines in paperback erotica.

With titles like Ecstasy Girl, Free Lovers, Bedroom Eyes and The Love Toy, the Novel Library series were published anonymously by Avon, who left their name off the books because they were either ashamed of their

‘tacky’ presentation, or were concerned about possible legal action and loss of reputation. It was an early step towards the secrecy with which many adult publishers would produce their work. Many of the Novel Library titles were reprintings of fairly staid detective and spicy romance titles, often renamed and wrapped up in titillating cover art. Two of the key books from this series are Jack Woodford’s Peeping Tom (a reprinting of the 1936 title Come Into My Parlour), which featured a striking cover of two women stripping down to their underwear, designed to look as if they were being spied on through a keyhole, and Maxwell Bodenhein’s Naked on Rol er Skates (a book originally published in 1930), the key feature of which is once again the memorable cover painting which depicts a cute, obviously naked girl flying down a hill on her roller skates, her privates strategically hidden by a piece of fencing on which the book’s title is branded — it is a winning combination of sexuality and innocence,

HIP POCKET SLEAZE

12
and a perfect example of the ‘good girl’ cover art which is so coveted by collectors.

The loosening of censorship guidelines for printed material in America, which started in the early to mid 1960s, began to bear immediate fruit for adult publishers, who were finally finding some freedom to give many of their readers exactly what they wanted: as much sex as allowed, wrapped up in a plot that was pure hedonistic fantasy. Into this new arena came a generation of eager publishing houses, such as Beacon, Midwood, Monarch, Candid, Satan Press, PEC, First Niter, Wee Hours and Corinth Publications.

Trying to compile detailed information on the adult publishers of the 1960s can be a frustrating task, since they frequently changed their names or shifted premises in order to stay one step ahead of the law (local county police could still make life a headache for these companies); books were constantly being republished with a new title, cover art and author name (it is not uncommon to find the interior of an adult paperback to contain a completely different title and author than those listed on the cover, as some publishers would simply glue new covers to unsold books). Some publishers would even occasionally change or mix up the numbering details of their books on purpose, possibly for tax purposes (it would come as no surprise to discover that many of these adult publishers had mob ties).

In the mid 1960s, the average pay cheque an author could expect from penning one of these slim volumes ranged between $400–$600, so the more prolific smut peddler was able to grind out quite a comfortable living for themselves — provided of course that they were able to find work with a publisher that would actually pay them what they were due (not always the case, as revealed by some of the author interviews in this book).

Here’s an example of exactly what went on between the covers of these paperbacks. Russ Trainer’s 1965 classic The Seeker relates the story of Marsh Hunter, a handsome young stud who has never been able to orgasm during sex. When he loses Janet Priest, the only girl he ever loved, Marsh releases his anger and frustrations in a manner that is classic softcore fiction:

13

ADULT PAPErbACKS

Much later, after suffering the whispers and innuendoes of the college communities, Marsh learned there had been many men of the college community who had not been kept from having Janet Priest. It added fuel for his bitter quest. There followed more women, hundreds of them twisting and screaming in pleasure at what he had to give, not knowing until he finally pulled away that he was not giving, only seeking. Their bodies became his therapy, a mysterious path that always hinted at hope.

Just think, in an era before the widespread arrival of hardcore photo magazines, this is what numerous school boys (and girls) must have been getting their rocks off to, reading by flashlight under their blankets late at night, or reciting to their impressed classmates in some hidden, quiet corner of the schoolyard. Although tame by today’s explicit standards, many of these books still give off a significant dose of excitement and heat, incorporating tough storylines that often involved crime, vice and murder. Certainly people who collect vintage adult paperbacks purely for their cover art are missing out on a lot, such are the thrills and cheap kicks that are burned into the text, as well as frequent insights into the author’s individual peccadilloes (particularly the more interesting and creative writers, some of whom are profiled in our smut peddlers chapter).

Little doubt, though, that the cover art was perhaps the single most important element of the adult paperbacks, for it was the cover which initially sold the book, causing it to leap off the shelf (or from under the counter) into the sweaty hands of an excitable, prospective buyer. While photographic covers were sometimes used on adult paperbacks during the 1960s, illustrative art was generally the order of the day. A well-stacked woman, provocatively dressed and smeared with tacky make-up, was absolutely essential. A leering male, usually clasping a bottle of booze and a cigarette, was a frequent addition. While a lot of the cover art went unsigned — and many of the artists themselves have been relegated to obscurity — three people in particular stand out as the premier adult paperback artists of this period, these being Gene Bilbrew, Bill Ward and Eric Stanton (see masters of the provocative art).

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strANge sisters & Queer dAddies

lesbiAN ANd gAY pAperbACKs

The lesbian and gay titles remain one of the most loved and collected genres of vintage adult paperbacks. One of the earliest and most important books to deal with female homosexuality was Radclyffe Hall’s The Wel of Loneliness. Banned in England upon its first publication in 1928, the novel became a controversial bestseller all over again when it was reprinted in paperback form by Perma Books in the US
in 1951. With sales of the reprint hitting the 100,000 mark, and the re-ignited debate over the publication of such ‘obscene’ literature (which translates of course into dollars), it didn’t take long before other publishers began to profit from the book’s success.

The most prolific publisher of lesbian fiction during the 1950s was Fawcett, who under their Gold Medal imprint kept male readers titillated — and many gay women either amused, intrigued or outraged —
with a string of paperback titles which ventured into the ‘twilight world’

of love between women. The first title published in this series was Women’s Barracks (1950), an autobiographically based novel by French writer Tereska Torres. Torres, the daughter of sculptor Marek Swarc, joined Charles de Gaulle’s Free French Army when war broke out with Hitler’s Germany. Barely eighteen at the time (she was born in 1921), Torres spent most of the war working within the resistance in London, an experience which she drew upon when writing Women’s Barracks.

Although written as a novel that took a broad look at women during wartime, sales were helped by passages looking at the lives of women driven by circumstance into the arms of other women (Barye Phillips’

cover art, depicting several female officers stripping down in the barracks changing room, didn’t hurt either). By the end of 1950, Women’s Barracks had sold over one million copies, and two years later the book found itself singled out for condemnation by the Gathings Committee, formed to conduct a congressional investigation into the supposed evil influences which paperbacks were having on the public. In June 1953
in St. Paul, Minnesota, businessman Harry Fredkove was charged with selling “indecent and lewd literature in violation of the charter and or-

15

ADULT PAPErbACKS
dinances of St. Paul”, when he was found displaying a copy of Women’s Barracks on his news-stand (Fredkove was eventually found not guilty, when it was decided by the court that the likelihood of the book ‘ having such a salacious effect does not outweigh the literary merit it may have in the hands of the average reader”).

While the presence of the Gathings Committee placed pressure on the paperback publishers to be wary of the content of their novels (and how they were presented)*, the profits to be had were simply too great for them to abandon the lesbian genre. By the mid 1950s, lesbian themed paperbacks were so popular that distinct little sub-genres could be seen to have formed within them: there were the women in prison or institution stories ( Female Convict, House of Fury, Reformatory Girls), bi-sexual love triangles ( The 3rd Theme, Adam and Two Eves, The One Between) and pseudo-psychological ‘studies’ which professed to examine (in as titillating a way as possible) the causes of lesbianism ( Women Confidential, Sexual Practices of American Women, The Lesbian in our Society — these ‘educational’ paperbacks were usually more explicit than the other paperbacks, with the ‘educational’ banner providing a loophole for

* Many lesbian paperbacks from this period had to be published in ‘codes’, which would allow the more astute observer to pick up on the theme. Usually anything with the word ‘twilight’ in the title or cover blurb was a give-away. Moreover, many lesbian novels tried to validate themselves by having the main character either die in the end — as ‘punishment’ for her wicked sins — or ‘saved’ from a life of degradation and immorality by a rugged male.

HIP POCKET SLEAZE

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publishers to get their material past the Select Committee on Current Pornographic Materials).

Book-ending these diverse genres were titles which provided genuine, realistic portraits of the topic ( The Dangerous Games, We Walk Alone, Beebo Brinker — see ann bannon interview), and those which wallowed in unabashed sleaze, with no pretensions other than to satisfy the raging libido of straight men ( Satan was a Lesbian, Man Hater, Queer Dyke).

Throughout the 1960s, many well known authors wrote lesbian paperbacks under various pseudonyms, including science fiction author Marion Zimmer Bradley (as Lee Chapman, Miriam Gardner, Morgan Ives) and popular mystery writer Lawrence Block (as Jill Emerson, Sheldon Ward, Andrew Shaw).

In stark contrast to the lesbian books, male homosexuality was a theme that was not predominant in paperbacks until the mid 1960s, restricted primarily by the threat of obscenity charges and the differing social acceptances placed on female and male sexual deviance at the time.

In the 1950s, it was much easier to lay charges against a publisher for producing and distributing material containing homosexuality than it was for books dealing with lesbianism. As a result, most books which dealt with homosexual characters or behaviour in any way were usually published in hardback (to give them an increased air of respectability).

Although homosexual characters did appear in paperback in the 1950s (such as Avon’s 1952 reprinting of Blair Niles’ 1931 novel Strange Brother, and George John Seaton’s 1952 Popular Library title Isle of the Damned, which looked at the ‘situational homosexuality’ which men imprisoned on the notorious Devil’s Island penal colony would often indulge in), censorship trouble was not the only reason why publishers steered clear of the topic. The simple fact seemed to be that homosexuality was a much less marketable theme than lesbianism — after all, lesbian paperbacks appealed to both gay women and straight men, while the homosexual novels appealed to gay males and few others.

The situation certainly changed in the mid 1960s. Once the legal standards for obscene material were modified (due in part to the landmark court cases involving Lady Chatterley's Lover, Portnoy‘s Complaint

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ADULT PAPErbACKS
and Naked Lunch), novels featuring male homosexuality began to flood the paperback market (approximately thirty paperback titles featuring gay erotica were published in 1965, compared to over one hundred the following year). The majority of these books were originals rather than reprints, and most concentrated on the sexual content rather than plot.

Unlike the lesbian paperbacks of the 1950s, any pretence of social realism or cultural study was abandoned in the gay titles, replaced by a sense of sexual fantasy that was presented as pure wish fulfilment. Popular themes of gay erotica revolved around life-savers, construction workers, military personnel, secret agents, men behind bars and any number of other scenarios which were part of the perceived, clichéd world of homosexual fantasy.

Although appreciated now primarily for their cover art and perceived camp value, the vintage lesbian and gay paperbacks are important documents of the sexual mores and social attitudes towards these subjects, at a time when television and other media of the day were squeaky clean and almost asexual (i.e. Leave it to Beaver). And the lesbian titles, in particular, provided a great sense of relief, comfort and adventure to many gay women, trapped at the time in a closet which must have seemed un-bearably stifling.

gay and lesbian paperbacks

a selected bibliography

Titles listed by publisher

After Hours

 Queen of Evil by Myron Kosloff (AH-105, 1964)

 Twice as Gay by Nan Keene (AH-113, 1964)

 Strange Fruit by Richard Al en (AH-113, 1965)

 Madam Butch by Edward Marshal (AH-131, 1966) All Star

 Lesbos Hotel by Rick Raymond (AS-12, 1964)

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 Queersvil e by Ed Culver (AS-64, 1965)

 Luscious Lesbian by Helen Highwater (AS-79, 1966)

 Queer for a Day by Jarlene Post (AS-81, 1966) Beacon

 Queer Af air by Carol Emery (B-135, 1957)

 The Strange Ones by Ben Travis (B-226, 1959)

 The Third Sex by Artemis Smith (B-268, 1959)

 Sorority Sin by E.S. Seeley (B-278, 1959)

 Twilight Girl by Del a Martin (B-390, 1961)

 The Twisted Ones by Tom Foran (B-644F, 1963) Brandon

 Country Club Lesbian by Jerry Jason (616, 1963)

 L is for Lesbian by J.D. Ford (617, 1963)

 Executive Lesbian by Stanley Carson (733, 1965) Brentwood Publishing

 Sir Gay by Lynton Wright Brent (1965) “When the limp wrist set took over, the power-structures trembled.”

Companion Books

 The Kil er Queens by Michael Scott (CB-550, 1968) Gay men in the military.

Dragon Edition

 Lez on Wheels by Dan Rader (DE-108, 1965)

Evening Reader

 Knives of Desire by Morgan Ives (Marion Zimmer Bradley, ER-1240, 1966)

Greenleaf Classics

 AC-DC Stud by J.X. Wil iams (EL-371, 1967)

 Caves of Iron by Chris Davidson (AB-403, 1967) Men in prison.

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ADULT PAPErbACKS

 Go Down, Aaron by Chris Davidson (EL-376, 1967) Homosexuality in the Third Reich.

 Song of the Loon by Richard Armory (Richard Love, GC-213, 1968) Homosexuality between white men and native Americans in the Wild West. Fruit of the Loon was a 1968 fol ow-up from the same author.

 The Erection by Chad Stuart (PR-360, 1972) Construction workers.

Midwood

 Strange Breed by Adolfo Lucchesi (F-44, 1960)

 The Unfortunate Flesh by Randy Salem (F-63, 1960)

 Corrupt Women by Paul V. Russo (F-114, 1961)

 Strange Delights by Loren Beauchamp (Robert Silverberg, F-145, 1962)

 The Gay Scene by Joan El is (F-169, 1962)

 Lady Wrestler by James Harvey (F-193, 1962)

 Appointment for Sin by Paul V. Russo (F-217, 1962)

 Pajama Party by Peggy Swenson (Richard E. Geis, F-274, 1963) National Library Books

 Passion to Disaster by Ray Douglas, Jr. (1969) Homosexuality in the Vietnam War.

New Chariot

 Lesbo on the Make by Larry Simms (6C-638, 1963)

 Lesbian in Black Lace by Claire Arthur (6C-901, 1963) Newsstand Library

 First Person, Third Sex by Sloane Britain (U-119, 1959)

 The Bitter Love by Don King (U-124, 1959)

 The Third Theme by March Hastings (U-157, 1961) Nightstand Books

 The Wild Night by Don Holiday (NB-1507, 1960)

 Sin Girls by Marlene Longman (Robert Silverberg, NB-1514, 1960)

 Lesbian Love by Marlene Longman (Robert Silverberg, NB-1523, 1960)

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PEC

 Lesbian Stripper by Vin Saxon (Ron Haydock, G-1108, 1966)

 Like Father, Like Son by Dennis Drew (HES-102, 1967) Private Edition

 Unnatural Lovers by Jack Noble (PE-309, 1963)

 Lesbo Beach by Marcia Howard (PE-322, 1963)

 Queer for Kicks by Anthony Crowel (PE-345, 1965)

 Perverted Playmates by El is Britton (PE-346, 1965)

 Queer Street by L.B. Wright (PE-355, 1965)

Royal Line

 They Needed No Men by Sam Lewis (RL-108, 1965)

 Perverted Love Slave by Adam Calin (RL-127, 1966)

 Lust Lens Stripper by Gordon Ross (RL-132, 1966) Satan Press

 Queer Daddy by Helene Morgan (101, 1965)

 His Brother Love by Russ Trainer (108, 1965)

 The Experimenters by Juliette Rowel (110, 1966)

 Just For Kicks by Donna Powel (111, 1966)

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THE

SMUT PEDDLErS

WrITEr PrOFILES

& InTErVIEWS

viCtor J. bANis

Victor J. Banis was born in 1937 in Huntingdon County, Pennsylvania Dutch country, but grew up in Eaton, Ohio. His early writing work — completed while he was still in his teens — consisted of mystery stories featuring a Nancy Drew-like classmate on whom Banis had developed a crush. His professional career began in 1964, having relocated to Los Angeles. Throughout the remainder of the sixties, he had an incredibly prolific career as a smut scribe, penning titles in most genres, but making his mark primarily with his homosexual and fetish paperbacks (including some, such as Pedastry: Sex Between Men and Boys, which tested the limits in a field where almost anything was accepted).

When Hal Dresner left Greenleaf in the mid 1960s, his popular Don Holliday pseudonym was taken over by Banis. Using this name, Banis wrote a series of very funny 007 spoofs featuring an effeminate gay spy.

Known as The Man From C.A.M.P. series, these twelve titles are amongst the most sought after by collectors of gay erotica, with their combination of 1960s homosexual cliché images (some traits of the character can even be found in Mike Myers’ Austin Powers persona) and the vibrant, pop-art influence of the Robert Bonfils cover illustrations.

As the softcore porn market began to dry up in the early 1970s, Banis turned to the mystery genre, penning a number of titles for Avon, Lancer,

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Ballantine and other publishers, usually billing himself as Jan Alexander or Lynn Benedict. In total, Banis is thought to have authored around 140
books, as well as short stories for magazines and — in Banis’ own words

— “the occasional restroom wall”.

victor J. banis: a selected bibliography

The Man From C.A.M.P. series

Al authored as Don Hol iday unless otherwise noted

 The Man From C.A.M.P. (Leisure LB1154, 1966)

 Color Him Gay (Leisure LB1158, 1966)

 The Watercress File (Leisure LB1168, 1966)

 The Son Goes Down (Leisure LB1177, 1966)

 Gothic Gaye (Leisure LB1184, 1966)

 Holiday Gay (Companion CB545, 1967)

 Ral y Round The Fag (Ember Library EL367, 1967)

 The Gay Dogs (Ember Library EL386, 1967)

 Sex and the Single Gay (by Jackie Holmes as told to Don Hol iday, Leisure LB1196, 1967)

 Blow the Man Down (Late Hour Library LL763, 1968)

 The Camp Guide to Astrology (by Lady Agatha and Jackie Holmes, as told to Don Hol iday, Late Hour Library LL789, 1968)

 The Camp Cookbook (by Lady Agatha* in conspiracy with Don Hol iday, Pleasure Reader 220, 1969)

 There was another title in The Man From Camp series — Gay Safe, published by Pleasure Reader in 1971 — but it was not authored by Banis. Banis believes this title was written by Sam Dodson.

Other books by publisher

Academy Press

 Al the Ways Homosexuals Make Love (as Dodd V. Banson with Sam Dodson, OAP-5509, 1970)

* Pen name of Banis’ friend, Elbert Barrow.

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THE SMUT PEDDLErS

Adult Books

 Three on a Broomstick (AB-404, nd)

 Home of the Gay (AB-429, nd)

 Man Into Boy (as Jay Vickery, AB-436, nd)

 Gaydreams (as Jay Vickery, AB-437, nd)

 Brandon’s Boy (as Jay Vickery, AB-543, nd)

Barclay

 The Flaming Suckers (as Jay Symons, 7082, 1969)

 Pedastry: Sex Between Men and Boys (as Victor Dodson with Sam Dodson, nn, nd)

Belmont

 Devil Soul (as Victor Jay, B75-2033, 1970)

Brandon House

 The Af airs of Gloria (as Victor Jay, 906, 1964)

 The Love Expert (as Victor Jay, 973, 1965)

 Hidden Flames (as Victor Jay, 988, 1966)

 Homo Farm (as Victor Jay, 2059, 1968)

Ember Library

 AC-DC Stud (as J.X. Wil iams, EL-371, nd)

Greenleaf Classics

 The Why Not (GC-209, 1966)

Greenleaf Digests

 Friar Peck and his Tale (as Anonymous, nn)

 The Tijuana Bible Reader (as Anonymous, GL-101, nd)

 The Second Tijuana Bible Reader (as Anonymous, GL-133, nd)

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Late Hour Library

 Stranger at the Door (LL-733, nd)

Leisure

 The Bronze and the Wine (as J.X. Wil iams, LB-1172, nd) Medco

 Men and their Boys (nn, 1966)

 Smal Town Sex — Today! (nn, 1966)

 Auto-Erotic Acts and Devices (as Victor Dodson with Sam Dodson, nn, 1967)

 Unusual Sex Acts, Practices and Perversions (as Dr. T.K. Peters and Victor Dodson, ed., with Sam Dodson, nn, 1968)

Nightstand

 Gay Buddies (NB-1857, nd)

 Gay Treason (as J.X. Wil iams with Elbert Barrow, NB-1875, nd) Other Traveller

 The Gay Haunt (as Victor Jay, TC-517, 1970)

PEC

 A Study of Deviate Sexual Fantasies (as Dodson, Victor and Samuels, with Sam Dodson, PEC Special 20, 1968)

Private Edition

 So Sweet, So Soft, So Queer (as Victor Jay, PE-344, 1965)

 AC-DC Lover (as Victor Jay, PE-346, 1965)

Sherbourne Press

 The Pussycat Man (nn, 1969)

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THE SMUT PEDDLErS

Sundown Reader

 Born to be Gay (as J.X. Wil iams, SR-597, nd)

 The Gay Trap (SR-602, nd)

 Pretty Man (as J.X. Wil iams, SR-604, nd)

 Goodbye My Lover (as J.X. Wil iams, SR-607, nd)

ANN bANNoN 

Ann Bannon is probably the best known of the lesbian
pulp authors. Born Ann Welby in 1932, Ann Bannon was raised in Joliet, Illinois. Introduced to the works of Ann Aldrich (writing as Vin Packer) and Radclyffe Hall while still in college, Bannon used these writers as her inspiration and — integrating observations which she had made about her two college roommates — authored her first novel, Odd Girl Out (1957). Having married after graduation, Ann’s husband forbade her from using his surname on her writing, leading her to choose the pen name of Bannon. After giving birth to two daughters, Bannon earned her PhD in linguistics at Stanford, before divorcing and moving to California, where between 1959 and 1962 she wrote her next five (and best remembered) novels.

Unlike the tackier lesbian themed paperbacks which were being ground out to satiate a mostly male audience, Bannon’s novels are regarded as an accurate and insightful depiction of lesbian life during this period of social and sexual repression (although the cover art and photographs designed by the publishers made no attempt to illustrate this fact). Carrying the lives of her major characters over from one novel to the next, Bannon created fully developed and refined characters, who existed within plausible story lines.

Of Bannon’s lesbian works, Beebo Brinker is the best known, and represents a popular character that is something of a prequel to her other works. Published by Gold Medal in 1962, it tells of Beebo at age eighteen, arriving in Greenwich Village fresh off the farm, her worldly possessions inside an old wicker suitcase, a worn old copy of the Guide to Greenwich Vil age clutched in her hand. She is stuck firmly in the closet for the first

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third of the book’s narrative, before finally coming out to her gay roommate Jack. From there, Beebo quickly makes the transition from shy farm girl to dominating butch, falling into bed with Mona, then Paula, before finally getting snared by Venus, a glamorous film star.

Her final novel for Gold Medal, Beebo Brinker was originally issued with a cover painting which plainly illustrated the publisher and artist’s misconception of (or total disregard for) the content of the book.

Conceived by Bannon as “tall, strong, handsome and blue-jeaned”, Beebo Brinker is presented on the cover (by Robert McGinnis) as a nerdy, private school girl type, standing under a sign subtlety marked ‘Gay Street’

(and in case we miss the point, another street sign above her head reads

‘One Way’). The cover blurb boldly proclaims:

Lost, lonely, boyishly appealing — this is Beebo Brinker — who never really knew what she wanted, until she came to Greenwich Village and found the love that smoulders in the shadows of the twilight world.

In 1984, Bannon appeared in Robert Rosenberg’s documentary film Before Stonewal , which chronicled the history of the gay and lesbian community before the Stonewall riots began the major gay rights movement.

Two years later, her early paperbacks were re-issued by Naiad Press, a Florida based publisher who specialised in lesbian works. This time around, the covers used a very simplistic, blue silhouette design, which helped shift the emphasis away from the vicarious exterior and onto the content, earning Bannon her due recognition as a pioneer of lesbian fiction, and establishing Beebo Brinker as a gay icon of her times.

Ann bannon: a selected bibliography

Gold Medal

 Odd Girl Out (1957)

 I Am a Woman (D-833, 1959)

 Women in the Shadows (S-919, 1959)

 Journey to a Woman (S-977, 1959)

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 The Marriage (S-1066, 1960)

 Beebo Brinker (D-1224, 1962)

interview with Ann bannon

hip poCKet sleAZe: Ann, can you tell me a little about your
childhood and growing up in Joliet, Illinois? What sort of place was it at
the time, and how do you think it influenced your later writings?

ANN BANNON: Actually, while I was born in Joliet, I grew up in Hinsdale, Illinois. It was small and beautiful, a suburb of Chicago that almost looks today like a museum of handsome old Victorian homes de-ployed on acres of emerald lawns. My family started out with substantial resources and ended up with almost nothing, so I experienced the town from a variety of perspectives, some of them painful. I always felt pro-foundly different from the other kids — and indeed, was — but found ways to look, talk, dress, and act like the rest. It was a survival strategy, which gave me a secure cover, but always made me feel like a spy among my age-mates.

How did you first approach Gold Medal with your idea for your first pa-
perback? Was it a cold submission of a freelance manuscript, or did you
sell them initially on a synopsis?

ANN BANNON: Luck was with me on this one. I should be able to tell you that I struggled for years and papered my bathroom walls with rejection slips. But in fact, I had initiated a correspondence with Marijane Meaker, who was writing lesbian pulps for Gold Medal Books at the time under the pen names of Vin Packer and Ann Aldrich. Somehow, we hit it off in the correspondence. I was newly married, living in Philadelphia then, and when she learned I had a manuscript, Marijane invited me to New York to meet her editor at Gold Medal — Dick Carroll. I took with me an overwritten and overwrought manuscript about 650

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pages long. Dick read it over a two or three day period, out of friendship for Marijane, I’m sure. He gave me good advice: “Cut the length in half, and focus on the two young women. That’s your story.” I was abashed, but went home and did as he said. It became Odd Girl Out, my first novel, and Gold Medal published it without changing a word. Talk about luck!

Carroll told me he received 400 unsolicited manuscripts a month, and couldn’t possibly do justice to them all.

Were you ever approached by any of the sleazier publishers to write les-
bian books for them, or did you ever consider working within this field?

ANN BANNON: None of the sleaze folk ever came courting, probably because I was doing so well at Gold Medal and they just figured I couldn’t be pried loose — which was in fact the case. I was always grateful to Dick Carroll, and to Knox Burger, who succeeded him, for taking good care of me and the Beebo Brinker chronicles . And of course I had no way of knowing back then that my books would develop a life of their own far into the future.

What was your opinion of the more lurid lesbian paperbacks? Did you
ever read any of them, or did you make a concerted effort to distance
yourself — and your own work — from them?

ANN BANNON: I thought some of them were kind of fun and intriguing — sort of a romp through as many bedrooms and sexual con-figurations as the reader’s short memory span could endure. But there were many others that were dripping with misogyny and homophobia, and those I gave a wide berth. I never really tried to emulate either genre, since I always believed I was writing lesbian love stories, not sleaze per se.

Was there much editing/rewriting done on the manuscripts by the pub-
lisher? If so, were you given a final draft of the novel to approve prior to
publication, or was it pretty much out of your hands once the completed
work had been handed over?

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THE SMUT PEDDLErS

ANN BANNON: After I submitted a completed draft, it would take a couple of months before I heard back from Gold Medal. But were they busy editing and rewriting? Mercifully, no. They did almost none of that.

(Perhaps they should have!) Now and then they would scold me for trying to use a phrase like “shit list”. It’s one of the few they told me to change.

When I balked, I discovered they had done it themselves, and it came out

“black list”. Those were the days of the post-Victorian era in publishing!

We thought we were pretty cutting edge, but we were still pretty bound by tradition and convention — in print, anyway.

After a couple of months, I would get the galley proofs in the mail, read through them for errors, and return them to Gold Medal. I think I made relatively few changes myself. I was usually into the next book when the preceding one was in production, so my imagination had already flown ahead to new ideas and events.

Ann, I understand that when you completed odd girl out , your hus-
band at the time forbade you from using his surname on the book, which
led you to create the Bannon pseudonym. How did this make you feel?

Did it have a big impact on your relationship, and was there any major
factor which led to you choosing the name Bannon?

ANN BANNON: My husband at the time I was writing didn’t so much forbid me to use his name as he expressed dismay at the possibility of seeing it splashed all over a semi-draped bosom on the cover of a pulp paperback novel. Despite a few chuckles at the prospect, I knew he meant it. But that was fine with me — I had no wish to be an embarrassment to his family or to my own. I was both afraid that what I was writing would never find an audience, and afraid that it would. I didn’t want to fail, but I didn’t want to become a pariah among family and friends for writing on such a controversial subject, either. And it was very difficult for me to judge my own work. Was it good enough to hold a readership?

I honestly didn’t know till Odd Girl Out was published and became a hit.

By then, of course, I had chosen the pen name of Ann Bannon. It actually came from a list of prospective clients my husband, then a salesman, had left lying on the desk one day. I liked it because it’s Irish, like a lot of my

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30
family, and it encapsulates my own first name. (Whether my ex ever sold anything to the Bannon family, I never knew!)

Do you recall where you got the inspiration for the Beebo Brinker charac-
ter? You introduced her in your early novels, before expanding upon her
in her own book in 1962. Did you decide to write beebo brinker because
of reader feedback, or was she your favourite character whom you wished
to give a bigger picture?

ANN BANNON: Beebo was floating around in my head for years before I ever dreamed of writing a book, much less a book about her. She was always big, assertive, handsome, self-confident, and BUTCH! And in my daydreams, she looked, as I’ve said elsewhere, like a cross between Ingrid Bergman in For Whom the Bel Tolls and Johnny Weismuller in his Tarzan drag. There were some qualities in some of the young women I knew — high school and college friends at that point — that Beebo shares. But no single individual quite lived up to all of the fantasies I projected onto the character. By the time I wrote her into her own book, Beebo Brinker, she had matured in my imagination, even while I was taking up the story line of her younger years. I did the book mainly because I wanted to tell that tale, but it wouldn’t be fair not to acknowledge the interest that fans had shown in Beebo. In fact, that novel was the only one Gold Medal let me specify the title for, and they did it because they knew I had enough readers who would recognise the name.

In your foreword to strange sisters (Viking, 1999), you tell a wonderful
anecdote about the cover art for your novels, and the trepidation when
unwrapping the package which contained copies of the published novel,
dreading what kind of cover art they had dreamed up this time…

ANN BANNON: I got lucky here, too. Three of the books were adorned with photos, only one of which was really effective ( I Am a Woman, with a sultry brunette gazing provocatively up at the reader).

Mostly they were fairly innocuous. But Odd Girl Out shows Beth and Laura and the famous backrub scene. Actually, the original cover was

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redone when I complained that it looked so 1930s, no one would be interested in it. I was wrong, fortunately, but Gold Medal got Barye Phillips, the artist, to rethink his first effort and redo it. The ladies come out looking much more glamour girl fifties than boarding school thirties in the second version. When Beebo Brinker was in production, Gold Medal switched back to a painted cover. It was done by Robert McGinnis, who was a better artist, in my view, than Barye Phillips. But oh! what he did to Beebo is a crime. He obviously hadn’t the faintest clue what to make of a lesbian hero, so he made her look like a Cosmo cover girl, with a trendy flip hairdo and make-up. But somebody must have told him (in a stage whisper, I presume) “She’s a dyke!” So he put her in men’s brogans. But as an afterthought, he added pink bobby sox. And to perfect the scene, he posed her under a street sign in Greenwich Village that says “Gay Street

— One Way”. Talk about heavy-handed symbolism! At least I was spared some of the more lurid covers, many of which promised more than the text inside them could deliver.

Looking back, what is your reaction to the covers of your early books, giv-
en that some people collect them primarily for the artwork? Did you have
any input into the cover art when Cleis Press recently re-issued several of
your books?

ANN BANNON: I’ve never had much input into covers, alas. Gold Medal never consulted me at all. Books just arrived in their plain brown wrappers, and you had to hold your breath and cross your fingers that what you were about to behold would not give you dyspepsia or scare the horses. Naiad Press simply made silhouettes of several of Tee Corinne’s photos, not all of which translated well into that mode. (Interestingly, however, the Naiad cover for Beebo Brinker is pretty good, since the original photo had sufficient outline detail to make the resulting silhouette forceful and readable.) Cleis Press has done a brilliant job of retrieving some of the fifties and sixties covers that are now out of copyright, and re-using them on my books. I’ve liked them all so far, although the Odd Girl Out cover is a shade less successful. Again, they didn’t consult me first, but once I realised how they were proceeding, I did ask them to con-

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32
sider several old covers I really like for the forthcoming edition of Journey to a Woman. The reproductions and the brilliant background colours have made these jackets among the best and most eye-catching of all my editions. Incidentally, when the Quality Paperback Book Club brought out an omnibus edition of four of my books in the nineties, they simply reproduced the original Odd Girl Out cover on their version.

Considering that I had a quite sheltered upbringing in many ways, and was influenced by a genuine Victorian (my grandmother), I tend to present a rather formal front. It would have been disorienting to find myself, even via my nom de plume, associated with some of the more lurid cover art. I recognise, however, that it is fascinating stuff to collect, and have attended vintage pulp paperback book shows where, for many people, it’s the main attraction.

How high a profile did these books bring you? Did you ever have any cor-
respondence from readers forwarded onto you by the publisher?

ANN BANNON: The books gave me an incredible following — something I really never anticipated. I heard from hundreds of women all over the country — thousands, actually. Many of them were isolated, scared, ashamed, and convinced that there were no other human beings on the planet who shared their feelings. I had no idea how much angst there was out there. For a few years, when the books were current, the mailman used to stagger up the walk with bags of letters for me, all forwarded from Gold Medal. I tried conscientiously to answer them all — some better than others — with the message that the writers were not alone, that there was hope, that above all, there were others and not to give way to despair. I kept those letters for many years, until, during one of many moves we made during my married life, they were lost. I greatly regret the loss and wish now that I had them back. They would make eye-opening reading for young members of the gay community, and for others wondering what it’s like to be in a marginalised group.

In the fifties and sixties, when I was first writing, we were deep into the era of Senator McCarthy and the House Un-American Activities Committee. It was a scary time to hold contrary political views, much

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THE SMUT PEDDLErS
less to discover that you were a sexually contrary being. I think if I had ended my marriage early on and struck out on my own as a writer, I’d have had a rewarding career and a much higher public profile than I had.

But by the time I began to realise that my books had taken hold on the public imagination, I was a mother of two little children, and I had to put them first. The real notoriety didn’t begin until the Naiad re-issues in the early 1980s, and it has built steadily from there.

What was the media reaction and coverage like for your books? Were they
favourably reviewed, or was there any backlash against them because of
the content? Were you contacted by the media for interviews and promo-
tions, etc?

ANN BANNON: Wow — what media reaction?! Those of us writing pulp fiction were distinctly infra dig in those days. No matter what your topic or how seriously or genuinely presented, if you were in paper covers, you were writing sleaze. And you sailed along well below the critical radar screen. No self-respecting literary critic would have stooped to reviewing a paperback novel. We had to wait for the Beatles to come along and write a song about us before people began to think it was a glamorous profession. Some of us resented being so utterly ignored by the literary establishment. But in retrospect, there was a silver lining: we were allowed to say pretty much what we wanted to say, to explore topics that very few others, and certainly even fewer ‘respectable’ writers, were exploring, and to open new ground and new topics to the world of fiction. It’s interesting to speculate what might have happened to us if we had shown up on the pages of the New York Times Book Review, only to be reviled and subjected to the castigation of the fundamentalist right.

It might have set back avant-garde fiction by decades! So our relative anonymity served the purpose of keeping a dangerous backlash at bay.

There were rumblings against some of us, but I was never targeted, as far as I know — unless, that is, the FBI was keeping a file on me back then! I wasn’t contacted for interviews, but it’s of some interest that Gold Medal at least made an effort (unsuccessful) to sell some of my books to the movies. And I was certainly contacted by organisations like the

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34

Mattachine Society and the Daughters of Bilitis, to whom I occasionally spoke. Nowadays, as you can imagine, things have changed a lot. Everybody wants an interview, and I can hardly keep up with invitations to lecture around the country. How times have changed!

What sort of publicity push did the publisher give your book, and other
books in the genre? Was there much advertising and promotion, or did
they let the books (in particular, the cover art and sensationalistic blurbs)

pretty much sell themselves?

ANN BANNON: I used to see ads for my books in magazines that were part of the Gold Medal empire, such as fan magazines and the like.

Gold Medal never alerted me that they were going to do it — I had to pick up one of the fanzines, usually by sheer accident, at a bookstall somewhere. But they, and most of the big, successful paperback publishers, were adroit marketers. They saw to it that these books were plen-tifully available in every sort of commercial and public gathering place where a simple shelf or kiosk could be set up. They made a fortune with them, simply distributing them to drugstores, bus stations, train terminals, airports, news-stands, and anywhere else people could walk in and casually pick up something to read. They were distributed in the hundreds of thousands. I remember Dick Carroll telling me at the time that he considered sales of about 200,000 for a given title to be solidly profitable. This is an amazing number. Ten thousand copies of a hardcover book will usually break you even or better financially.

As for letting the covers and the blurbs sell the books, they did a handsome job of that. The women were always depicted as flirty, sexy, very femmy, very beautiful, often in their undies, often shooting one another smouldering looks. Men loved them and lapped them up. Women learned to read those covers iconically, as stories with a lesbian content, and stripped the kiosks bare. I didn’t know it back then, but I had, in effect, caught a wave: the post WWII generation, pre-women’s movement, pre-Stonewall and civil rights movements, when people were just beginning to snap the bonds of sexual convention and delve into innovative

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THE SMUT PEDDLErS
relationships. It was a lucky confluence of social momentum and a young writer’s need to challenge custom.

I read somewhere that in the early 1990s you were working on a new
book which would examine the mature Beebo Brinker’s life. Did you ever
complete this book?

ANN BANNON: There’s a manuscript on the shelf above my desk as I write this, looking at me reproachfully. People are asking me the same question all the time, and I’m running out of excuses! Yes, there’s a book, and yes, it needs a great deal of rewriting before it deserves to be unveiled publicly. And yes once more, it’s about Beebo. After all, she’s still a handsome woman, still kicking butt, and still interesting to read about. Not many people have tackled love among the elders, and I’d like to give it a try. It was one of my sources of pride that I wrote about black-on-white romance in the fifties, about gay men and lesbians getting together and/
or marrying when they wanted to have a child, about problems with do-mestic abuse, that almost nobody else was trying to examine back then.

So why not take on a woman in her later years, still beautiful, still funny, still sexy, and let her show her stuff? But — it will be a while before I can clear the decks to get to it — probably early next year. ’.Til then, I’m booked pretty solid on the lecture, interview, and writing circuits

When did you first start to realise that your books were being admired
and collected by a new generation of readers? Was it when Naiad Press
re-issued them in the mid 1980s?

ANN BANNON: It was in the mid eighties, when the Naiad editions were doing so well, that it began to sink in. I had never thought that my books would have more of a lifespan than most other original paperbacks… which is to say, not much longer than six to eight months after they’re published. I thought mine had gone to that great paper shred-der in the sky by the early 1960s. To my astonishment, the New York Times came calling in the early seventies and asked to include them in a hardcover series they were planning to publish through their subsidiary,

HIP POCKET SLEAZE

36

Arno Press, called Homosexuality: Lesbians and Gay Men in Society, History, and Literature [New York, 1975]. Then, in 1981, I heard from Barbara Grier of Naiad Press, and we were off and running yet again. I owe Barbara and her partner, Donna McBride, a debt of gratitude for their faith in the books. And because they were the largest and most successful lesbian publishing house of their day, their edition made a huge impact.

We did a promotional tour and I made a couple of documentaries as a result: Before Stonewal and Forbidden Love. It was a lot of fun, and I thought I had had an incredible run of good luck. But then the afore-mentioned Quality Paperback Book Club edition came out, and following that, Cleis Press wanted to do a new edition. By this time, I think I am well and truly convinced that people have cared about and enjoyed these books through several generations of readers. Perhaps it’s the social history they capture and reflect for younger readers interested in the gay and lesbian past. Perhaps it’s their role as ground breaking fiction in a repressive era. But more likely, it’s the sheer emotional punch of the characters themselves. Christopher Nealon, who has written an interesting study of the pulps in his book Foundlings [Duke University Press, 2001], points out that the transcendent emotion evinced by characters in the lesbian paperbacks was a sort of heroic defence against the homophobia of the times. I think he hits it dead on. And it was certainly a compelling feature of these stories that grabbed readers and held on to them.

How do you feel about the attention which your books attract today? Do
you enjoy meeting collectors at the paperback shows? Do you find that it’s
one particular type of person who approach you at these shows, or is it a
real across-the-board audience?

ANN BANNON: It has been a lot of fun, not to mention an interesting revelation, to meet people at the vintage paperback shows. An amazing variety of collectors show up, and they seem to enjoy collecting every con-ceivable genre of story. I was intrigued the first year I attended to find that one of the exhibitors had arranged his books in big cartons, all labelled by type. He had ‘Romance’, ‘Science Fiction’, ‘Detectives’, ‘Westerns’, ‘Mysteries’ etc., and one irresistible category labelled ‘Sleaze’. The next year he

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THE SMUT PEDDLErS
had added ‘Super Sleaze’ and ‘Extreme Sleaze’. This year came the capper: he had a new box labelled (you guessed it) ‘Beyond Sleaze’. Fortunately, Beebo and the gang were only in the ‘Sleaze’ box, although I had hoped to find them in ‘Romance’. But that was before I realised that ‘Romance’ was for dopey tales like The Cottage by the Sea and Little Women. Beebo would never have fit in. If by some mischance she had got herself stuck there, she would have dragged all those saccharine ladies back with her to the ‘Sleaze’

box in short order. At these shows, I usually sit at a table with the likes of Forrest Ackerman, Ray Bradbury, or some of the famous cover illustrators, and enjoy two hours of chatting with fans and collectors of every stripe, from sweet old ladies to leather men to young families with kids.

It’s really surprising to discover how many people have been bitten by the paperback collecting bug and come to trade and play at the shows. I’ve enjoyed the contact, learned a lot, and bought a few books to keep for myself.

As for the attention my books are getting now, I’m delighted and a little overwhelmed by it — surprised, grateful, and still wondering what the girl I was all those years ago would have made of it, if there had been any way for her to peer into the future. It’s an extraordinary validation of the lives and loves of the women I was writing about, and even of the pulp medium itself. How good to know, after all these years, that our once-scorned genre was capable of producing works with staying power and enduring interest for succeeding generations of readers.

lAWreNCe bloCK

The outspoken Lawrence Block has established himself
as one of America’s greatest and most individualistic writers of mysteries and noir fiction. In the early 1960s, he cut his literary chops and paid the rent with a string of now highly desirable adult paperback titles, all of them authored under pen names like Jill Emerson, Sheldon Ward and Andrew Shaw. Many of Block’s adult works were lesbian themed, and although his period of penning paperback sleaze was brief, the originality and polish which they showed obviously pointed to a writer possessed with formidable potential.

HIP POCKET SLEAZE

38

Unfortunately, after consideration, Lawrence Block politely refused to be interviewed for this book. The following email (received April 29, 2002) was about as much as he was prepared to reveal about his days as an adult paperback scribe:

Well, the more I think about it, the less inclined I am to answer the questions. Let me just say briefly that all of my work in the field was done through an agent, that I had virtually no contact with the publishers, and that I simply wrote a book each month.

There wasn’t much in the way of editorial direction. I may someday finish my own memoir of the early days, but then again I may not, and in the meantime I don’t seem to be much interested in backward glances.

Sorry not to be more helpful.

lawrence block
a selected adult bibliography

Berkley

 Sensuous (as Jil Emerson, Z2113)

Lancer

 Eros and Capricorn (as John Warren Wel s, 75-029)

 Sex and the Stewardess (as John Warren Wel s, 78669) Midwood

 69 Barrow Street (as Sheldon Lord, 1959)

 Enough of Sorrow (as Jil Emerson, 32-550, 1965) Monarch

 I Sel Love (as Liz Crowley, MB508)

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THE SMUT PEDDLErS

riChArd e. geis

Known for his work in the science fiction fields, Richard E. Geis was one of the most prolific writers of adult paperbacks during the 1960s and seventies. His work in the adult field encompassed most popular deviations, and he made a seemingly effortless transition from softcore innocence to unabashed hardcore crud that dipped its dirty hands in all manner of forbidden themes (including incest and bestiality).

While Geis used his own name on many of his adult books, he did on occasion adopt a pseudonym, including the feminine Peggy Swenson for his adult books that featured strong lesbian overtones.

Almost equal to his voluminous output is Geis’ role in a 1964 Supreme Court obscenity case, the decision of which helped open the floodgates to the infinitely more explicit — and eventually hardcore —
adult material which began to infiltrate paperbacks and magazines, and eventually cinema. The outspoken Geis shares his interesting thoughts on the case in the following interview, which first appeared in Paperback Parade No. 28 (June 1997).

interview with richard e. geis*

hip poCKet sleAZe: How and why did you begin writing?

RICHARD E. GEIS: When I was ten years old — in the summer of 1947 — I was lying on the beach at Rockaway on the Oregon coast reading a tattered science fiction magazine I had found — Astonishing Stories, I think it was — and there occurred a sea change in me, a kind of shift in my spiritual poles, and I was hooked. Somehow, that day, in the wind and sun and sand, I wanted to be a writer when I grew up.

In grammar school I wrote stories which never left the notebook, and once tried collaborating with a friend in writing a horrible little story

* Interview conducted by Gary Lovisi.

HIP POCKET SLEAZE

40
called ‘Red Steam’ in which a man was burned alive in the boiler of a locomotive.

For several years for the Boston Tech high school paper I wrote news stories, editorials, interviews and an eccentric column called ‘The Professor of Screwlooseology’. But I didn’t actually try to write commercial fiction until I was in my twenties, and then quit after two awful, amateurish stories were bounced from… Startling Stories, as I recall.

It wasn’t until December 1958, at age thirty-one, after a lot of science fiction fan writing and publishing, after I had moved to Venice, California (on the coast of Los Angeles), that events and a critical mass in my writing mind conspired to force me to write a science fiction-sex story and send it to Adam.

They bought it for $100 (the equivalent of about $1,000 today). That first sale of the first ‘real’ story I ever wrote was pivotal. The die was cast, the harpoon sunk home, the future decided.

Your career has two distinct branches, science fiction and adult (usually
softcore) porn novels in paperback. Can you talk about these two areas of
work, and interest, and the mixing of genres?

RICHARD E. GEIS: You’re right, two branches, and inevitable mixing.

This schizophrenic split has bemused me for decades and I’ve come to a half-assed explanation of it.

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THE SMUT PEDDLErS

My first year as a pro — 1959 — I wrote and sold about 100 short stories to the men’s magazines, primarily to Adam and Sir Knight and their readers and yearbooks… And almost all these stories were science fiction, fantasy, horror with sex added or integrated or integral.

So why not write for the straight science fiction mags? I suspect because I didn’t think I was worthy, or good enough. And that feeling was somehow bedded in an inferiority complex caused by my physical disability (mild-to-moderate cerebral palsy, but I didn’t know it had that name) which from birth warped my life and character inevitably in many ways.

Anyway, I suppose it was decided in my deep, dark subconscious that I was okay and permitted to write and sell sex fiction. Perhaps I decided I’d be a big frog in a few small puddles: science fiction fandom and sex novel writing.

Incidentally, in that era I rode my bicycle all over, including into Hollywood and Sunset Boulevard, where I met my Adam and Sir Knight editors, including Sam Merwin, Jr. who had edited Startling Stories and Thril ing Wonder Stories years before when I was a fan letter hack to those mags. I was awed and wonderstruck.

I began writing softcore sex novels in 1960 and sold everything I wrote, which probably convinced me I was doing the right thing. But those early sex novels were not science fiction-sex melds. I kept to present-day situations and characters.

Later I started playing with sex-and-science fiction plots in novels. A few years later in the mid sixties, Sam Merwin and I were indicted, along with another novelist, publisher Milton Luros and Mrs. Luros, nudist magazine editors, the head bookkeeper, sales managers, etc. by the state of California on “conspiracy to publish and distribute obscene books and magazines”. Besides a lot of nudist mags, the prosecutors picked my Brandon House novel, Three Way Apartment, and a couple of other novels, one by Sam, to prosecute. The books wouldn’t raise an eyebrow today.

It was a political thing and all charges were eventually, quietly, dropped after the stated politicians had reaped their headlines.

But then the federal government mounted the same case, same charges, and set up the trial in what it supposed was a conservative venue, Sioux City, Iowa, sure to convict. There were political ambitions involved again.

HIP POCKET SLEAZE

42

Well, that trial is a long story, and the upshot was that everyone was convicted on all counts by the jury (poor dears, they had to personally read, in court, every word of all three novels). But then, one by one, over time, the trial judge and appellate courts reversed the convictions.

Incidentally, we had top lawyers: sex law expert Stanley Fleischman and hotshot Percy Foreman, the lawyer who later convinced James Earl Ray to confess to killing Martin Luther King, Jr.

I must say that Milton Luros was a class act, a gentleman and a generous man: all through that three-month winter trial he and his company paid for all our motel rooms, living expenses, airfare home several times, etc. But even during the trial in Sioux City, he and his employees kept the North Hollywood publishing empire going, and I kept on writing novels.

That experience and lesson in federal and state politics didn’t cost me a cent. But that losing case cost the government and the taxpayers millions of dollars. Plus the government created a lifelong agitprop enemy in me.

Before long after that trial, Sam Merwin was editing Brandon House for Milton Luros, and I was selling novels to him.

How did you get into the softcore adult paperback market? What publish-
ers and editors did you work for? What was the pay scale? Can you tell
us any anecdotes or stories from those days — the people, working and
writing in that field?

RICHARD E. GEIS: In 1960, after a year of selling short stories, I sent a complete novel, Like Crazy, Man, to a small publisher in Chicago, and he bought it and eventually paid me $100 in royalties. I got screwed, but it’s called ‘paying your dues’. Actually, it’s ignorance and a degree of ideal-ism and stupidity.

After that I hooked up with Midwood Books in New York and connected with the editor (whose name I’ve forgotten) and wrote about a dozen novels for him. I think they paid $800 per book. I was living in a cheap $40 per month Venice, beachfront apartment, writing a novel every month or two, and saving lots of money (for that time), playing at being a beatnik, and enjoying life.

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THE SMUT PEDDLErS

Sometime in the mid sixties, after I began selling to Brandon House in North Hollywood, I once sent a partial (three chapters and an outline) story to another sex novel publisher whose last name was Zentner; he called me and chewed me out for writing ‘too hot’. I was astonished.

He was actually outraged. I didn’t understand his reaction, and I didn’t try him again.

Brandon House and its later clones paid $1,000 per novel and a roy-alty contract, but somehow the books never officially sold enough to pay additional royalties, even though about a dozen novels went into second edition. I didn’t really care; I felt I owed Mr. Luros a lot for expensively defending me in California courts, and in Sioux City.

You wrote adult paperbacks under your own name and also as Peggy

Swenson. Was Peggy Sawn also one of your pseudonyms? Did you use
other pseudonyms, and if so what were they? Do you remember book titles
and publishers that you wrote under pseudonyms? Did anyone else use
these names or were they used exclusively by yourself?

RICHARD E. GEIS: Yes, Peggy Sawn was a pseudonym of mine, but not one I chose; the publisher needed a different name to run with one of my novels, and created that one.

Peggy Swanson was an inadvertent pseudo (on Lesbian Lure); the printer misspelled Swenson. I wrote one as Albina Jackson because the heroine and central character was black, and I wrote four adult novels for Brandon House in collaboration with a Venice friend, Robert N. Owen.

I wrote one gay adult novel for Brandon under a pseudo I can’t recall.

The editor (don’t recall which one) changed the ending from happy to despair. That was what gays deserved, in those days, in the editorial mind.

And I wrote a lot of short sex novels for Greenleaf Classics as Randy Mann (editor’s choice, without any notice to me). I’m not aware that I shared these names.

I should mention that I’ve written two adult ‘spanker’ novels for Red Stripe Books (a part of Birch Lane Press, a subsidiary of the Carol Publishing Group), Lily’s Secret and Myra’s Lightning, under their all-encom-

HIP POCKET SLEAZE

44
passing ‘Anonymous’ by-line. They pay $1,000 advances and actually pay royalties!

You’ve had a love affair with science fiction for most of your life. How and
why did you get interested in science fiction and how did your fanzine
publishing ventures begin? Can you talk about your various early zines,
and also The Alien Critic , sFr , and The geis letter ? And if I dare
bring him up, can you talk a bit about… Alter Ego?

RICHARD E. GEIS: As earlier noted, a semi-religious experience on the beach at Rockaway, Oregon, when I was ten years old, set the direction of my life. The spirits of science fiction past, present and future ganged up on my ego. I got antsy and was socially and intellectu-ally isolated in the early 1950s, as I lived alone and worked for a large department store in Portland, and gravitated inevitably to science fiction fandom after sampling other fanzines.

Whatever, I conceived and published Psychotic for a few years and it became quite popular — a ‘focal point’. My writing and editing talent blossomed, I’d say.

I’m vague on why I stopped publishing Psychotic in Portland. I remember being in The Cult and FAPA… And I remember reviving Psychotic when I lived in Venice in 1966–1967? It’s all mushed up memory. When I re-titled to The Alien Critic, moved back to Portland, and

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THE SMUT PEDDLErS
changed to Science Fiction Review (SFR) a Catholic group in Chicago, who had trademarked the word ‘critic’, threatened to sue me if I didn’t stop using ‘critic’ in my title. Are they still doing that to publishers?

I always had a need to express current events, opinions and wisdom of the ages, and so published a string of personal journals: The Naked ID, Richard E. Geis, Controversy in Review, and the latest, The Geis Letter.

If there are collectors of Geis out there, I’m sure I’ve led them a merry chase… and the game isn’t over.

Alter Ego… Yes, he appeared when Jim Baen asked me to write a column for Galaxy soon after he began editing it. Alter was a spontaneous creation, a device for humorous purposes who seemed to take on a life of his own. I understand he was quite popular and that I was considered paranoid and schizophrenic by many readers.

“That’s because you are a ’noid-skizzy, Geis, and only my adroit jiggering of your warped neural nets has al owed you to function with apparent normality al these years.”

That’s Alter. See what mentioning him does? He emerges with all that smug superiority and immortal alien arrogance. Go back to your pre-frontal cave, Alter. Or better yet, migrate to another poor soul and bedevil him or her for nigh unto thirty years.

“No, Geis, I’ve decided to stay with you. I’ve grown accustomed to your brain, although its arteries are getting a bit clogged. You’ve got to cut down on fats and sugars.”

I’ll not take dietary advice from a fucking figment! Back into your hole! Go play with your used synapse collection!

“They’re al sorted, filed, catalogued, and you don’t produce much new in the way of synapses, Geis!”

You see what I have to contend with? Alter has been a pain in the ass ever since I created him. I…

“I created you, Geis!”

We’d better go on to the next question.

I think so. You’ve also written science fiction for the mass market in pa-
perback, such as the three collaborative novels done for Fawcett with El-
ton Elliot. Can you talk about how these came about? Were there others?

HIP POCKET SLEAZE

46

RICHARD E. GEIS: There were four Geis-Elliot (using the pseudonym Richard Elliot) novels published by Fawcett Gold Medal: The Sword of Al ah, The Burnt Lands, The Master File and The Einstein Legacy.

We wanted to do a sequel to The Burnt Lands (which was a sequel to The Sword of Al ah) but Fawcett wouldn’t buy it.

Did you write any of the Hustler Paperbacks published in the early

1980s? If so, what names did you use and what were the titles?

RICHARD E. GEIS: No. I approached the editor, was given a Hustler novel to emulate, but found it so bad that I wrote the editor a critical letter about it… and discovered that he had written it. I didn’t sell any novels to Hustler.

You wrote two novels under your own name for Essex House. Did you
write any other books in the series? Can you talk a bit about what it was
like working for this publisher? What did you think of their product?

RICHARD E. GEIS: I wrote Raw Meat and I can’t recall the title of the other at the moment [ Ravished, 1968 — GL]. Those were all I wrote for Essex House.

Brian Kirby edited the line and it was a line from the North Hollywood publishing and printing plant owned by Milton Luros. Brian had edited Brandon House for a few years and I knew him well while he lived in Santa Monica (a few miles from Venice).

Brian was the best editor I’ve ever known. But he had conflicts with Mr. Luros about Essex House, its direction, its success… I don’t think the quality writing and bizarre science fiction and fantasy sex content made enough money, were relatively too expensive to produce, and seemed not able to pay off in the future. So eventually Brian left the company and edited a counterculture LA paper.

I liked Essex House novels a lot, and wish Brian had gotten Harlan Ellison to write one as he wished, as well as other high profile science fiction authors besides Phil Farmer.

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THE SMUT PEDDLErS

Many of your adult novels, such as The Arena (Brandon House) had sci-
ence fiction elements in them. Can you talk further about this melding of
science fiction and porn?

RICHARD E. GEIS: I flat-out don’t recall The Arena. Can you hum a few bars? The meld of interests: science fiction intends wonder and speculation, while porno intends sexual excitement and obsessive interests. They seem not to come together very well. One element tends to dominate when a coupling is made, and it’s usually porno, which is what sells to a sex audience. So science fiction becomes slave to the porno master, and the audience must excessively detail and extend the sex elements and use the science fiction as the glue and the frame.

Far better to simply write realistic, honest science fiction in all life’s aspects in proportion or as the author wishes for effect.

But do current publishers allow realistic or bizarre sex in stories and novels, if the author feels it necessary on occasion?

I suspect not; I think the old ‘mother would object’ rule still largely governs science fiction publishing. And of course now we have the new dictatorial puritanism of feminism and political correctness imposed on science fiction.

The future is a lot less free than it used to be.

In the 1960s, softcore porn was less explicit, more dependent on euphe-
mism. Did you enjoy writing these? Did you enjoy the hardcore stuff that
came later? Was writing the softcore material a bigger challenge? Or a
pain in the ass?

RICHARD E. GEIS: I always wrote on the leading edge of sex fiction in the 1960s and seventies. I ‘got away with’ everything I could, and enjoyed writing it. The earlier sixties sex fiction was more dependant on plot and character because the sex scenes couldn’t be as long and detailed as in later decades. And certain subjects were still taboo.

But the walls were broken down over the years.

The seventies and early eighties ‘wall-to-wall sex’ written in excruciat-ing detail was increasingly a drag. The challenge was to add character,

HIP POCKET SLEAZE

48
plot, background in the tiny cracks between the big, wet, juicy cracks.

And editors objected to even that much non-sex.

Now, when I’m in my sixties, the different hormone mix doesn’t im-pel an interest in writing all-out, masturbation assist porno. I approve of masturbation porno, mind, but I have lost interest in writing it.

Of all your books, what are your favourite porn novels, and favourite sci-
ence fiction novels, and your least favourite? And why?

RICHARD E. GEIS: My favourite porn novel is probably Oral Daughter, which was as hot as I could write and which swam in incest and forbidden images. I’m still amazed Brandon published it; that was a brief era when you could write anything!

Raw Meat is my favourite science fiction-sex novel; it allowed me to get into mechanical and virtual reality sex and an anthill, controlled society, and a tragic ending. I still think we may be on that road. One more AIDS-like plague…

I have no least favourites; I probably block them out of my memory.

No doubt some of the Greenleaf Classic 35,000 word wall-to-wall porn epics would qualify.

Can you talk about how to Write porno for Fun and profit and The Corporation strikes back ? Were these self-published? Were there other
books you wrote and self-published? What do you think of going down the
self-publishing route?

RICHARD E. GEIS: How to Write Porno… was written for Mike Hoy of Loompanics Press and it sold out its first printing. But he had trouble finding a printer for it, and decided, I guess, that it wasn’t appropriate for his line any longer, and he didn’t reprint it.

The Corporation Strikes Back was a 500-copy mimeographed novel (the sequel to Star Whores, also mimeo), self-published during the peak years of Science Fiction Review, and is a collectors item now. It featured the sexual adventures of Toi King, a beautiful member of the sex guild (a legal prostitute) in the high-tech space travel future.

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THE SMUT PEDDLErS

I also published One Immortal Man, a novel, as a three-part serial in Science Fiction Review. It is now a very politically incorrect story.

Self-publishing is wonderful if you have the knowledge and money to enter the self publishing arena, And if you can’t get good stuff published in the usual outlets. And if you have the self-starter, detail-oriented capacity to do everything.

I prefer the ‘low end’ self publishing niche since I shrink from what I feel is the pretentiousness of commercial formats and big advertising and reviewer lists, bookstore distribution and personal appearances… If a thousand people read my stuff, fine.

You are known to be a wee bit opinionated regarding politics and phi-
losophy. Can you talk about your philosophy of life, politics, sex, science
fiction and writing? What do you see for the future of these topics?

RICHARD E. GEIS: You are really asking for it; but I’ll be brief. I see the universe as merciless, pure cold equations. I have no idea how it began. I don’t believe in a God, nor in the Big Bang, unless proven beyond a doubt and beyond the findings of the next super telescope.

Mankind is an intelligent, self-ruled and self-deluded, ego-commanded, instinct-driven creature who is alas aware of his mortality and is usually tied in knots by these conflicting forces.

God and women, you can’t live with them and you can’t live without them.

To cope in the modern world requires more intelligence than ninety-five per cent of the people possess. There is no substitute for intelligence in spite of the seductive gump delusion.

Evil does exist, but it is inherited or womb-engendered warped neural nets in the brain and can be handled by drugs and/or preventative imprisonment of the person, that is, and thus cleansing the gene pool of the carriers of defective genes. Mother Nature, that cold-hearted bitch, will eventually make us pay for our current blind-to-consequences soft-heartedness.

Mankind has nearly reached the end of its golden age, the era of easy exploitation of the planet’s natural resources which permitted a mindless,

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50
instinctive expansion of population
to Malthusian limits, and mankind
now faces an endless downhill road
of natural resource wars, diseases,
suffering, social chaos, pogroms, fam-
ines, declines in living standards and
effective technology ’til we reach, in a
thousand years or so, a steady-state
tribal barbarism just above stone age
civilisation.

Be very glad you’re alive now.

Sex will survive. There will be one
last period of public sex, kinky sex,
sex divorced from pregnancy, from
reality, and then social dictatorship
will wipe the ‘sin’ away.

Near future, science fiction and
fantasy will be the great escape
from grim reality and declining living standards. The great rival to space adventures and fairy lands is true life, naked emotion dramas. TV and movies are obviously the new Rome colosseum and eventually we may see computer-generated sadomasochism, even real executions, in the ‘arena’. (We are now enjoying real murder trials and media-famous murder movies.)

Print fiction will probably survive, even thrive in the shadow of TV
and the big screen, because of cost factors and convenience, as long as most people are taught to read.

Mankind needs fiction (structured lies, to please and reinforce social structures) and story-telling talent will always be in us.

Enough.

You wrote for Brandon House, playtime , early on at Midwood (as Swen-
son), and also The beatniks (for Dol ar Double, original y published by

Newsstand Library). Can you talk about these books and these publishers?

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THE SMUT PEDDLErS

RICHARD E. GEIS: The Beatniks obviously
was originally Like Crazy, Man. I didn’t get paid anything for the Double version. But I’m
flattered they liked it enough to use it again.

I barely remember Playtime, and nothing
about the editor. I do remember writing a cou-
ple of novels for Saber… and a few for Beacon.

What did you think of the cover art on your
paperbacks?

RICHARD E. GEIS: The only cover art that
wowed me (and still does) was the one on Easy, a Peggy Swenson novel for Midwood: it was a
blonde girl’s face with sexy eyes, open mouth
and smeared lipstick. The other 115 or more
covers were ho-hum as far as I’m concerned.

There’s not much left today of the adult pa-
perback market — that’s a bygone era — but
those authors had some talent, and a sense of
humour. Is there anything else you’d like to say
about those days? Did you ever meet any of the
other authors?

RICHARD E. GEIS: Adult paperback sex novels now are in kinky niches and are probably written by devotees and hacks.

In the ‘golden age’ of paperback sex novels there was an atmosphere of fun and adventure as we made money and pleased our readers and pressed for more and more sexual freedom. I lived in a bubble of manual typer, the beach, my fan work, my girlfriend, and eager editors. Nirvana.

I didn’t think about career or the long-term future; I didn’t think of myself as important enough to have something fancy like a career!

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I met a few other sex novel writers: Hank Stine, Sam Merwin, Jr.

(who wrote many sex novels before he became editor at Brandon), Phil Farmer, and Bob Silverberg.

Science fiction is very much alive today but has changed a great deal.

What do you see as the future of science fiction? The future of books in
general and written science fiction?

RICHARD E. GEIS: Of course science fiction will be overwhelmingly a visual genre for the elitist high-tech future of the next few generations.

Science fiction alone provides hope and triumphant destiny and a frontier and will serve as a major instinctive placebo for the masses during the planetary civilisation’s gradual, ferocious slide into decay and poverty.

Books and text science fiction are already an elitist and old-fogey interest; as time passes, printed science fiction will be seen as an esoteric interest by the TV and movie masses, who will not realise or care that printed science fiction is the source for the visual medium’s production of their science fiction films and tapes.

I look for the supernatural to become more and more ‘real’ and welcome and necessary as an escape, and as a component of undying religion.

You’ve done a lot of fine work in so many fields over such a long period of
time. What would you like to be remembered for accomplishing — con-
tributing to science fiction, the writing game, political thought, etc?

RICHARD E. GEIS: I’d like to be remembered as an unsung visionary, a perceptive seer of the ugly future, as a fine writer and editor, and as…

as…

“AS THE UNGRATEFUL HOST OF ALTER EGO!”

There is no escape from him.

“Right, Geis! I’ve got a surprise: Even death wil not release you.”

Let’s end the interview on that awful note.

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richard e. geis
a selected adult bibliography

Barclay House

 Orality ’69 (7012, 1969)

 Orality ’70 (7028, 1969)

 Three Way Swap (7110, 1970)

 Nurses who Seduce the Young (7118, 1970)

 Young Girls who Seduce Older Men (7159, 1971)

 Women and Bestiality (7181, 1971)

 Swap Orgies (7206, 1971)

 Anal Husbands and their Deviant Wives (7213, 1971)

 Blow Hot, Blow Cold (as Peggy Swenson, 7238, 1972)

 The Twins Have Mother (as Peggy Swenson, 7248, 1972) Beacon/Softcover Library

 The Saturday Night Party (B582F, 1963)

 Young Tiger (B868, 1965)

 Sex Turned On (B1072, 1967)

 The Punishment (B1079S, 1967)

Bee-Line Banner

 Honor Thy Parent (as Sheela Kunzer, BB8014, 1976)

 Daddy’s Harlot (as Sheela Kunzer, OB1175R, 1976) Brandon House

 Queer Beach (as Peggy Swenson, 706, 1964)

 The Three Way Apartment (as Peggy Swenson, 710, 1964)

 Suzy and Vera (as Peggy Swenson, 904, 1964, c/a by Elaine)

 Male Mistress (905, 1964)

 Pamela’s Sweet Agony (as Peggy Swenson, 919, 1965, c/a by Elaine)

 Amateur Night (as Peggy Swenson, 927, 1965, c/a by Elaine)

 Beat Nymph (as Peggy Swenson, 932, 1965, c/a by Elaine)

 The Devil Is Gay (as Frederick Colson, 933, 1965, c/a by Elaine)

 Man For Hire (as Robert Owen, 947, 1965, c/a by Elaine)

 The Three Way Set (as Frederick Colson, 951, 1965)

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54

 Discotheque Dol (as Ann Radway, 983, 1966)

 The Passion Thing (as Frederick Colson, 963, 1966, c/a by Elaine)

 Drifter in Town (as Robert Owen, 995, 1966)

 Of -Broadway Casanova (as Robert Owen, 1000, 1966)

 Bedroom Blacklist (1010, 1966)

 Sailor on the Town (as Robert Owen, 1013, 1966)

 Bongo Bum (1014, 1966)

 A Dame in his Corner (as Robert Owen, 1031, 1966)

 The Carnal Trap (as Robert Owen, 1038, 1966, c/a by Elaine)

 In Bed We Lie (1053, 1967)

 The Sex Machine*(1070, 1967)

 Rol er Derby Girl (as Frederick Colson, 1114, 1967)

 Eye at the Window (1119, 1967)

 Rita and Marian (as Peggy Swenson, 2501, 1967)

 The Endless Orgy*(2061, 1968)

 The Love Tribe (as Peggy Swenson, 2068, 1968)

 Devil on her Tail (as Peggy Swenson, 3055, 1969)

 The Hot Kids and their Older Lovers (as Peggy Swenson, 6190, 1971)

 The Arena Women* (6218, 1972)

 Ghetto Whore (as Peggy Swenson, 6503, 1976)

Brighton Books

 Nurses and Young Men (121, n/d)

 Older Men and Pre-Teen Girls (152, n/d, reprint of Barclay 7159)

 Women and their Animal Lovers (276, 1976, uncredited reprint of Women and Bestiality)

Cameo Library

 The Mouth Girl (as Peggy Swenson, 8008, 1969)

 The Mouth Girl, Vol. 2 (as Peggy Swenson, 8049, 1970) Dansk Blue Books

 Please Force Me (as Peggy Swenson, DBB139, 1971)

 Captive of the Lust Master (as Peggy Swenson, DDBB141, 1971)

 Naked Prisoner (as Peggy Swenson, DBB162, 1972)

* These three titles — The Sex Machine, The Endless Orgy and The Arena Women —were science fiction/sex novels which comprised a trilogy.

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Dominion Books

 Snow Bound (as Peggy Swenson, TNC332, 1969)

Essex House

 Ravished (0113, 1968)

 Raw Meat (0136, 1969)

France Books

 Honeymoon Hotel (F-7, 1962, aka Honeymoon Motel)

 Bedroom City (F-8, 1962)

 Cal Me Nympho (as Peggy Swenson, F-17, 1962)

 Girlsvil e (F-35, 1963)

 Virgin No More (as Peggy Swenson, F-53, 1963) Greenleaf

 Horny Wild Daughter (as Randy Guy, GR2377, 1984) Liverpool Library

 Hot Wife For Hire (as Randy Guy, LL142, 1981) Midwood/Tower Books

Note: all of Geis’ Midwood/Tower adult titles were penned under his Peggy Swenson pseudonym

 The Blonde (56, 1960)

 The Unloved (F110, 1961)

 Easy (F200, 1962)

 Pleasure Lodge (F223, 1962)

 Sea Nymph (F247, 1963)

 Pajama Party (F274, n/d)

 Teen Hippie (34-120, n/d)

 Odd Couple (double book with Teen Butch by Carol Caine, 35-176, n/d)

 Running Wild (double book with Love-In by Greg Hamilton, nn, 1969)

 Time For One More (double book with Gang Girl by Walter Davidson, 35-289, 1969)

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Newsstand Library

 Like Crazy, Man (U144, 1960, c/a by Robert Bonfils)

 Sex Kitten (517, 1960, c/a by Robert Bonfils) Novel Books/Speciality

 Sensual Family (6N246, 1964)

 Twilight Beauty (7N766, 1965, aka Suppressed Book) Playtime

 Lesbian Lure (as Peggy Swanson, 659, 1964)

 Campus Lust (as Peggy Swan, 667, 1964)

 Whistle Them Wil ing (673, 1964)

 Dusty Dyke (as Albina Jackson, 693, 1964)

Saber Books

 Slum Virgin (SA-30, 1963)

Jim hArmoN

Born in Illinois in 1933, Jim Harmon began writing science fiction and detective stories at an early age, primarily for the pulp magazines. His admiration of old time radio serials is clearly evident in Harmon’s early fiction, with its dramatic and theatrical style.

Harmon made the transition to the adult market after his move to Los Angeles in 1960, where his agent Forrest J. Ackerman put him on a path that would lead to penning paperback erotica, with an estimated thirty to thirty-five titles published between 1961–1964. With titles like Vixen Hol ow and Abortion Mil , Harmon’s adult titles always featured tough scenarios, pouting femme fatales and rugged leading men, all presented with a sharp hint of humour that may have diffused their erotic content, but always gave his work a genuine sense of fun and adventure.

After serving his time in the adult fiction field, Harmon devoted himself to projects obviously closer to his heart. His 1969 work The Great

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Radio Heroes is considered one of the first and most important books devoted to classic radio serials, and between 1974–1975 he was editor for Marvel’s short-lived Famous Monsters clone, Monsters of the Movies (where Jim worked with his good friend and adult paperback collabora-tor, Ron Haydock — see profile).

In his later years, Jim Harmon remained active, appearing at conventions and authoring the trade paperback Radio and TV Premiums (1997

Krause Publications, a history and price guide of radio and TV give-aways) and producing The Fear That Creeps Like a Cat, a radio serial adapted from a vintage Carlton E. Morse script. The serial, which featured the voices of Les Tremayne, Fred Foy and Frank Bresee (all radio veterans) was released on audiocassette by Metacom. He passed away of a heart attack on February 16, 2010.

interview with Jim harmon
hip poCKet sleAZe: Tell me a little about your writing back-
ground. I understand you began writing for science fiction and detective
pulp magazines at an early age.

JIM HARMON: I wrote for amateur science fiction fan magazines beginning at thirteen years of age, and at the same time tried selling stories to the professional science fiction magazines. At nineteen, I had my first story published in Spaceway but was never paid for it by this very shaky publisher. I sold my first story to Science Fiction Quarterly for $40 shortly after, and soon was selling to Galaxy for up to $400 — that would be about $1,600 in today’s inflated dollars.

What attracted you to the pulp genres?

JIM HARMON: The action, adventure, sexy girls on the covers, as well as the fantasy and horror. I particularly liked Weird Tales at first and started reading science fiction that looked spooky and strange, more

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than super-scientific.

How did you get involved in the adult paperback business? Was it basi-
cally a means of survival?

JIM HARMON: Survival is correct. I left my small town of Mount Carmel, Illinois, which I always found boring, to move to Los Angeles, California when I was twenty-seven, a bit late for leaving home. My then agent, Forrest J. Ackerman, assured me I could make a living writing short stories for the imitation Playboy magazines that were being published in L.A. That was not quite correct.

I made some money that way, but the magazines were changing and soon became virtually nothing but collections of pictures of naked girls with only a token short story or article and soon not even a token. I started writing for the paperback novels from the same publishers. They were cal ed ‘sex novels’, but the inside story was that the publishers really wanted little sex because they were afraid of the authorities prosecut-ing them for pornography. One company had had the stupidity to put out a book called Sex Life of a Cop (1959, Saber — see sanford aday profile). Naturally, the cops came down on them like a ton of bricks. It would be like skipping along the New York waterfront singing “To hell with the Mafia, tra-la-la-la-la!” One of my instructions was never to have a cop character or even to refer to the police. So even in a story where a murder occurred I would have a line like “After the authorities left…”

“Authorities” was my euphemism for the police.

My earlier paperbacks were efforts at a sort of combination science fiction and mystery novels — these were Vixen Hol ow (my first) and The Man Who Made Maniacs (my second).

Forry Ackerman is one of the unique individuals of the twentieth century. I still see him a couple of times a year, at various conventions, his birthday parties, etc. He looks and talks and writes the same as he did forty or fifty years ago. I don’t remember his exact age — around eighty-five — but he could pass for a man in his fifties. We are friendly.

He has known my wife Barbara even longer than he has known me (or

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I have known Barbara) and treats her practically like a niece. She calls him ‘Uncle Forry’.

Did you have fun while writing the adult titles, and dreaming up the plot-
lines?

JIM HARMON: Yes, I had fun on a rather innocent level. These books were not pornographic, mildly suggestive perhaps. I did not dream up weird forms of sexual perversion. I put in thinly disguised versions of my favourite characters from the comics, old time radio, movie serials. I included The Shadow, Captain Marvel, and Sergeant Preston of the Yukon.

In one book, I had a Mountie named Sgt. Preston Williams and his girlfriend, Veronica King (King was the radio hero’s dog). The plot had them being sent by the villains in a barrel over Niagara Falls, and in their last moments enjoying an intimate moment. So their sex was like going over Niagara Falls in a barrel. (An old saying or joke.) Of course, due to years of clean living, both survived the ordeal. I’ve forgotten the title of that book. I still have it someplace, I know.

What did your family and friends think about your writing this type of
material? You used your real name for most of the adult paperbacks…

JIM HARMON: A lot of my friends in the Los Angeles area were doing the same thing for a living. As I say, the first few books were really just typical paperback suspense novels. I sent Vixen Hol ow home to my mother. Unexpectedly, she loaned it to one of her elderly women friends.

That woman reported “I think it is remarkable, Mrs. Harmon, that your son can write about just absolutely anything he wants to.” I guess it did have more sex than the Ladies Home Journal did in those days.

How long did it take on average to pen one of your adult titles? Do you
recall what the pay was? Was there ever a problem with getting paid?

JIM HARMON: Originally I thought I could write one a month. But then the publishers always needed them sooner and sooner, ensuring a

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cheaper product. I got so I could write one a week. They were pretty short books — maybe 35,000 words.

I learned tricks for filing up the pages. Short exchanges of dialogue were best.

“Look!”

“Where?”

“There!”

“There?”

“Yes.”

“Oh!”

“See?”

“Yes!”

“Wel ?”

“I don’t know what to say!”

Then one memorable day the publisher needed a novel in one day. I fortified myself with a box of chocolate-covered graham crackers and Coca-Cola and began writing from one noon to the next noon and piled up enough pages to make a book. I’m sure it was pretty awful. Again, I can’t remember which title it was now.

The pay was from $400 to $600 a book. Somehow I always got paid.

I sometimes would turn in a book all but the last chapter. Then they always needed another fast. “You haven’t paid me for the last one.” “Give us the last chapter and you’ll get your cheque today.” And I did. However, I know many writers were not paid. Some were much more prolific than I.

I know a friend was not paid for seventeen novels, sued and did get some money at least.

I have heard of some writers and some ‘publishers’ fronting for other people being murdered for being too persistent about payment. There were more sinners than saints in the business.

What about the publishing houses? What can you tell me about PEC,

Pagan, Greenleaf, Boudoir and Epic, who you wrote for? Did they have
offices, or did you work mainly from home?

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JIM HARMON: All these publishers had offices. Greenleaf was in Chicago. I think Boudoir was in New York. I often went to the Epic offices run by Lou Kemsy, a pretty friendly, pretty honest, big fat guy. I was no lightweight, but he would have made two of me.

In connection with previous comments, I was waiting in the outer office when I saw this well-dressed gentleman enter, wearing an expensive blue suit, a silver tie, and black glasses. From the office I heard “Lou, you gotta get da books in ona time. You got responsibilities. You got a little nine year old girl who comes home from school at three twenty-seven in the afternoon and crosses a busy street. With responsibilities like that, you gotta get da books in ona time.”

After this visitor left, I went into the office. Lou was wearing a white dress shirt and tie. The shirt was plastered to his body as if somebody had thrown a bucket of water over him. I think after this he gotta da books in ona time.

What was the method used for selling these paperbacks to the publisher?

Were they entirely freelance, or did you work on contract? Did you have
to suggest a storyline/title to the publisher before getting the go-ahead?

JIM HARMON: I heard from my agent or another writer there was a company that needed books, and I approached them. In the beginning, I offered a verbal synopsis for the publisher’s approval. After I sold a few, they simply asked for “another one”. No contracts. Only one company ever asked for a revision. The editor was the publisher’s brother-in-law, a former card dealer in L.A. He was virtually illiterate, but now an editor.

“Jim, this won’t do. You have your main character going to sleep. Then you skip a line and say 'He was pounding away at his office typewriter when…’” I tried to explain it to him in terms of a quick cut in a movie, but he would have none of it. So I wrote… “Collins finally fell asleep. He slept for seven and a half hours before the alarm woke him up. He got out of bed, went to the bathroom, took care of business, brushed his teeth and shaved. He went back to the bedroom and dressed. Skipping breakfast, he left his apartment, walked to the corner and caught a street-car to his office. Soon he was pounding away at his typewriter when…”

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Did you ever have any input into the cover art? What about the cover art-
ists, and other writers? Did you get to associate with them at all, or were
they basically scattered all over the country?

JIM HARMON: I had no contact with cover artists, no input into the cover art.

I knew many other writers in the field, a lot of them were science fiction writers and fans and we were all friends. Most of the writers for the L.A. area publishers were local and the publishers liked to have them available at a moment’s notice, although there was very little creative —
actually no creative interaction between editor-publishers and writers.

Do you recall how many (if any) copies you received upon publication?

Did you keep them, or give them away to friends? Have you still got any
original copies in your possession?

JIM HARMON: I usually had to buy copies of my own books off the news-stands. Occasionally you might get a single copy of a book from the publisher. I kept copies of my own books and still have them, generally just a single copy.

How did you meet, and become good friends with, Ron Haydock? I be-
lieve he took up writing adult paperbacks at your suggestion, as a means
to pay the rent.

JIM HARMON: Right. I met Ron first at the Los Angeles Science Fantasy Society club meetings. As I said, many people in this field were science fiction fans and writers. Ron actually wanted to write and act in movies. He was writing articles for Forrest J. Ackerman’s Famous Monsters of Filmland magazine, about horror movies. Ron managed to sneak in some stuff about serials — Flash Gordon, Zorro, Dick Tracy — those were his favourites, the whole genre.

Ron could write effortless, turning out page after page, nicely composed about anything. He said he had no idea what to write. I plotted his first book, and many after that. I was to get twenty per cent for my con-

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tribution, and Ron always paid me. It inspired me to work with several other writers, notably Harvey Kuhn, plotting books or sometimes writing half a book with them. It broke up the monotony of writing alone.

What was Ron like as a writer? I understand it took a few titles to really
hit his strides, but once he did, he was grinding out books at a rapid pace.

JIM HARMON: Yes. Ron never had emotional problems with writing, although he had plenty of other emotional problems. He could just sit down and grind the stuff out. He got so he could plot his own books, but I did a lot with him — I lost count.

At one time, Ron, always desperate for money, borrowed all the books we had done together back from me — my only copies— to give to an agent who said he could sell the rights in Europe. Ron died soon after that and I never saw those books again, or heard anything from the agent.

Only a few months ago, I was able to buy a copy of one of those books we did together, one so outrageous I found a lot of fun doing — Ape Rape.

I had to pay $30 for it.

Did you and Ron ever read each other’s sleaze paperbacks? They some-
times contained little in-jokes and references to each other…

JIM HARMON: Sure.

What led to you and Ron working together on a couple of adult paper-
backs? Can you tell me a little about how the collaboration process with
him worked?

JIM HARMON: We were both young. Ron was twenty-one, and I was twenty-seven. But I had led such a restricted life in my small town home; I was like a teenager in worldly experience. We sat around and made the same kind of dumb jokes young guys do. Well, maybe not the same kind of jokes; we were very involved with movie serials and old time radio and comic books.

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64

Ron was also into the new medium of rock’n’roll, and is recognised, particularly in France, as one of the pioneers of rock. But I never was into it, and he seldom talked about it with me. We would talk about The Shadow and Captain Marvel, and make jokes out of which came plots or at least ideas for single scenes.

Apart from authoring some adult paperbacks together, you also both
acted in Ray Dennis Steckler’s lemon grove Kids meet the monsters .

Any memories or anecdotes from the film? Do you still keep in contact
with Steckler?

JIM HARMON: Ron and I wrote the script for the film. We did do small parts. Ron of course had the leads in several of Steckler’s films. I played the teenage Spanky McFarland role in the picture, with a Beatle haircut and a lollipop. I thought up the part myself — self parody.

Steckler was Ron’s friend. He and I were never cordial. A few years ago we met at the Lone Pine Western Film Festival or whatever the exact title was. He did give me video tapes of all of his films, including several copies of the Lemon Grove Kids. The following year we both showed up again, and he was selling video tapes of his own films, and several westerns. I asked if I could put out on the corner of his table a few copies of my books on old radio I had brought with me. He told me there wasn’t enough room. He reminded me of the guy who builds a fire out in the woods and tells a hobo to move on because he is absorbing too much heat. I think that sums up our relationship.

I have never received a cent from the Lemon Grove Kids film. Steckler isn’t getting rich but he has always made some money off his films, including Lemon Grove Kids. By the way, several other people offered me display space on their tables, including the organiser of the event, Dave Holland.

Ron’s life became quite difficult and depressing during his final years. Did
you remain friends with him up until his death? How did his death affect
you?

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JIM HARMON: Ron was my best friend, at the time. I was smarter, and he often turned to me for help and advice. But Ron had the personal charisma I did not have, and could make friends and contacts in a way I couldn’t. He always included me in anything he got going for himself, editing a magazine, writing films for Steckler, whatever. And I tried to help in a similar manner.

In the sixties, Ron got a monster movie magazine going called Fantastic Monsters of the Movies. I became associate editor. In the seventies, I became editor of a monster movie magazine for Marvel Comics (though not a comic book) called Monsters of the Movies, and he was my associate editor.

Ron did go through periods when he was just insane. He would think he was famous characters like Tarzan or Wild Bill Elliott (the cowboy movie star). I would try to remain friends with him. He stayed at my apartment for months at a time. But after I had not seen him for sometime, he showed up and was so paranoid, claiming he knew who was plotting against him, giving me direct looks, and making punches in the air as if to hit me; I had the police ask him to leave.

He did get better, and we worked on that magazine for Marvel after that. He went off to Las Vegas to work with Steckler again and never came back alive. He was hitchhiking back to L.A. and his girlfriend at that time when he was struck by a truck. Some say he did not try to avoid the truck. His girlfriend, Jeanne, phoned me with the news.

Naturally, I was terribly saddened. But I was not all that surprised.

Talented, charismatic, Ron still seemed born under a dark star. He said frequently that he did not expect or want to live to be forty. He was thirty-eight.

I’ve always felt that Ron’s life had certain parallels to Ed Wood, Jr.’s They
seemed to go through a lot of similar struggles, and neither were appre-
ciated for their work until after their deaths. Ron’s life would make an
amazing film…

JIM HARMON: I also knew Ed Wood, particularly through our mu-tual friend, John Andrews. Ed was also a big fan of westerns.

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66

I remember once Ed and I exchanged photos — I sent him one of his favourite cowboy, Buck Jones, and he sent me one of my favourite, Tom Mix. Of course, considering Ed’s special interests, it did not surprise me that while talking to him on the phone, Ed mentioned that day he was dressed like another of his favourites, Dale Evans.

Yes, Ron’s life would make an interesting film. Maybe there would be a part for his chubby sidekick. I’m too old for the part now, but a part for a younger actor.

When did you leave the adult paperback field? What were your reasons
for doing this?

JIM HARMON: The paperbacks became absolute unremitting pornography. There was no room for any humour or fun any longer. And getting paid was getting more perilous and problematical.

My book on old time radio, The Great Radio Heroes, became a modest bestseller and I got into more profitable areas of writing.

Are you surprised at the continued popularity of your adult titles amongst
certain collectors? When did you first realise those old paperbacks still
had an audience?

JIM HARMON: Not until last year [2001] when I was invited to a Paperback Collector’s Show. And there were people with my old ‘sex novels’

wanting autographs. I was glad to see there were people there with my old time radio books, science fiction and monster movie magazines too.

It was there I met the collector who eventually sold me that copy of the Harmon-Haydock collaboration, Ape Rape.

Any final thoughts on your days as an adult paperback scribe?

JIM HARMON: It was part of my youth. I met many friends during those days, including my best friend Ron. I also met my future wife, Barbara, who had nothing to do with that field, although her bosomy figure was so great (and still has not changed) she was offered a chance to

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model for the magazines.

Working in the field was fun and a little dangerous, but there was always something a little unsavoury about it. I’m glad I didn’t have to spend my life there. I have gone on to write a number of other books, write and produce and act in professional radio drama, produce new radio premiums and comic books. I have managed to do most of the things I have wanted to do with my life — except make a lot of money doing it.

Jim harmon: book reviews

 The Man Who Made Maniacs

Pub: Epic, 1961

More of a horror piece than sexploitation, The

Man Who Made Maniacs sees Harmon at the
peak of his creativity and imagination, crafting
a very bizarre and at times hallucinatory story
of a murder victim who is reborn as a vampire
and initiated into a sadistic sexual cult.

Perhaps the most interesting element of

The Man Who Made Maniacs is the way in which it combines elements from Harmon’s
pulp and comic book past (references are made
to Famous Monsters of Filmland, cowboy hero

Tom Mix, and one of the characters takes in
a movie called ‘Mickey Mouse goes to Mars’)

with some of the darker elements of Californian sub-culture of the early 1960s, in particular the burgeoning satanic cults movement, spearheaded by Anton LaVey and his Church of Satan.

 The Harlot Master

As Jamieson Harvey, with input from Wil iam Harvey Kuhn.

Pub: 1961

Bearing a very low-tech but expressionistic piece of cover art, The Harlot Master is a fine example of Jim Harmon’s work in the adult field, play-

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68
ing around with many of his favourite themes,
while airing his not altogether flattering por-
trait of Hollywood types.

Combining its sexploitation angle with ele-
ments of 1950s scandal sheet publishing, The

Harlot Master is akin to a primitive predecessor to James Ellroy’s L.A. Confidential, as Cal Duff — a popular celebrity photographer —
trawls through the highs and lows of Tinsel-
town, trying to find out why his former girl-
friend Gina Lamont has turned lesbian (he’s
tipped off when he sees Gina having dinner
with Lon Raymond, a closeted cowboy star who only uses lesbians as his cover dates when out on the town). Cal’s trail quickly leads him towards the mysterious Impresario, a feared crime boss who’s ruling Hollywood’s call girl racket. The inevitable showdown reveals an unlikely plot to over-throw the government by using sexual kinks as blackmail:

“In some sections of the city, the only way to establish a person’s sex is by going to bed with that person. And,” Weinbaum added, “sometimes they are so skilful they disguise the fact even there. Naturally, such people are vulner-able to blackmail and can be controlled. I surrounded myself with people I could control for my purposes by putting pressure on them not to reveal their perversion — Homosexuality, Lesbianism, Transvestism. My subjects were slightly unstable, but I was able to master and use them.”

Combining its pulpish dialogue and scenarios with self-effacing, tongue-in-cheek humour (“Like most newsmen, Cal was ‘bi’ sexual. That is, when he wanted sex, he bought it.”), The Harlot Master is an enjoyable romp that is easily digestible in a single afternoon (probably the same amount of time Jim Harmon sat at his typewriter happily grinding it out).

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Jim harmon: a selected adult bibliography

Boudoir

 Abortion Mil (as Jim Harvey, with Wil iam Harvey Kuhn, 1962) Epic

 Vixen Hol ow (#104, 1961)

 The Man Who Made Maniacs (#107, 1961)

 The Harlot Master (as Jamieson Harvey, with input from Wil iam Harvey Kuhn, #124, 1961)

 The Cel uloid Scandal (with Ron Haydock, 1961)

 Wanton Witch (as Judson Grey, with Ron Haydock, 1961)

 Twilight Girls (as Judson Grey, with Ron Haydock, 1962) France

 Sex Siren (1962) — Jim Harmon: “I believe this book actual y was titled Silent Sex — wanted to cal it Silent Siren — too subtle for them.”

 Twist Session (1962)

 Passion Strip (with Redd Boggs, 1963)

Greenleaf

 Sure Sale — Jim Harmon: “This may be something I wrote, they said rejected but may have run it anyway, the crooks! I don’t recognise the title…”

 Love Dream (as Portia Perkins, 1969, Jim‘s last sex novel) Pagan

 And Sudden Lust (1964)

PEC

 Sex Burns Like Fire (1964)

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Pillow

 Sin Unlimited (as J.H. Wilkins, with Wil iam Harvey Kuhn, 1962, original title Sex Unlimited)

Rapture

 Ape Rape (as Vin Saxon, with Ron Haydock, R-202, 1964)

roN hAYdoCK

Chicago born Ron Haydock first made his mark as a nineteen year old rock’n’roll musician with a decidedly Gene Vincent influenced demeanour, fronting the combo Ron Haydock and the Boppers.

The band released several minor singles, most notably the catchy 1959
ditty 99 Chicks (an outtake of which features the lyric “Ninety-nine chicks and just my luck, not one of those girls that I’d want to fuck”!).

The band didn’t last long, and the monster mad Haydock quickly worked his way out to Hollywood in the early 1960s, where he took up a job editing the ‘Graveyard Examiner’ column of Famous Monsters of Filmland. He quickly graduated to editing his own monster magazine, Fantastic Monsters of the Films, published by Bob Burns and 1950s creature feature costume designer Paul Blaisdell. The excellent magazine only lasted nine issues, going belly-up when the printer’s warehouse mysteriously caught fire.

During Fantastic Monsters’ run, Haydock hooked up with eccentric low budget film producer Ray Dennis Steckler, and the budding young actor would go on to appear in several of Steckler’s unique productions (most notably, the inspired 1966 Batman spoof Rat Pfink a Boo Boo).

Haydock’s career as a paperback scribe began in 1962, primarily as a means to make ends meet between acting and ‘legitimate’ writing jobs. A prolific author, Haydock would crank out an adult novel in one-weekend-long caffeine and nicotine fuelled session. According to Steckler, Haydock would vary rarely proofread his work, considering it finished as soon as the first draft was done.

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Using a variety of pseudonyms

(including Don Sheppard, Vin Saxon
and Jay Horn), Haydock managed to
grind out at least a dozen paperbacks
in a roughly three-year period. Most
of these were published by compa-
nies like Pike Books and Rapture.

Because he never signed his work in
his own name, it will probably never
be known exactly how many paper-
backs he authored, but his style and
stories are unmistakable. Usually
set within the fringes of the film
and music scenes, Haydock’s books
often contain references to fam-
ily, friends and enemies alike, and
were used as an autobiographic
vehicle, as this passage from Perverted Lust indicates: I wrote some old articles on old horror films for Fantastic Monsters magazine which is published right here in Los Angeles. I hoped to sell my articles to the publication and then get a go-ahead from the editor, Ron Haydock, to write some more stories and features for the magazine. I thought it would be a swell way to get inside studios and meet lots of actors and writers and make myself known. Besides, I’d get paid for what I wrote and wouldn’t starve, you see.

Unfortunately, Haydock’s mental state began to tailspin in the late 1960s. Occasionally, he would get it together and manage to scrounge up some work — he wrote some stories for Warren Publishing’s black and white horror comic Creepy; acted in Steckler’s zero-budget horror flick Blood Shack (1972); contributed to Marvel’s Monsters of the Movies magazine; edited various one-shot film publications, and worked on some radio specials with his old friend Jim Harmon (see profile).

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72

But the moments of highs were too brief compared to the long periods of depression which Haydock would sink into. An attempt at suicide by drinking drain cleaner failed, but thirty-seven year old Haydock was finally put out of his torment on August 13, 1977, when an eighteen-wheeler struck him while hitchhiking on the outskirts of Las Vegas, where he had been visiting his old friend Ray Dennis Steckler. His final work, a study of the film adaptations of Sherlock Holmes stories entitled Deerstalker, was published posthumously by Scarecrow Press.

ron haydock: book reviews

 Unnatural Desires

As Vin Saxon. Pub: PEC, 1965

Unnatural Desires sees Haydock venturing into Ed Wood territory, with this story of transvestite Leon Farrow, who also harbours a mother
complex, leading him to a string of encounters
with older, married women. He eventually gets
seduced by an equally kinky red-haired nym-
phomaniac, who hires Leon to be her personal
maid:

“Yes”, he sobbed. “Yes!” I do wish I were a woman so I could be a lesbian! Oh I’m so sick!”

 Pagan Lesbians

As Vin Saxon. Pub: PEC, 1966

There are ways Lesbians introduce each other and thereby let you know what they are and if they’re available. A Lesbian on the make just doesn’t come up to a prospect and say, “Let’s go to bed, duckie.” Nor does she grab you by the breasts and giggle, “You turn me on something awful so let’s do

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THE SMUT PEDDLErS
a tumble.” Even when the two women are dead
certain the other is for the girls, they handle their introductions and initial seductions with
restraint. Especially when the respective wom-
en aren’t the common tramp Lesbians.

Pagan Lesbians is one of Ron Haydock’s most
entertaining and interesting reads. While de-
void of the clever references to his other careers
which filled out many of his other adult paper-
backs (although he does set a murder scene in

Topanga Canyon, where Fantastic Monsters of
the Films magazine was mostly put together, at the home of Paul Blaisdell), the book has a fairly dynamic storyline, and shows Haydock at the height of his confidence with writing sex scenes (something he was apparently uncomfortable with early on in his writing career).

Although the brilliant piece of cover art conveys the impression that Pagan Lesbians is set amongst some ritualistic tribe on an idyllic Pacific paradise (got to love the long hair and human bone goatee which adorns the tiki idol!), the novel actually takes place in the more recognisable climate of seedy Hollywood, where the beautiful lesbian Neva is working as an unwitting accomplice in a slavery ring, leading married men into the clutches of Carla, the imposing, black-leather encased leader of the all female (and all lesbian) slave ring. When Marsi, Neva’s girlfriend, follows her suspicions that Carla is involved in illegal activities, she goes snooping and ends up dead for her troubles (“She was naked and her flesh looked like it had been tortured by the sharp claws of some animal.”). Although Neva avenges Marsi’s death during a protracted, alleyway knife fight with Carla, she is helpless to stop Carla’s slavish disciples from closing in on her, leading the story to its dark conclusion: I turned to Sheila and the two women again. The sirens were very near now.

We all heard them. Then the three women screamed and rushed at me with upraised paddles and chains and whips and I knew the police would arrive too late.

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74

Reading as if it were written in one long, tobacco hazed sitting —
with nary a thought given to editing or proofreading — Pagan Lesbians’

stream of consciousness construction provides a great insight into Haydock’s creative mind, with the book itself being a hot, hedonistic cocktail of crime, Hollywood bars, kinky brutality and the eternal fascination men feel for girls who love only other girls.

ron haydock: a selected adult bibliography

Epic

 The Cel uloid Scandal (uncredited, with Jim Harmon, E-109, 1961) Fitz

 I Want To Sin (as Vin Saxon, NT-3002, 1964)

Nite Time

 Erotic Executives (as Vin Saxon, NT-117, 1964) PEC

Al authored as Vin Saxon unless otherwise noted

 Unnatural Desires (N-113, 1965)

 Flip-Side Lover (as Jay Horn, N-130, 1966)

 Sex-A-Reenos (N-135, 1966)

 Pagan Lesbians (N-137, 1966)

 Lesbian Stripper (G-1108, 1966)

Pike

Al authored as Don Sheppard

 The Flesh Peddlers (P-212, 1962)

 Scarlet Virgin (P-215, 1962)

 Flesh Peddlers (P-FB-121, 2nd edition, 1963)

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THE SMUT PEDDLErS

Rapture

Al authored as Vin Saxon unless otherwise noted

 Pagan Urge (R-101, 1964)

 God of Lust (R-103, 1964)

 Perverted Lust (as Rita Wilde, R-201, 1964)

 Ape Rape (with Jim Harmon, R-202, 1964)

 Animal Lust (R-204, 1964)

 Six For Sex (R-403, 1964)

robert trAliNs

Tralins was yet another extremely prolific writer who came from a background of science fiction and adventure stories, while simultaneously grinding out softcore erotica paperbacks, often at a rate of one per month, for publishers like Midwood, Softcover Library and Merit.

While Tralins did not wish to be interviewed, he did grant permission for the following email (received August 12, 2002) to be published, on the condition that it was reprinted in full.

Hello, John Harrison:

I did not reply to your query until now because I am offended by the title of your publication, Hip Pocket Sleaze and wished to respond at length. Until now I have not had the time to set down my thoughts.

Here in the States the word “sleaze” means shoddy character, vulgar, and something shabby. I am offended by your title not because I am a thin-skinned prude, but because I believe it is a misnomer to have my works listed in a publication that categorises them as

“sleaze”. Other authors I know feel the same way. Remember, I was once billed as “Big Bob Tralins”, the writer-adventurer who lives on a sailboat and writes about his life, etc., etc. ad nauseam. I am also known as Robert Tralins, Explorer of the Unknown.

While it is true that I wrote cliffhangers and numerous books with sexual themes, the sex was always incidental to the plot and by

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76
no means was it the main plot or as graphic or replete with four letter words as some of today’s bestsellers. Most of us writers who were banging out potboilers to order for publishers had no control over the jacket design, illustrations and copy on our books. (Comment: I scrupulously avoided the use of the term that originated back in medieval days when they crucified sex criminals outside the gates of cities as warnings to “all ye who enter here”. Signs were placed under each crucified criminal stating the nature of his crime, i.e.: “For undesired carnal knowledge”. Since most people couldn’t read, they began to use the word ‘F.U.C.K.’ Today that word is in general usage and, as you know, has many, many connotations.)

If you read any of my works under my own name and my dozen other pseudonyms, you will find that the cover art was usually based on a single scene or even a sentence that was taken entirely out of context. The creation of sordid titles was the work of the sleazy editors who bought our work. For instance, Paul G. Neimark, now sixty-seven, who resides (in hiding) in Illinois who used to be the editor of Merit Books, Novel Books, and the Insider tabloid, commissioned me to write eighteen adventure novels for him, promising to pay me royalties as soon as he received the final sales reports that he claimed would take approximately a year to a year and a half to receive from his distributors all over the US.

I fulfilled that obligation by writing men’s adventure thrillers based on macho type soldier-of-fortune characters, and kept to his dictated formula of describing sex at one chapter’s end, followed by a cliffhanging action episode in the next chapter. He, as did other editors of his ilk, like the sleazy crumbs at Midwood, Softcover Library, Bee-Line, and others, then arbitrarily re-titled the books like the novel I wrote that I called Voodoo Island — or something like that — which he changed to Primitive Orgy. Then he reprinted the book with a different jacket and called it Rites of the Half-Women.

He never even bothered to send me copies of any of my books and I had to obtain them from the Miami, Florida distributor myself.

This creep editor, Paul G. Neimark sent me a letter in response to my numerous attempts to collect my royalties after I had finished

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writing the eighteen books for him, all ahead of deadline. That letter said: “Go to hell.”

When I received that letter, at the time I was living on Miami Beach with my wife and two sons. One of my neighbours was a Mafioso soldier whom I used to see at the park where I took my sons to play. I had done him a small favour a few months prior to receiving Neimark’s letter, a favour which he returned by calling his Chicago

‘family associates’ to see if anything could be done to help me collect my royalties from Merit Books. I sat there in his kitchen that morning (with a pot of the most marvellous pasta sauce I had ever tasted cooking on the stove) while he spoke in Italian to his Chicago contacts on the phone. When he hung up he gave me a grave look and turned up his hands. “Sorry, Bob. If you would’ve come to me sooner, perhaps I might’ve been able to help you. But I can’t. Neimark’s bosses are ‘cousins’, and they screw everybody.”

The sex books I wrote under the penname of Ruy Traube were actually taken from real psychological studies and case histories.

One title was The Seduction Art. The majority of those books were intended to show readers the inside workings of the minds of sex criminals, paedophiles, exhibitionists, rapists, and peeping toms.

One of these books about girls with psychological hang-ups was published as The Nymphette Syndrome. I was commissioned to write that book by an editor who wanted to cash in on the Nabokov bestseller about a twelve year old girl, Lolita.

If you present the side of the authors like myself who were professional authors trying to make a living, and at the same time were being screwed over royally by the editors and publishers, you have my permission to publish my remarks, provided you agree to present our views in an objective fashion.

The use of sleazy illustrations, now almost exclusively hardcore porn for sale only in XXX rated bookshops, was so popular during those days because the TV networks wouldn’t allow the showing of a woman’s navel, and the Playboys and Penthouses, who were always in hot water (this was before that gross Hustler publisher who put his picture sitting on the poddy on the front cover of his magazine)

HIP POCKET SLEAZE

78
were the trendsetters. More than one editor sent me tear-sheets of sexually explicit stories from Playboy to use as ‘guides’ to show how far writers were supposed to go in describing sex scenes. By no means were any of those as graphic as you see today in popular alleged New York Times bestsellers.

For instance, a novel I wrote under contract to Tuxedo Books, NY, was first published as Farewell Junction, my own title choice.

Much to my chagrin and dismay, a few years later I discovered that Tuxedo Books re-published the book without telling me (or paying me) under the phoney company name Rendezvous Reader as Hil bil y Nympho. This book was banned in New York, not because of the content (which was about a bunch of people from the hills of Kentucky who were struggling to survive while working in Baltimore, Maryland), but because of the salaciously suggestive jacket.

The only other book I wrote that was banned was Pleasure Was My Business, the bio-autobiography of Miami’s notorious Madam Sherry. The Miami State Attorney who prosecuted the case was an acquaintance of mine who I had met at the sports car club where I used to drive my Triumph TR3 and later models in rallies. The state attorney, Richard Gerstein (see google.com ‘Tralins vs. Gerstein’ reference to the US Supreme Court reversal of the ban in a landmark decision) put the book itself on trial, not me. This was ‘in rem’. He claimed it “appealed to the prurient interests of the average Miami man” and therefore in his judgement was obscene.

I knew the Miami (Dade County Florida state attorney) Dick Gerstein by reputation and he was quite a ladies man, and asked what was the real reason he was banning the book. He told me that the case would generate a tremendous amount of publicity etc., etc.

That was the only reason they banned the book, for there is nothing in it at all, by 1960 and 1990 standards, that could be considered obscene. The woman’s story as she had told it to me was about her days as the Queen of Miami whorehouse madams, and that she had been in business for twenty-six years because she was paying off the local cops, the local sheriff, and the state attorney’s office. The man who prosecuted the case for Gerstein was one of his assistants who

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had been the state attorney at the time the madam reigned in Miami.

That book was an international bestseller, and after it was published by Lyle Stuart in hardcover, and I was sued for libel by ex-King Farouk of Egypt (a case that I won in court) it was in print for over ten years by Warner Books, now Time-Warner. The Bee-Line books I wrote were also fairly good presentations of carefully drawn characters that were true to life. Some of the titles the editors gave them were Yum Yum Girl, Girls a Go Go, and crap like that, creating the illusion that the books were salacious, guaranteeing every male reader a hard-on. The fact was, most of those editors and their publishers were wrong about the people who bought their books. The majority of books sold, mostly at that time from news-stands, were purchased by women! Not men.

I wrote a book with a noted Miami forensic psychiatrist, Michael M. Gilbert MD PhD that was originally titled A Study of 100 Sex Offenders. The creep editor at Paperback Library renamed the book without our permission, Twenty-One Abnormal Sex Cases and it sold over 85,000 copies. Incredibly, it was well received by prosecutors and attorneys throughout the US because it described the workings of the minds of sex offenders. My theme was that we are punishing sick men instead of trying to treat and cure them of their criminal sex behaviour and rehabilitate them. Today copies of that book are going for $45. Another book I wrote that was based on true case histories was about people who had bizarre sex fantasies. This was called The Sexual Fetish, and copies are going for over $100 today.

Examination of these two books reveals nothing salacious or sleazy in the titles or content.

I wrote numerous other works that do not even come near your ‘sleaze’ category at all. Stories from my occult books are being featured on the TV show Beyond Belief: Fact or Fiction, hosted by Jonathan Frakes. Reruns are running now on satellite TV’s SciFi channel. My credits are at the end of each show. (Let me know if you have seen it.)

In addition, I had done a lot of research about the slavery of black people, and when several of those were published by New English

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80

Library, they turned those novels into the most salacious looking works I had ever seen. Chains, a novel about a young black woman who was a Damballa witch who caused the slaves on her master’s plantation to rebel, has an illustration on the front cover of a half nude black girl with bared breasts. This was a bestseller throughout the African continent.

I’m writing this to argue that you are judging books by their covers instead of their content. If you take the time to read many of the authors’ works that you have illustrated in your publication you will find that the majority of them are not sleaze at all. The jackets of Orrie Hitt’s books and others included in your publication often make important social statements about the exploitation of women that are totally missed by collectors.

The era of the salaciously suggestive book publishers is now over.

It is important to understand that most of the hardworking writers had no choice in the selection of the cover illustrations or copy on their books. The real panderers were the publishers who usually cheated every writer and illustrator. With the advent of today’s XXX rated films, and even snuff films, the ‘sleaze’ you allude to that existed a few years after Pocket Books and Gold Medal began selling their twenty-five cent and thirty-five cent paperbacks, is no longer relevant except for collectors. I believe if you upgrade your reviews and presentations, you will benefit greatly and correct these wrongs.

And probably get a whole lot more for our books for which we no longer receive any royalties.

Perhaps the choice of a better title for your publication is in order.

Good luck.

Cordially,

Robert Tralins

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edWArd d. Wood, Jr. 

The life and career of filmmaker Ed Wood (1924–1978)

has been well documented in recent years. Since dying in obscurity in 1978 (alcoholic, homeless and poverty stricken), Wood and his unique canon of low budget films have been the subject of books, countless magazine and fanzine articles, documentaries, and of course an acclaimed (though commercially disastrous) Hollywood feature film from director Tim Burton, starring Johnny Depp.

Wood’s career as an adult paperback scribe began in 1963, with the publication of Black Lace Drag. The novel was re-issued two years later under the better known title Kil er in Drag. As his life spiralled further into an abyss of alcoholism in the ensuing years, his days as a B-grade horror film director well and truly behind him, Wood turned increasingly to adult publishing as a means of paying his bills (or more importantly, his liquor tab). The period between 1967–1968, in particular, saw Wood indulging in a writing frenzy, with over twenty known paperbacks issued during this period alone.

According to Bernie Bloom, Ed Wood’s publisher at Pendulum/Gallery Publications, Wood
had a fantastic imagination, he knew how to write, smoke would come out of the typewriter when he wrote. He could take the same story, and re-write, change around the characters, and change around the sets, and the scenes, and you wouldn’t know the difference. We had writers sharing offices but Ed had to work alone, because al the other guys used to resent him because he was too fast for them… you never saw any wasted paper in the basket — what came out of the machine was what you got. I’ve gone through dozens and dozens of writers, but I never knew anybody who could write as fast as him.

Nightmare of Ecstasy, Feral House, 1992, pp. 140–141

The content of Wood’s novels clearly reflected the same passions and character traits which imbued both his celluloid works and private life.

His legendary penchant for transvestism and angora sweaters is reflected in titles like Death of a Transvestite and Drag Trade, while his love for

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horror cinema echoes in such novels as Sex, Shrouds and Caskets: The Love of the Dead (a story of necrophilia) and Orgy of the Dead (Wood’s novelisation of the 1965 sexploitation film which he scripted. The novel came complete with stills from the film, as well as an introduction from Famous Monsters of Filmland editor Forrest J. Ackerman!). Carnivals and freak shows — another of Wood’s obsessions — provide the suitably gaudy settings for Side Show Siren, Carnival Piece and Black Lace Drag.

Much like his films, Wood’s paperback novels were often disjointed to the point of surrealism, ending abruptly as soon as the required word limit had been reached.

Unlike the majority of paperback scribes from this era, Wood rarely used a pseudonym for his novels, and would hand out inscribed copies of his books as gifts to friends. In the early 1970s, he broke away from straight fiction and authored several ‘studies’ of the sexual angles present in witchcraft and black magic, and even a book examining the sexual habits of African Americans ( Black Myth).

Difficult to locate even back in the early 1980s, Wood’s novels have now become amongst the most sought after of all adult paperbacks, with individual titles rarely showing up for less than $100 (thankfully, several of his books have been reprinted in recent years, allowing those on a limited budget to at least read some of his work). In December 1998, an unpublished Wood manuscript titled Hol ywood Rat Race was published by Four Walls Eight Windows.

Apart from his paperbacks, Wood also authored hundreds of short stories between 1968–1978 for a variety of adult oriented periodicals, including Monster Sex Tales, Wild Couples, Hot Fun, Young Beaver, BiSex and others. Many of these titles were published by Pendulum, where Wood worked as a staff writer.

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ed Wood, Jr.: book reviews

 Kil er in Drag

Pub: Columbia, 1965

Wood’s first (known) published novel could be viewed as a continuation of his film Glen or Glenda?, providing a potential glimpse at what awaited the lead character from the movie in later years:

Four more words. Jake had heard four more words from those beautiful lips, from that lovely face, from that exotic creature. Jake’s wife would sure catch hell that night. Jake even considered buying one of those fuzzy sweaters like Glenda was wearing, for his wife. Just considered it however, because almost immediately he had a mental picture of his wife wearing such a sweater —
all two hundred pounds of her. Jake was shaking the horrible thought from his mind as Mouse spoke to him.

Kil er in Drag sees Glen Marker, aka Glenda Satin, working as a beautiful but deadly hired assassin for a crime syndicate. When Glenda is set up for the murder of wealthy, ageing queen Dalten Van Carter, Glen hides out by taking a job in a run-down, travelling carnival. Unfortunately, two local redneck cops cotton on to his identification and try to shake him down before turning him in. It all leads to a daring escape to California, with another beautiful transvestite assassin, the red-haired Paul/Pauline, hot on Glen’s unsuspecting tail (the crime syndicate having decided another trannie would be the best bait to flush him out).

Although rushed through at the climax (again, coming across as though Wood simply finished up as soon as he had reached the required word count), Kil er in Drag actually makes for an entertaining read, piling on the sex, blood and kinky desires in winning doses. One of Wood’s most well structured novels, one can easily envision Kil er in Drag making for a memorable, offbeat exploitation/road movie even today (although the time for such an adaptation has no doubt passed).

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 Hol ywood Rat Race

Pub: Four Wal s Eight Windows, 1999

A book which Wood apparently worked on at various stages throughout the sixties, Hol ywood Rat Race was considered to be a lost work, until the manuscript surfaced in the late 1990s, and was subsequently picked up for publication by Four Walls Eight Windows.

Intended as a how-to (or how not-to) book, Hol ywood Rat Race was Wood’s guide to all aspiring actors and actresses with dreams of heading to Tinseltown in search of stardom. Like every great exposé, the book paints Hollywood as a cancerous place, filled with shifty agents and producers who feed off the unsuspecting. Wood also laments the shabby treatment given out to former stars who are down on their luck (read: Bela Lugosi), and is strangely critical of the fashions worn by the youngsters of the day (one wonders what these people would have thought of Wood, prowling the Sunset Strip bars in a drunken stupor, clunking along in a dress and high heels with a ratty blonde wig perched crookedly atop his head).

Despite some of its more lunatic observations, Hol ywood Rat Race serves as a sobering document of Wood’s life and career as it was beginning to slowly spiral downwards into the gutter.

 Death of a Transvestite

Pub: Pad Library, 1967

A continuation of the storyline set up in Black Lace Drag/Kil er in Drag, Death of a Transvestite sees Glen Marker languishing on death row — his life as a hired assassin having caught up with him — his execution mere hours away. His final request? Let him go to the chair in “a blouse, a soft cardigan sweater, a skirt, high heeled shoes and the proper undies”. In exchange, he’ll spend his remaining hours detailing to the stunned warden his life of crime, providing valuable information to the authorities.

As a sequel, Death of a Transvestite is structured a lot differently than its predecessor. Rather than use a straight narrative, the book relates its story via police dossiers, eyewitness accounts, the warden’s notes, and Glen’s own taped confession. As a result, the book has a more disjointed, episodic feel, which actually works well within the context of the story.

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The tone of the book is also a lot darker than Black Lace Drag, which is fitting since the story leads inexorably towards the execution of the book’s hero/heroine.

One of the reporters in the witness stand watched the beautiful, short haired girl mince her way toward the seat of destruction. He wanted to whistle, but instead turned to a fellow reporter.

“I thought it was a guy they were strapping in…”

ed Wood, Jr.: a selected adult bibliography

“Send me — send me — send me — please dear God, send me — send me to hell if you must,” she screamed. “But Send Me!”

Ed Wood, Jr., Sex, Shrouds and Caskets (1968) Columbia

 Kil er in Drag (CN-433, reprint of Black Lace Drag, 1965)*

 Night Time Lez (PE-446, 1968)

Edusex Press

 A Study in the Motivation of Censorship, Sex and the Movies, Book 1

(ED-111, 1973)

 A Study in the Motivation of Censorship, Sex and the Movies, Book 2

(ED-112, 1973, photo il ustrated)

 A Study of Fetishes and Fantasies (as Ed. D. Wood, Jr. and Norman Bates, ED-113, 1973, photo il ustrated)

Eros Goldstripe

 Death of a Transvestite Hooker (as Randy, as told to Dick Trent, CLS-104, 1974)

 Forced Entry (as John Quinn, BLS-105, 1974)

* Kil er in Drag was republished in the mid 1990s by an obscure company called Angora Press, without any publication number, and again in 1999 by Four Walls Eight Windows with the ISBN

1-56858-120-3.

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86

 TV Lust (TSL-102, 1977)

Four Walls Eight Windows

 Hol ywood Rat Race (1-56858-119-X, 1999)

French Line

 Young, Black and Gay (FL-38, 1968)

Greenleaf Classic

 Orgy of the Dead (GC-205, 1966, photo il ustrated) Little Library Press

 The Only House* (2016, 1972)

 To Make a Homo (3003, 1971)

 Mary-Go-Round (3010, 1972)

Pad Library

 The Twilight Land (as Sheri Blue, PL-549, 1966, reprint of Black Lace Drag)

 Watts — The Dif erence (PL-564, 1966)

 Devil Girls (PL-566, 1967)

 Watts — After (PL-578, 1967)

 Security Risk (PL-580, 1967)

 It Takes One To Know One (IMP-786, 1967)

 Death of a Transvestite† (NT-821, 1967)

Pendulum

 Bye Bye Broadie (PP001, 1968)

* Retreads some of the plot from Wood’s 1971 sexploitation film Necromania.

† The transvestite featured on the cover of Death of a Transvestite is actually actor Hugh Hooker, in a shot taken from A.C. Stephen’s sexploitation film Suburbia Confidential. As with Kil er in Drag, Death of A Transvestite was republished in the mid 1990s by Angora Press, without any publication number, and again in 1999 by Four Walls Eight Windows (ISBN 1-56858-121-1).

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 Raped In The Grass* (PP002, 1968)

Private Edition

 Hel Chicks (as N.V. Jason, PE-456, 1968)

 The Sexecutives† (as David L. Westermier, PE-457, 1968)

 Purple Thighs (PE-461, 1968)

 Carnival Piece (as Kathleen Everett‡, PE-473, 1969)

 Toni: Black Tigress (PE-474, 1969)

Raven Books

 Black Lace Drag (RB-713, 1966)

Secs Press

 Sexual Practices in Witchcraft and Black Magic (as Frank Lennon with Dr. T.K. Peters, SP-112, 1971)

 Black Myth (as Dick Trent and Dr. T.K. Peters, SP-116, 1971)

 A Study of the Sons and Daughters of Erotica (as Dick Trent and Dr.

T.K. Peters, SP-122, 1971)

 The Sexual Woman, Book Two (as Mandy Merril and Dr. T.K. Peters, SP-125, 1971)

 The Sexual Man, Book Two (as Frank Leonard and Dr. T.K. Peters, SP-127, 1971)

Sundown Reader

 Parisian Passions (611, 1966)

 Side-Show Siren (SR-618, 1966)

Tiger Books/Powell Publications

 Mama’s Diary (129, 1969)

* Both Bye Bye Broadie and Raped In The Grass were heavily illustrated with black and white photos, purported to be from films of the same name. However, as no such films have ever been un-earthed, it seems the photos were posed shots taken by a Pendulum photographer, around which the novels were subsequently written.

† Filmed in 1968 as For Love or Money, by Wood’s associate Don Davis.

‡ This is Ed Wood’s wife Kathy’s maiden name.

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Triumph News

 Drag Trade (TNC-106, 1967)

 Suburbia Confidential* (as Emil Moreau, TNC-305, 1967) Viceroy Books

 Sex, Shrouds and Caskets (VP-291, 1968)

 The Gay Underworld (VP-292, 1968)

 The Perverts (as Jason Nichols, VP-294, 1968)

 Sex Museum (as Jason Nichols, VP-299, 1968)

 The Love of the Dead (VP-310, 1968)

 One, Two, Three (as Jason Nichols, VP-311, 1968) ed Wood, Jr.

a selected sexploitation filmography

 Shotgun Wedding (1963, screenplay)

 Orgy of the Dead (1965, screenplay, assistant director)

 One Mil ion AC/DC (1969, screenplay as Akdov Telmig)

 The Photographer (1969, screenplay, actor)

 Take It Out In Trade (1970, director, screenplay, actor)

 Necromania (1971, director, screenplay, editor, actor†)

 The Only House (1971, screenplay, director)

 Class Reunion (1972, screenplay with A.C. Stephen)

 The Cocktail Hostesses (1972, screenplay with A.C. Stephen)

 Dropout Wife (1972, screenplay with A.C. Stephen)

 Fugitive Girls (aka Five Loose Women, 1974, screenplay, actor)

 The Beach Bunnies (1976, screenplay with A.C. Stephen)

* Unrelated to the 1966 sexploitation film of the same name, which Wood co-wrote for director A.C. Stephen.

† Wood, who supposedly cast himself in the role of a wizard, is missing from the only known —
and incomplete — print of the film Necromania to have surfaced.

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PrOVOCATIVE ArT

Amid the swamp of softcore sleaze which proliferated
in the 1960s, three cover artists clearly stood out from the pack, their work imbued with an individuality that made them instantly recognisable, despite the plethora of uninspired hacks who tried with little to no success to emulate them.

While many other artists did make significant contributions to adult paperback covers (Robert Bonfils and Paul Rader are two names that spring to mind, and will hopefully be covered in a future volume of Hip Pocket Sleaze), the work of Gene Bilbrew, Eric Stanton and Bill Ward seems to have an immediate impact on those who see their covers for the first time, regardless of whether they have an interest in the genre or not. With the ability to illicit both arousal and repulsion — but hardly ever indifference — in the individual, these three artists clearly provided the face of the adult softcore paperback during the 1960s, and it’s highly doubtful that they would have attained the level of appreciation they enjoy today were it not for their contributions to the genre.



geNe bilbreW

A misfit student and high school dropout, Los Angeles born Gene Bilbrew (1923–1974) had aspirations to become a singer and entertainer, with illustration and art being of secondary interest.

One of only a few African Americans working in the illustration field at the time, some of Bilbrew’s earliest published work was for a super-

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90
hero strip called The Bronze Bomber,
which appeared weekly in the Los

Angeles Sentinel (although Bilbrew’s
contribution was primarily in script-
ing the plot-lines, with Bill Alexan-
der providing the bulk of the art).

The Bronze Bomber was a black
scientist who, after being trapped in
a mine cave-in, received super pow-
ers from the earth’s minerals (his
name was inspired by then heavy-
weight boxing champ Joe Louis,
who was known as the ‘Brown

Bomber’). While the strip in itself
is barely remembered (it lasted less
than a year), it was certainly ahead
of its time in its depiction of a
black leading character.

After the demise of The Bronze Bomber, Bilbrew joined an L.A. based musical group called the Basin Street Boys, while earning some spare cash drawing a comic strip called Hercules for a health magazine. Although the Basin Street boys had a hit record with a track titled I Sold My Heart To Junkman, a resultant tour with Earl ‘Fatha’ Hines flopped, and Bilbrew turned to the post-war comic book boom, and the demand for talented artists and writers which it created.

Bilbrew’s first work in the comic book field was working as an inker at the studio of Will Eisner (creator of the highly influential The Spirit).

The stint may have paid a meagre wage — reportedly no more than $5 —
but it did inspire Bilbrew to pursue art as a full time career.

1951 would turn out to be a banner year for Bilbrew. Studying under Burne (Tarzan) Hogarth at the School of Visual Arts, he struck up a friendship with fellow student Eric Stanton (see profile). Stanton at the time was doing some work for famed glamour/bondage publisher Irving Klaw, and suggested that Bilbrew’s style might be suitable for Klaw’s illustrated fetish volumes such as Fantasia and Exotique as well. Strug-

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MASTErS OF THE PrOVOCATIVE ArT
gling along on a skimpy student’s income, Bilbrew quickly agreed, and he began working for Klaw in the autumn of that year. Perhaps to avoid potential embarrassment, Bilbrew signed his work for Klaw as ‘Eneg’ (Gene spelt backwards), and he would use this alias (along with others such as ‘Bondy’ and ‘Van Rod’) for almost his entire output in the adult field.

Quitting both the Eisner studio and art school, Bilbrew fiercely devoted himself to his work for Klaw, producing two spectacular period strips, Princess Elaine’s Terrible Fate and its sequel, The Dangerous Plight of Princess Elaine (each strip ran for thirty episodes). Bilbrew filled his strips with both gratuitous gore (common in horror comics but previously forbidden in Klaw’s books) and phallic symbolism (ironically, another Klaw taboo, and one which they would argue over frequently).

Although Bilbrew was reportedly a sensitive man who considered himself to be a repressed minority, this never seemed to surface in his work. By the time he started contributing covers to adult paperbacks in the early 1960s, Bilbrew had refined his style. Although many found it similar to Stanton’s, Bilbrew’s work often possessed a harder, meaner and undoubtedly sleazier edge than his good friend and contemporary. His use of pastels gave Bilbrew’s covers a vivid, gaudier quality, and his women were always highlighted by tight, muscle-clad backsides and conical, pointed breasts that defied gravity. Men were often prominently featured on Bilbrew’s paperback covers as well, muscle-bound and leering lasciviously at some tempting piece of man-bait.

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Apart from his covers for straight adult paperbacks, Bilbrew also contributed some spectacular art for gay and fetish titles, such as His Brother Love and Queer Daddy.

While his work may have only gone appreciated by a select few during his rather short lifetime (and was often overshadowed by Stanton’s), Bilbrew’s art has finally started to achieve the recognition it deserves, with his comic strips and paperback covers sought out and appreciated by an increasing band of admirers, and his style imitated (but never equalled) in many adult and underground comic titles.

gene bilbrew: selected covers

 His Brother Love by Russ Trainer (1965, Satan Press 108)

 Perpetual Motion by Walter Norman (1966, Wee Hours WH-520)

 Prowling Wives by Linda Martin (1967, Chevron 116)

 The Seeker by Russ Trainer (1965, Satan Press 104)

 The Sexual Animal by Jean Bromyde (1963, Nitey-Nite 102)

 Surf Broad by Ray Train (1965, Satan Press 117)

 Topless Waitress by Hugo Paul (1967, Chevron 112)

eriC stANtoN

Eric Stanton (1926–1999) was born Ernest A. Stanton in Brooklyn, New York, on September 20, 1926. A WWII veteran who served in the Navy (as a radio operator on a torpedo boat in the Pacific), Stanton’s interest in art landed him a position as a cartoonist for the Daily News in New York. He also worked for the Brooklyn Mirror, drawing the comic strip Smiling Jack. Stanton’s work as an artist came after jobs in various eccentric fields which — according to his resumé — included stints as a knife thrower and grave digger!

Stanton was primarily a self-taught artist, who only took his first formal drawing lessons in 1952, when Irving Klaw (whom Stanton had begun working for the previous year) encouraged him to attend the School of Visual Arts, where he could polish his style. Stanton showed

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MASTErS OF THE PrOVOCATIVE ArT
his loyalty to Irving Klaw by refus-
ing to testify against him when Klaw
was raided by the New York Police

Department (a raid which resulted
in the incineration of much of Stan-
ton’s early erotic art, although pieces
thought to have been destroyed
have shown up in private collections,
sparking rumours that some of the
art was kept by the police).

Between 1958 and 1968, Stan-
ton shared a studio with noted

Marvel comic book artist Steve

Ditko, and was rumoured to have
had quite a helping hand when

Ditko was given the job of illus-
trating the early classic issues of

The Amazing Spider-Man. Stanton, however, always downplayed his role in the web-slingers development:

My contribution to Spider-Man was almost nil. When we worked on sto-ryboards together, I added a few ideas. But the whole thing was created by Steve on his own… I think I added the business about the webs coming out of his hands. And we talked about the characters and in turn, he helped me with my stuff.

Pure Images, Vol. 3, No. 1, 1990, pg. 29

It was after Klaw’s death in 1964 that Stanton’s work as a paperback cover artist began to flourish. While creating and maintaining ‘The Stanton Archives’ — a collection of booklets, movies and photo sets that were custom made for individual buyers to cater for their particular fetish —

Stanton freelanced for publishers like After Hours, Unique Books, First Niter and Wee Hours, creating some of the most stunning covers to grace adult paperbacks (in many cases, infinitely better than the actual text of the book deserved). Like Gene Bilbrew, Stanton’s work was high

HIP POCKET SLEAZE

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on detail and colour, with fetishism
and voyeurism being prominent
themes (along with a sense of subtle
malice — such as the cover to the

1967 Unique title Caught in the Act,
which featured a young blonde, the
top of her fishnet stockings visible
under her leather skirt, cowering
behind a department store cabinet
while being menaced by a lascivious
security guard and his two drooling,
vicious dogs).

After suffering a series of
strokes in 1997, Stanton’s health
began to rapidly decline, and he
passed away at the Veteran’s Af-
fairs Health Care Centre in West

Haven, Connecticut on March 17, 1999.

eric stanton: selected covers

 A Lesson in Eros by Jon Parker (1968, Unique Books, UB-154)

 Caught in the Act by Raymond Harte (1967, Unique Books, UB-139)

 Hot Lips by Robert Justin (1964, After Hours AH-104)

 No Man’s Land by Gary Sawyer (1965, First Niter, FN-219)

 Party Talk by Monty Farrel (1966, Unique Books, UB-102)

 Something Extra by Jon Parker (1967, Unique Books, UB-116)

bill WArd

Bill Ward (1919–1998) first utilised his drawing talents at age seventeen, when he supported himself during the summer

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MASTErS OF THE PrOVOCATIVE ArT
holidays by painting pictures on the backs of peoples’ jackets at Ocean City in Maryland.

Ward began specialising in slim-waisted, top-heavy girls virtually from the moment he enrolled in the Pratt Institute in Brooklyn. With a stint in the military looking certain as war clouds loomed in the Pacific, Ward spent more time chasing women and pursuing a vicarious lifestyle than he did refining his art (he didn’t consider himself to be a good artist after his graduation from Pratt in 1941).

Upon graduation, Ward landed himself a job working for Jack Binder at Fawcett Comics, illustrating the backgrounds for titles like Mr. Scarlet, Bul etman, Ibis and — most prominently — The Shadow. After working his way up to illustrating an entire issue of Captain Marvel, Ward left Fawcett and took up a position at Quality Comics, where he was given the task of taking over the classic Blackhawk comic after Reed Crandall had been drafted. It was a foreboding assignment (particularly since Ward considered Crandall to be “the greatest comic book artist of them all”, but one which he attacked with enthusiasm and immense energy and creativity. Quality liked his work, and he was soon working on other titles like Military Comics, inking the stories as well as some great covers.

On his website shortly before his death, Ward commented: I’m especially proud of Military No. 30, a shot of that silly Blackhawk plane coming at you, cannons firing, Blackhawk piloting, Chop-Chop waving his meat cleaver menacingly over his shoulder. I drew that idiotic plane (from the early Military Comics) for years before it was changed to a jet. I used to wonder what nut designed the damn thing. Of course it could never fly —
ridiculous to think so. A few years ago I was leafing through a copy of a 1942

Aerosphere that I had acquired. Imagine my astonishment… there it was, an actual photograph of that same silly plane! Reading on I found it was an experimental model, the Grumman Sky Rocket, that the army had rejected.

Can you blame them?… but it must have at least flown!

Ward’s glory period at Quality came to a halt when he found himself drafted, although his duty in communications — for an anti-aircraft unit at the Quonset Point Naval Air Base, R.I. — provided him with plenty of drawing time. Ward’s most famous character, the busty blonde

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96
bombshell Torchy, was created during this
time, initially as part of a comic strip called Ack-Ack Amy, which he was drawing for the
base magazine.

Returning to Quality after the war, Ward
suggested his Torchy character as an addition
to the publisher’s stable, and she made her de-
but in issue 53 (September 1946) of Modern

Love. Torchy proved popular enough to even-
tually warrant her own title, which ran for six
issues between November 1949 and Septem-
ber 1950. Although Ward worked on Torchy,
much of the reins were handed over to Gil Fox,
while Ward worked on a number of Qual-
ity’s romance titles (which in the immediate
post-war years had become a popular genre).

Dr. Fredric Wertham’s campaign to expose
comics as the ultimate evil influence on kids
had a devastating effect on Quality, with the
company eventually going under as a result of
rapidly decreasing sales.

Ward continued to work in the comics field,
particularly at Cracked magazine, MAD ’s closest rival. His experience with Torchy certainly helped him when he began to contribute black and white illustrations to men’s magazines in the 1950s, a role which would eventually lead him to the adult paperback market in the mid sixties.

In contrast to Stanton and Bilbrew, Ward’s paperback covers often tended to be sketchy and less detailed, though certainly just as eye-catching. Ward’s women also tended to be more cartoonish, with impossibly skinny waistlines and enormous breasts which threatened to spill out at any moment from inside tight, flimsy nightgowns and cocktail dresses.

Long, black elbow-length gloves were another favourite trait of Ward’s glamour artwork.

When hardcore began to creep its way into the paperback field, Bill Ward was seemingly happy to move with the times, creating a number of

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MASTErS OF THE PrOVOCATIVE ArT
raunchy, provocative
covers for publishers
like Eros Goldstripe

(for their Dr. Guenter

Klow series, which

Gene Bilbrew also
contributed several
covers for). Right up
until his death in

1998, he continued
to draw his unique
women, selling prints
of his work, as well as
original sketches .

bill Ward:

selected
covers

 Big Score by

Nel Shaw (1967,

Unique Books,

UB-122)

 Easy Living by John Carter (1966, Wee Hours, WH-518)

 Frustration by Mona Marlowe (1967, Unique Books, UB-128)

 Hol ywood Madness by Bil Marshal (1967, Unique Books UB-138)

 In and Out by Glenn Al ison (1967, Unique Books, UB-121)

 Maid to Please by Eve Delon (1966, Unique Books, UB-120) Note: See appendix a for listings of further Bilbrew, Stanton and Ward covers.

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dede AdAY mACdoNAld

Dede Aday Macdonald is the daughter of the late San-
ford Aday, one of the most prominent figures caught up in the government crusade against lurid paperbacks.

A native of Venice, California, Sanford E. Aday (born 1918) established his literary base in Fresno, California, publishing (with his partner, Wallace de Ortega Maxey, who was a member of the landmark gay rights group known as the Mattachine Society) numerous books from his location on Belmont Avenue. A keen writer since high school, Aday held various jobs while working on his novels. Although he authored over ten books, only two were ever published — Amber Dust and Satan’s Harvest.

Aday began his career as a publisher in 1955, releasing titles under the imprints: Fabian Books, Saber Books, Vega Books and National Library Books (like many adult publishers, they changed names frequently in an attempt to keep authorities off their backs). Aday published books that were often branded as ‘obscene’ in the 1950s, and he was frequently under attack and vigorously fought against censorship, making him something of a poster child for the early sexual liberation movements.

Facing several charges in Hawaii, Arizona and Fresno, Aday was eventually tried and convicted along with Maxey for shipping obscene books into Michigan in 1963. He was sentenced to twenty-five years in prison and fined $25,000. Sex Life of a Cop by Oscar Peck (1959) was the only book of seven deemed obscene by the jury. It doesn’t seem too surprising that Sex Life of a Cop was one of the books most targeted by authorities — the cover illustration featured a stout, bald police chief standing by his car near some bushes, a naked girl cowering behind him as two unformed policemen look on in shock.

This was no ordinary necking party they’d broken up. Before them stood their enraged boss — the Chief of Police — and some woman.

After Aday died in 1989, Dede inherited her father’s personal collection of paperbacks which he published during his lifetime, and has been selling off this treasure trove via the online auction site eBay.

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interview with dede Aday macdonald
hip poCKet sleAZe: What memories do you have of your father
during his publishing days?

DEDE ADAY MACDONAL: Many of my early memories are
vague. I was born in 1957 and he had started the business by then. My mother, Madge, told me that when I was first born, we lived upstairs from the publishing company when it was on Belmont Avenue. My parents bought a house when I was six months old. My father lived and died in that same house.

My father was very charismatic. A lot of people loved him and a lot of people hated him. He came from nothing and was totally self-made. His mother died when he was six months old, and when he was eight he ran away from home. He told me that he remembered hiding from the police when he was just a little boy.

Needless to say, he had a rough childhood. My dad was the young-est of thirteen children. He said that when he was young he would walk down the street and pick up cigarette butts and say to himself, “One of these days, I am going to be rich and I will buy all the cigarettes I want and drive a Cadillac.” And, he did.

One of my best memories is of his smile. His smile would light up a whole room. I would walk into the room and he would have a horrible snarl on his face. He would look up and see me and his whole face would light up with his smile.

My dad was also quite the ladies man. (My parents divorced in 1962.)

Tell me about the trail for obscenity which your father was put on in 1963.

How much jail time did he actually do?

DEDE ADAY MACDONALD: I don’t know. I didn’t know about the trial until I was in Junior High School. My gym teacher wanted to know if I was related to Sanford Aday. My mom told me about the trial that night.

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100

What was your father’s attitude towards the trial? Was he defiant and
prepared to defend his rights? What was the atmosphere around the
home like during this time?

DEDE ADAY MACDONALD: I never really knew what was going on. They certainly didn’t tell me. One night when I was about four or five, I turned on the television to watch The Wizard of Oz and I saw my dad on the news. They just covered up and gave me some lame excuse. I was really too young to realise what was going on.

Knowing my father, he was prepared to defend his rights and I am sure that he was defiant.

How did the trial for distributing obscene material affect your father?

Did it effectively signal the end of his publishing days?

DEDE ADAY MACDONALD: How this all affected my father… I believe it made him a harder man.

No. He continued to publish until about 1974, I believe. He just dropped the Vega name. He continued to publish under the Saber and Fabian name.

Did you ever visit your father at his publishing company? If so, what was
the atmosphere like?

DEDE ADAY MACDONALD: Oh, yes. I actually worked in the bindery. I can’t imagine letting my child work around these types of books, but I did. My father owned a clothing manufacturing plant also.

So, these two businesses were merged into one building around 1961. I could be off a year or two. There was always a lot of action there. I loved being there!

My mother, Madge S. Paris Aday, was an editor. She brought home books every night to proofread. She typed up just about every one of those books herself.

My father was a taskmaster. He was a workaholic and expected everyone else to be too. He didn’t like the employees conversing among

101 MASTErS OF THE PrOVOCATIVE ArT
themselves unless it was break time. He had a sign in the office that read,

“The man with the gold makes the rules.” And, “No talking! No laughing!”

Really, he was hard to work for.

Did you ever meet any of the authors who wrote for your father?

DEDE ADAY MACDONALD: Yes, my father. He wrote under several pen names. I wish I could remember what they were. I still may be able to find out. We are searching. Possibly Kip Madigan was one. If my mother were still alive she could tell us a whole lot!

What do you know about the artists who contributed the covers for the
books? Did your father keep any of it, or was it returned to the artist upon
completion?

DEDE ADAY MACDONALD: I have been trying to remember the artist’s name. In the later books, there was one artist. He would come into the factory with his artwork and my mother would look them over.

He kept the art. I have some negatives.

What did your father do after leaving the publishing field?

DEDE ADAY MACDONALD: He continued with the clothing manufacturing. He did that until he died in 1989.

Do you think your father had any inkling that the vintage paperback
market was about to really come into fruition? Did any fans of his books
ever track him down?

DEDE ADAY MACDONALD: No, I don’t think my father had any idea that his books would be worth anything. I can remember going with my grandfather in the panel truck to take books that were returned up to the ranch and dumping them in a big hole. Can you imagine how I feel knowing what I know now?

I really don’t know if any fans ever tracked him down.

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102

How do you think he would feel knowing that his books are being collect-
ed and appreciated by a whole new generation, many of whom probably
weren’t even born when they were first published?

DEDE ADAY MACDONALD: Well, I know what he would say:

“Well, I’ll be damned!” He would be very surprised.

You’ve recently started selling your father’s personal collection of paper-
backs which he published. What sort of reaction are you getting? Why
did you decide that now was the time to start selling?

DEDE ADAY MACDONALD: Quite honestly, I didn’t have a clue these books were worth anything at all. I even threw a few boxes away

[cringe]. My cousin was surfing around eBay and found one of my dad’s books for sale. She sent the page to me and the rest is history [grin].

The reaction I am getting is very good. It was really surprising to me that there is this much interest. Some of the science fiction collectors didn’t even have a clue about the trial.

What are your own final thoughts about your father’s work and legacy?

DEDE ADAY MACDONALD: My father was a very complex man.

He was a self-made millionaire. He was very frugal in his later years and a bit flamboyant in his younger years. He always told me, “Succeed, and then quit!” I was always very proud of him. He was not afraid of hard work and he didn’t try to pretend to be someone he was not. He tended to be very reclusive. He fit the description of the ‘millionaire next door’.

He wore his shoes until they literally wore out. I really miss him.

Ironically, both of his children are Christians.

103 MASTErS OF THE PrOVOCATIVE ArT

sanford Aday bibliography

Written by Aday

 Amber Dust (1952, Dorrance)

 Satan’s Harvest (1953, Vantage)

Published by Aday

Fabian Books

 Anderson, Janet; Circle of Lust (1962)

 Baker, Brenda; The Third Bedroom (1960)

 Bates, Marsha; Decisive Years (1959), Each Won Two (1959)

 Bel ey, James H.; The Violent and the Fair (1961)

 Bennett, Wil iam; Nor Fears of Hel (1959)

 Bradley, Lee; Rose of Sharon (1960)

 Brandon, Ralph; One Violent Year (1959), Witch Finder (1960)

 Dammann, Ernest; Dark Holiday (1961)

 Dee, Dolores; Passionate Lovie (1959)

 Devon, Joseph; Scarlet Sisters (1964)

 Freeman, Ann; Between the Two (1960), Cherita (1961), Emotional Jungle (1961) Foster, John; Return to Vista (1960)

 Gooch, Mary S.; The Tainted Rosary (1960)

 Hampton, Stel a; The Dark Quarters (1957)

 Hayes, Reese; Long December (1957)

 Hynes, Floyd; Beach Maverick (1958)

 Linkletter, Eve; Our Flesh was Cheap (1959), Taxi Dancers (1958), The Gay Ones (1958)

 Madigan, Kip; Incest for Rene (1955), Stairway to Sin (1957), Rene (1955)

 Maxey, Wal ace de Ortega; Man is a Sexual Being (1958)

 McIntosh, Georgia; Naked Return (1960)

 Mener, Dorothy; Tomorrow’s Light (1959)

 Nye, Nelson; Come a-Smokin’ (1965)

 Omarr, Sydney; My Bed Has Echoes (1957)

 Peters, Wil i; Taunted Wife (1957)

 Rowel , Don; Age of Innocence (1960)

 Runnels, Benny; Blood on Big Sandy (1956)

 Sela, Lora; Push-Over (1958)

 Shane, Mark; Fifteen Bodies to the Morgue (1956), The Lady That Was A Man (1958)

 Short, Betty; Black Night (1956), High Pil ow (1958), The Rambling

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104

Maids (1957) Southern, Cherri; Violent Surrender (1957)

 Strand, Bunny; Twice the Fool (1960)

 Turni, Marie; Beyond the Realm (1960)

 Vincent, Jay; The Barefoot Blonde (1961)

 Wil iams, James; Imposed Rebel ion (1959), Never to Belong (1960) Saber Books

 Abbott, Sheldon; The Women Were Wil ing (1963)

 Bass, Lonny; Out of Darkness (1959)

 Bunyan, Pat; I Peddle Jazz (1960)

 Carrol , Ann; Summer of Sex (1964)

 Devon, Joseph; We Poor Sinners (1964)

 Ford, Robert B.; The Emerald Bikini (1963)

 Gilman, Wilson G.; Society Daughter (1958)

 Harris, Frank G.; A Wife to Lend (1963), Beauty Contest (1964)

 Hayes, Reese; Turbulent Daughters (1958)

 Hitt, Orrie; Love Princess (1958)

 Lucas, Mark; The Left Hand of Satan (1965)

 Marmor Arnold; Ruthless Fraternity (1960)

 Martin, Henry; Lust Has No Bounds (1964)

 Moore, Jack; Party Girl (1965)

 Parker, Lynda; The Odd Switch (1961)

 Pauve, Richard; Double Crossed Beds (1965)

 Peck, Oscar; Sex Life of a Cop (1959), 10:04 Sgt. Thorne (1959)

 Rand, Lou; The Gay Detective (1961)

 Roberts, Jay; The Tricked and the Wicked (1965)

 Sela, Lora; Camera Bait (1960), I Am a Lesbian (1958)

 Sherman, Louise; The Strange Three (1957)

 Spruil , Jock; Deception (1959)

 Wade, Vern; Karla (1957)

 Walter, Lee; A Town in Heat (1963), Bachelor Husband (1960), The Right Bed (1959)

 Weldon, Rex; Sex Mates (1964), Untamed Desires (1964)

 Wil iams, Randal ; Wanted: Broad-Minded Couples (1965)

 Woolfe, Byron; Bold Desires (1959), Hot Angel (1964), Never Enough (1958)

Vega Books

 Brandon, Ralph; Joy Kil er (1960)

 Cannon, Frank; Satan in Malibu (1961)

 Foster, John; Campus Iniquities (1961)

 Gooch, Mary; Included Out (1960)

105 MASTErS OF THE PrOVOCATIVE ArT

 Hayes, Floyd; Beach Maverick (1958)

 Harvey, Linda; Executive Bed (1960)

 Mil er, Frank S.; Murder’s for the Birds (1961)

 Peters, Wil i; Lesbian Twins (1960)

 Roberts, Wil o R.; Murder Is So Easy (1961)

 Spears, Francine; Burden of Guilt (1960)

 Stacy, Jan; The Takers (1960)

 Turni, Marie; Cousin Jess (1960), The Opposite Sex (1961)

 Woolfe, Byron; The Animal Urge (1960)

106

VInTAGE ADULT

PAPErbACK
rEVIEWS

Unless otherwise noted, al books are US printings

 The Acid Eaters
by Rolf Kirby / Pub: Connoisseur, 1968

Published by the Cleveland, Ohio, based Connoisseur as part of their Olympic Foto-Reader series, this is a novelisation of the 1968 David Friedman produced (and photographed) drug/sexploitation film of the same name, which follows a group of boring nine to five working stiffs, whose weekend at ‘The Lake’ degenerates into an LSD-fuelled orgy of lust and degradation, full of the requisite nude body painting, topless go-go dancing, a giant pyramid made out of acid (!), and the eventual descent into hell when the trip starts to turn bad.

All of the Olympic Foto-Readers relied just as much on photographs as they did on text, and The Acid Eaters is filled with over sixty great, full page black and white stills from the film (taken by Bill New), including several of the gorgeous Pat Barrington (one of the featured dancers in Russ Meyer’s Mondo Topless), and the diminutive Buck Kartalian (who, apart from starring in sexploitation fare like this and Please Don’t Eat My Mother, also appeared in a number of genuine mainstream classics, including Cool Hand Luke and the original Planet of the Apes).

Note: Other films adapted for Olympic Foto releases include Joe Sarno’s The Love Rebel ion (F101, 1967), Deep Inside (F103, 1967), Nymphs (Anonymous) (F104, 1967), The Animal (F112, 1968) and In Heat (F113, 1967).

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 Army Sin Girls
by Andrew Shaw / Pub: Nightstand Books, 1961

They spent their days servicing the duty roster, and their nights servicing the G.I.s.

Nightstand were one of the most prolific publishers of adult paperbacks during the 1960s, with their shorter sized format helping them to stand out amongst their competitors. The company began publishing in 1959, under the guidance of William Hamling (who earlier in that decade had published the Playboy imitation Rogue). Hamling had also published a number of science fiction digests, and he recruited a number of his writing connections from those days — such as Harlan Ellison, Marion Zimmer Bradley and Robert Silverberg to pen titles for his new Nightstand line — which they all did under various pseudonyms.

The cover art utilised by them was also colourful and distinctive, if generally unspectacular — usually a very simple scene, with little or no background detail, and emphasis placed of course upon a voluptuous temptress. The majority of Nightstand covers were painted by Robert Bonfils, yet another person who came from a science fiction background.

Their titles also had a familiarity about them, often using words like ‘lust’

and ‘sin’ as a way to highlight the book’s illicit content.

Army Sin Girls plays on the fantasy which many heterosexual men have regarding females in the military. They’re all present and account-ed for — from the man-hungry Ellen Marshall to the ballsy bull dyke sergeant; from ‘Punky’ Peterson (“the girl with the wild body and not enough mind to protect it”) to Lu Ann Sellers (“who knew there had to be something truthful about her name — so she went ahead selling her body to prove it”), the WAC detachment at Fort Silter are certainly a good enough reason for the boys in the US Army to go out in the fields and die while protecting their freedom, and author Andrew Shaw (whom judging by his moments of descriptive detail may well have done a stretch in the army himself ) piles on the barracks bunker action, and also seems to delight in describing moments of humiliation for his cast

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of G.I. Janes, as in the passage when a female major discovers a used sanitary napkin in the bathroom:

“Women”, she spat. “Women of the United States Army. Do you know what this is? this is a man’s army! It’s the man’s army that won two world wars and fought in Korea — this is the way the world sees it! How do you think the world would see it if it found its barracks festooned with these?”

 The Beach Set
by Fern Burke / Pub: Softcover Library, 1964 ( S75135) A beachside artists community in the 1960s provides the perfect setting for a sordid adult novel, and The Beach Set is awash with Freudian overtones.

Ulric Shaw is the handsome young art student, involved in a torrid affair with not only his teacher, Margaret Benson, but her suicidal step-daughter, Mimi, as well. While Mimi gloomily awaits the imperfection that always ruins every seemingly perfect day, Margaret gives devoted mummy’s boy Alec some hands on pointers to getting over his shyness around nude female models:

“Don’t look so frightened, Alec. Do you know what awaits you in my body?

Life. Manhood. Joy. I want to teach you that the sexual instinct leads to un-told pleasures and delights. Before you leave this room you are going to find out who is right — your mother or I.” Alec glanced longingly at the open door. Margaret went to the door, closed it. “No escape, Alec. You can go out that door only after you’ve made a man of yourself.”

 Boozers, Babes and Big Wheels
by Gordon B. Strunk / Pub: Anchor Publications, 1965 (WL-108) Although not an adult paperback as such, this book seems to be aimed at the same male audience, with its title and cover photo of a negligee clad brunette provoking images of a searing look at the sex lives of women who prefer to live within the blur of an alcoholic glaze.

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Instead, Boozers, Babes and Big Wheels
presents us with a Hol ywood Babylon-style peek at some of America’s favourite and most
notorious drinkers, all wrapped up in a veneer
which promotes boozing as the most manliest
of habits, and one which goes hand in hand
with womanising.

Some of the famous and infamous drink-
ers profiled within the pages of this book are

US President George Washington, boxers

Max Baer and Jake LaMotta (whom Robert

DeNiro portrayed in Raging Bul ) and actor Mickey Rooney (“In 1959, Mickey appeared on Jack Parr’s TV show, stoned, thick-tongued, somewhat unkempt, and startled a nationwide audience, to say nothing of the thin-skinned Parr, by drunkenly plugging a Los Angeles tire shop in which Rooney has an interest… He topped his astounding performance by telling Parr that Ava Gardner was ‘more woman than you’ve ever known’”).

Author Gordon B. Strunk also takes a look at the history of America’s favourite drink (bourbon), as well as the country’s varied and often crazy drinking laws and regulations (apparently if you are overly fond of the bottle and live in Connecticut, your wife or mother-in-law can have your supply shut off with a written request to any local government official).

The last page of this book contains an ad for the Hollywood Showcase company of Los Angeles, offering up paperback titles like Gay Boy, Beach Stud, Flaming Lust, Profile of a Pervert and the classic Lavender Love Rumble for ninety-five cents each, or any six for $5… a bargain by any means!

 Brief Contract
by Lana Preston / Pub: Chevron, 1967 (119)

Brief Contract features a storyline that would not be out of place on one of today’s tacky daytime soap operas. When a stunning and virginal Dor-gan University student learns that not only is her mother gravely ill, but her father’s business is close to ruin, she decides to place a classified ad in

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the local newspaper, offering her hand in marriage — including all the accompanying benefits — for twelve months, in exchange for the tuition and expenses needed to complete her final year of academia.

Before she takes the brief marital plunge, Joella surrenders herself to handsome lady killer Ken Burwell, in order to learn just what her future husband of convenience will be demanding of her. Her eventual choice for a hubby is Will Corrigan, a shy assistant professor who has secretly been in love with Joella. But their chance at happiness is jeopard-ised by the arrogant Professor Rogan, Corrigan’s superior who feels that his name should be included in the pair’s contract, particularly when it comes to the time to consummate the wedding vows!

Fairly light on the action, Brief Encounter is nevertheless a fun slice of sin, one which proves yet again that old boyhood suspicion: All school teachers are really nothing more than leering sex perverts.

 Dealer’s Luck
by John Parker / Pub: Wee Hours, 1967 (WH-512)

Predictable but reasonably entertaining mix of sex, gambling and murder, highlighted by its Las Vegas setting (one of the most natural locales for adult paperbacks of this era) and the striking Gene Bilbrew cover. John Parker was the pseudonym for John Wyatt.

 Desire and Deceit
by Hank Green / 1967, Neva Spicy No. 418

The cheap, tacky cover heralds the unmistakable arrival of yet another title in Neva’s line of low-rent sordidness.

Desire and Deceit mixes in the usual erotic passages with themes from an old 1940s film noir thriller, as Steve Temple and his new squeeze Ruth Webber (“Her passionate nature made her a burning sex-bomb”) plot to do in his fiancée, a cold fish named Phyllis who secretly digs women.

If people like Hank Green are still alive, I wonder if they display their adult novels with pride on their living room bookshelves, for all the grandchildren to see… I know I would.

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 Eve’s Apple
by Ronald Simpson / Pub: Monarch, 1964 (468)

With Eve’s Apple, author Ronald Simpson (a pseudonym for London born Ronald Sugden Tilley) tackles a theme which not only dominated many vintage adult paperbacks, but the thoughts of numerous young men: Just what is it about the student who has an affair with his teacher’s wife that people find so arousing? Is it the thought of having sex whilst simultaneously one-upping the person who wields such a dominating presence on you throughout the school day, perhaps?

Unfortunately for Hobie Thatcher, a senior at Lamson University, he not only has an affair with Eve Shackford, the beautiful younger wife of his college professor, he fails to play it safe and gets her pregnant. Not until it’s too late does Hobie realise his recklessness: When I look back over this whole affair I realise there was no lack of warning signs. Proceed with caution — soft shoulders, stop, detour, dangerous intersection! Even beware of children.

Coming across as a little too prim and proper for an adult sleaze paperback (a reflection of the author’s English heritage, perhaps?), Eve’s Apple does, nonetheless, have a certain panache when it comes to describing sex play:

The bra she wore was like two little hammocks and in those hammocks her breasts slept as quietly as she was sleeping. Very carefully, not to awaken her, I pressed one of the little hammocks down. A nipple slipped out and looked at me. It was rouged to match her lips and fingernails.

Ronald Simpson authored several other Monarch paperback titles, including Make Every Kiss Count and End of a Diplomat. Eve’s Apple features a very nice cover painting by Harry Barton.

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 Farm Dol s
by Red Young / 1967, PEC N-152

San Diego based PEC (Publishers Export Co.)

produced some of the most consistently excit-
ing adult titles of the late sixties, matched by
equally memorable cover art. Farm Dolls is a steamy Louisiana set epic, full of the expected
rolls in the hay, Southern discipline in the form
of a menacing leather strap hanging by the
front porch, and the inevitable in-bred lustings.

Author Red Young is listed as T.R. Young on
the inside front cover.

 Fly Girl
by Matt Harding / 1970, Macfadden-Bartel 75-329

In the swinging sixties, and on into the early seventies, air hostesses were constantly being portrayed as insatiable nymphos, embarking on numerous sexual flings while flying to exotic locales throughout the world. It was a twist on the old ‘girl in every port’ fable which sailors had been stuck with, and it was an image which naturally appealed to men (due in part no doubt to the jet-set, playboy lifestyle which the fantasy projected).

Originally published in 1961, Fly Girl is softcore sleaze with a heavy dose of soap opera melodrama in the Jacqueline Susann vein. At the centre of the action is beautiful young hostess Cynthia Westland, whose bed-hopping antics land her straight in the middle of a torrid tug of war, with married, booze hound pilot Jim Parker on one side, and rich, single Hank Mattson on the other.

Jim’s trembling fingers unbuttoned the white blouse. His head was down, their lips welded, and he felt her heart beat in anticipation. The buttons were slow in becoming unfastened. Jim counted them. Six. He wanted to rip, to tear; he made his fingers obey his brain.

She said, “I’ll roll on my side.” She still kept her eyes closed.

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Her top arm went back and the blouse slid from it. He found the hooks on her black bra, hands trembling more violently. What was he, anyway — a high school punk out for the first time?

Matt Harding strings together brisk sexual passages with some dull travelogues and an emergency belly landing. With sparse but effective cover art, Fly Girl brings new meaning to the phrase “Up, up, and away!”

 Fraternity of Shame
by Andrew Shaw / See review in drugs and counterculture section

 Half-Stoned
by Owen Patterson / 1967, First Niter FN-251

A gorgeous piece of Gene Bilbrew cover art (one of my favourite pieces of Bilbrew work) welcomes us into this whiskey sodden story of a drunken Greenwich Village commercial artist, bemoaning his lack of talent while hopping from bed to bed, trying to find that one gal who shares his own enormous love of the Devil’s brew.

 I Made My Bed
by Celia Hye / 1958, Beacon B-188

A novel which criss-crosses over a number of popular genres (sexploitation, JD, drug use and reformatory school girls), I Made My Bed is a first person confession by author Hye, a pretty young girl fresh out of high school who falls in with street thug Bernie. It isn’t long before she’s shoplifting and doing dope, living purely for kicks and loving it, until the law catches up and throws her pretty backside into detention. In for a lengthy stretch, Celia’s life is irrevocably ruined, thanks to her cellmates Erna (her “friend”), Ziggie (“the ugly one”) and Byrne.

Claudia Shaw was a hundred dollar a trick girl. Sometimes more. Had a seven room modern apartment with one of these telephones that if you call up

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and she’s not home it’ll answer itself on a record. Clicks on and this very sexy voice says, “I’m not home but I will be later. Do speak into the telephone and leave a message so that when I return I can play it back and know who called.”

Very classy thingee.

Great reform school thrills to be had here, and wouldn’t you know it — every shocking word of it is true!

 Intrigue
by Joel Fabian / 1966, After Hours AH-150

While not overly memorable nor particularly well-written in itself, Intrigue does provide a welcome change from the norm for sixties sleaze paperbacks, in that the bulk of the story is set in Vietnam during the height of the war, where a beautiful Viet Cong spy is captured and found to be in possession of a letter which hints at a major Viet Cong operation on the horizon. A weary American officer — who conveniently has several Vietnamese girls stashed aside in various villages, enabling author Joel Fabian to insert the sex sequences with ease — is called in to investigate the matter.

I told her I would skin her alive if she didn’t tell me everything. She knows I mean it.

Intrigue reads like a standard cheap war novel, with heightened emphasis on the sadism and sex content, and features another fine cover by Gene Bilbrew.

 I Was A Chain Gang Love Slave
by John Denton / 1962, Art Enterprises #708

Although the title and cover illustration give the impression that this is some kind of WIP (Women In Prison) exposé, it is actually told in the first person by a man, Jimmy Doyle, an honest Joe sent up on a bum rap and farmed off to a chain gang camp, where the girls in the nearby

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women’s prison farm are prostituted off to any
of the slathering, chained road workers who
have enough bread saved up to afford them.

I wonder if Paul Newman turned to this
serviceable roughie adventure while research-
ing his role in Cool Hand Luke in 1967?

 The Love Clinic
by Gil Hara / 1966, Softcover Library

B-994-K

The Love Clinic plays around with the popular 1960s theme of young married couples submitting themselves to the psychiatrist couch in order to conquer their

‘perverse’ or repressed sexual problems and fears. During those early years of the sexual revolution, it became almost de rigor for hip young couples (and not so young couples desperate to look hip) to attend marriage counselling and even group therapy sessions. It was a far cry from previous generations, where relationship problems were kept strictly private.

Inspired by this institution, Gil Hara mutates The Love Clinic to give it an almost futuristic veneer, as four women are admitted into the clinic of the title (actually called the Sexual Research Center) in an attempt to take care of their dysfunctional problems. It is all presented in a very voyeuristic style, making the reader feels as if he’s studying guinea pigs in a lab (this is exemplified by the cover art, which features illustrations of the four women encased within test tube cut-outs).

The doctor glanced through the case history and said, “Let’s confirm some of your doctor’s report. Would you please slide down on the table and place your feet in the stirrups?”

He put on a thin examination glove even as he began a visual inspection.

He glanced up at her. Their eyes met and she felt herself blushing.

He knows…

The doctor picked up a tube and applied lubrication to the gloved hand.

“What have you been thinking about?” he asked casually.

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 Love In
by Gus Stevens / 1968, Neva 824

The title of Stevens’ novel is derived from the exotic perfume which Della Redfield, one of the central characters in the story, favours. Not that she really needs it to solicit attention, from the way in which she is described: They swung into the office and stopped, each frozen by the view. The Grand Canyon, Yosemite — none could match the height and depths, the splen-dour of the visitor as she rose from her chair.

Scott looked at Sue for an instant, hardly noticing her pretty pout, and then back to the big blonde. She was big, all right, hardly more than two inches under six feet and maybe only an inch shorter than Scott himself.

However, there was nothing cowlike about the woman. She had a trim waist, despite her ample breasts and hefty frame. Her hair was like sunny wheat that fell to her shoulders. Her face was smooth with large green eyes, a smallish nose and a mouth he could only describe as generous…

Della is a kept woman working for airline bigwig Harlan Amber.

When Amber wants to buy out Scott Walker, the stubborn owner of a small, failing air freight business in San Francisco, he sends Della to work on weakening his resistance. Della’s biggest obstacle turns out to be Sue Bell, Scott’s virginal, petite secretary, who has a strong dedication to the struggling company, and a deep, unrequited love for her boss. Which one will Scott end up with, or will the two girls run off with each other?

Lots of spelling and grammar mistakes in this book, so whoever type-set it must have been illiterate, drunk, or so turned on by Stevens’ writing that he didn’t know (or care) what the hell he was doing.

 Love Stroke
by Scott Evans / 1968, In Books No. 221

I love the adult paperbacks published by Neva, who based themselves in Las Vegas, Nevada (quite possibly the inspiration for their name). Their covers, whilst not always overly defined, were always ultra-sleazy and colourful. And the stories inside usually matched — predictable, yet deliv-

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ered with gusto and obvious enthusiasm for the subject at hand.

Love Stroke (published by Neva under their In Books imprint) follows the adventures of Carter Harper, a college student who lands a summer job as a swimming instructor at the Los Amigos Country Club, enabling him to seduce and be seduced by some of the club’s wealthy female members (certainly one of the most favoured fantasy scenarios of young males).

An enjoyable read, and amongst all the fun and frolics, author Scott Evans even manages to throw in some political awareness, with Carter facing the possibility of being drafted and shipped off to Vietnam.

Like most Neva titles, Love Stroke features a full-page advertisement for the Delray Beach, Florida based Playboy Book Club, where members receive six new ninety-five cent titles per month (“Delivered to your door in a neat, discreet package!”).

 Man’s Guide to Girls

1963, K.G. Murray Publishing/nn/Australia

During the early 1960s, Man was Australia’s top selling men’s magazine (although looking at an issue now, it seems no different from all the other Playboy clones which filled the news-stands back then).

Man’s Guide to Girls was the second in their series of The Best of Man titles, which reprinted some of the better magazine articles and short stories in paperback format. Although it’s all anchored to the subject of sex (natch), this volume has a fairly diverse selection of material, from pieces on native sex potions (‘That Old Black Magic’), the exotic women of Tokyo (‘G-Strings on the Ginza’), the Cannes film festival (‘Pick-Ups Paradise’) and white slavery (‘Brunette or Blonde: $100’). There are also tours of Las Vegas and New Orleans sin spots, and a look at some classified ads placed by prostitutes in English publications.

Although each story is credited to a different author, the writing style remains constant throughout, and has obviously been designed to make the reader feel like an armchair Hugh Hefner. Apart from an anonymous blonde on the back cover, no photos are included, while the front cover features a simple yet reasonably eye-catching illustration of a martini swilling dame (drawn in a style that vaguely resembles Bill Ward’s work).

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Other volumes in the Best of Man series include

 The Best of Man

 Stories for Sophisticated Sinners

 Heroes, Rogues and Jezebels

 Wicked Women of the World

 Unholy Angels of Death

 Tough Men and Wild Women

 No Man’s Land
by Gary Sawyer / 1965, First Niter FN-219

Standard by-the-numbers romp which could have been a lot better, given that it’s set within the exciting world of an all-female health club (such clubs being relatively new and no doubt of some curiosity at the time of publication). Worth seeking out for the classic Eric Stanton cover art.

 The Overnighters
by Brian Black / 1966, Softcover Library B-952-X

Not all serious accidents occur on super-fast highways. Some come when lives collide by chance at even ‘faster’ roadside motels.

The American roadside motels have always conjured up images of iniquity — of drunken salesman on the road to nowhere, married women seeking to escape the stifling boredom of their suburban existence, and two-bit hoods holing themselves up until the heat blows over (after the release of Psycho, they would also be indelibly etched in the social psyche as an ideal place to meet your grisly doom).

The Overnighters takes a vicarious, voyeurs look behind the eight dollar a night doors of one such roadside motel, where every room is a self-contained passion play, from the repressed schoolteacher Janet Harris, who uses the motel as her place to relieve the frustrations of the classroom, to the secretary trying to pry a ‘raise’ from her boss, to the under aged Lynette, a lolita with a penchant for older men.

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With its intertwining mosaic of unrelated characters existing in a twilight yet decidedly real world, The Overnighters emerges as something of a Short Cuts for the softcore set, and a prime example of the swinging suburban theme which ran through many of the Softcover Library titles.

 The Price of Passion
by H.A. Hoffman / 1967, Royal Line RL-157

I don’t know what the price of passion is, but

I forked out eight bucks for this rather dull and ordinary read. Author H.A. Hoffman
weaves a pretentious yarn about handsome sea-
man Scott Alles and his beachside conquests,
throwing in a lot of boring scientific talk about
marine life which had me recalling my horror
days in the high school biology classroom.

Hoffman obviously fancied himself as
something of an Ian Fleming wannabe, but
like so many others just didn’t have the tal-
ent or imagination. The only thing I can really
recommend about The Price of Passion is the
simple but attractive cover art.

 Roman Orgy
by Lucius Caius Augustus / 1966, PEC

G-1105

Another classic from PEC, this is a self-ex-
planatory romp through the sexual decadence
of ancient Rome — a time and place that was
ripe for exploitation in the adult paperback
field, but one used surprisingly little.

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As if by signal, the giant Africans fell upon the girls, bearing them to the floor, screaming above the animal grunts of the blacks.

“Interesting color contrast,” commented one of Nero’s jaded guests. His neighbour nodded, yawning at the writhing bodies.

“Easy to separate the players”, he commented.

 The Search for Sexual Enjoyment
by Dr. Albert El is / 1966, Macfadden 75-170

A prime example of a more mainstream publisher wanting to jump on the sexual revolution bandwagon without having to fear accusations of exploitation, The Search for Sexual Enjoyment is a forerunner of the 8mm

‘white-coaters’ — sex films which bypassed censorship by wrapping up titillation in the form of a scientific study.

Although not presented by some shonky, obviously phoney doctor or ‘specialist’ (Dr. Albert Ellis was a genuine psychotherapist, who had papers published in a number of medical magazines, and authored several other paperbacks on the subject of sexuality*), the result is virtually the same as the white-coaters — arousal is achieved through the clinical relating of explicit information and details.

With chapters devoted to topics like ‘Must you be Guilty about Premarital Sex?’, ‘The Contribution of the Orgasm to Sexual Ecstasy’, ‘How to Satisfy a Highly Sexed Woman’, ‘How to End an Affair in Style’ and

‘How to Arouse an Undersexed Woman’, the bottom line of The Search for Sexual Enjoyment is that sex should be enjoyed in all its facets, without shame and without guilt, and even points out the potential benefits of extra marital affairs, occasional homosexual dalliances, and the im-practicality of holding on to your virginity. No doubt, it’s everything that the reader of the book would have wanted to hear.

* Dr. Albert Ellis’ other sexual studies include Sex and the Single Man (1963), Homosexuality: Its Causes and Cures (1965) and Sex Without Guilt (1965). He also co-edited (with Albert Abarbanel) The Encyclopaedia of Sexual Behaviour for Hawthorn Books in 1961. He ran the Albert Ellis Institute in New York and died in 2007.

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 Sex-Happy Hippy
by R.N. El son / See review in drugs and counterculture section

 Sin Street Hippy
by J.X. WIl iams / See review in drugs and counterculture section

 Stag Model
by James Harvey / 1960, Midwood No. 42

Stag Model follows the life of Johnny Jorgen-
son, a handsome Hollywood bit player who
pays the bills by plying his considerable talents
in skin flicks. As is common with adult pa-
perbacks set within this industry, Stag Model
takes us on a tour of Hollywood’s seamy side

(real or imagined), introducing us to a variety
of oddball and eccentric characters, naturally
along with all the hot dames that hang around
these people like flies.

Routine stuff for the first half, Stag Model
picks up speed on its run home, with Jorgen-
son being cast in a black mass underground
film which recalls Kenneth Anger, and his involvement in a Hollywood scandal which leads to a bleak final paragraph, just as Johnny’s big break seemed imminent:

Then he saw the other car on the road with its headlights pointed at the wreckage. He was about to duck back when he saw it… the twin gaping holes of a shotgun. His eyes followed the barrel until he saw the man’s gloved hands. He saw two cold eyes looking down at him. “Goodbye, pretty boy,” the man said and squeezed both triggers.

Johnny wasn’t pretty any more.

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 Sunset Strip Sex Agent
by Gary Bolin / 1962, Intimate Books No. 705

How would if feel to be a Hollywood bartender who moonlights as a pimp, supplying the best girls to the movie moguls to satisfy their warped desires? That’s the set-up behind this raunchy title, which has handsome stud Harry Riley working the perfect scam — mixing cocktails at a posh bar for twenty bucks a night while receiving major kickbacks for passing on the best looking young starlets into the clutches of the sleazy, mysterious (his name’s been changed to protect the guilty) Hugh Scott (“I’m speaking of a very big Hollywood producer, an outlaw type who is widely, generally and thoroughly hated by everyone in the entertainment industry.”). One can only wonder if author Gary Bolin had anyone specific in mind while penning this vitriolic little number — maybe he’d just had his own screenplay rejected!

Naturally, this being a smut novel, Riley uses his position to ‘audition’

all of the girls first, before passing them on to Bolin (Riley refers to it as his “audition fee”). And what was it that awaited the girls who managed to pass the audition?

First, once she got past me, at least a couple of months in an exclusive Sunset Strip penthouse, complete with maid and all the goodies. A contract for thirteen weeks at $500 a week, with escalator options. A charge account at all the top stores. And, honest to God, a real chance at the film industry.

While Bolin satisfies the raincoat crowd with the sexual passages laid on thick and fast, Sunset Strip Sex Agent remains an entertaining read due to its seamy Hollywood setting, and the kinky assembly of characters who populate it. One gets the feeling Bolin may have actually lived in this world that he writes about, but his claims that the story he (or at least his main character) is telling is a hundred per cent true should be taken with a grain of salt!

Intimate Editions were published by Art Enterprises, Inc., who had their base at Suite 316, 6912 Hollywood Boulevard in Los Angeles.

They looked to have been associated with a distributor in Illinois called Selective Paperbacks, who have a full page ad in the back of this book

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offering package deals of fifty adult books for only $16 (it was almost unheard of for paperbacks to carry ads for companies whom they weren’t in some way affiliated with).

 Surf Broad
by Ray Train / 1965, Satan Press 115

Who are they? What passions does the dark, rolling ocean provoke? Do surfers and surfettes find other thrills as they ride the high crest of a wave toward a distant island?

Sex amongst the surf set seemed a natural topic for an adult paperback to exploit, given the explosion in popularity which the pastime experienced in the mid 1960s (as well as its media coverage and exposure via teen-oriented beach party films and the songs of Jan and Dean and the Beach Boys).

A long way removed from the innocent frolics of Frankie Avalon and Annette Funicello, Surf Broad is a supremely trashy, and immensely enjoyable, read set amongst a group of highly excitable young beach bums.

The surf broad of the title is the unlikely named Dawn Tam, whose sexual despoiling at the hands of her stepfather at the age of nine has turned her on to weird kicks (“She is now a beautiful surfette who fights against normalcy as others resist abnormality!”). It’s up to macho stud Shaw Marble (where on earth did author Ray Train get these names from?!) to try and ‘cure’ Dawn of her deviations, and bring her back to the ways of conventional sex.

With its incest angle lending a dark tone to the proceedings (an atmosphere exacerbated by the presence of a beachside rapist named Art Zeigler), Surf Broad is full of some tough, memorable passages, as well as some sex sequences which are still genuinely arousing. The Gene Bilbrew cover art depicts Dawn as a super heroine, with knee high black leather stilettos and a red cape (must have made it difficult to walk along the sand!).

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 Tami
by Jesse Lee Carter / 1960, Beacon B-341

Next to lesbianism and homosexuality, interracial sex was one of the major hushed themes which adult publishers liked to dabble in. The topic was controversial (particularly in the civil rights dominated 1960s) and marketable, and there were obviously many readers who were turned on by the scenarios.

Set in Harlem, Tami is a jazzy novel, with a fairly tough, low-rent street feel to it. Author Carter creates a memorable character in Tami Taunton, the striking black girl who decides that sexual attraction need not be segregated. Interestingly, Tami is depicted on the cover painting as a light-skinned woman, indicating that the publishers may have felt that a scantily clad African American girl would have been just a little too risqué.

 Wander-Lust
by Don Hol iday / 1967, Candid Reader CA-902

Candid were an imprint of Corinth Publications, who were based at 5839 Mission George Road in San Diego, California. Penned under the popular pseudonym of Don Holiday (see the Richard E. Geis entry in the smut peddlers), Wander-Lust is one of my favourites of their titles.

The cover (artist unknown) is cute, sexy and colourful, and is reminiscent of a scene from some innocent early 1960s nudist camp film.

However, there’s nothing much cute and innocent about what lies between the covers of Wander-Lust. Written in the first person, the author dives head-on into the lurid action from page one, detailing how his character, Johnny, lost his cherry to the beautiful Mrs. Danby when he was only fifteen, and bedridden with the flu (“Virus or not, I had a hard-on and a tight feeling in my groin”). It soon turns out that Mrs.

Danby was deliberately sent to seduce Johnny by his father, a handsome womaniser (how I wish my own dad had been so helpful).

From this point on, Wander-Lust becomes an almost non-stop diary of Johnny’s sexual adventures, with lots of three-ways, and even some

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crime and a murder-suicide thrown into the mix to juice the story up a little.

Carla was still playing with herself, but now she was moaning softly — a wordless whimpering, a kind of purring that was more animal than human.

She closed her eyes. Then the sounds took on the form of words, which were carried on the breeze.

Wander-Lust is written with obvious zest, and at 160 pages of fairly small type, certainly makes for a beefy adult paperback.

 Woman Trap
by John Davidson / 1962, Uptown Books No. 705

Uptown were published out of 1213 North Highland Avenue in Los Angeles, with their books usually favouring photos instead of art. Woman Trap seems fairly typical of their output, ordinary yet pacey stories delivered with a full blast of male gusto (“Tom Carlton woke with a flat taste in his mouth and it took him several seconds before he realized what caused it. Too much booze, too much sex”).

Tom Carlton is a brooding alcoholic wracked with guilt over killing his wife and son while drink driving. To temporarily escape the pain, he looks for solace in the arms of strange women, and never seems to have any problems finding willing takers! After a series of one-nighters, he finally learns to love again in the arms (and other body parts) of wild wanton Wanda Stevens.

Think about the women, all the women you’ve had, all through your life.

About the others, not just Tina, but Joan, Betty, Sara. There had been a lot of woman in Sara. A tall, brown haired female that didn’t look like much at first glance, but who proved herself more than a real wild tumble in bed. At the beginning simply laying there, quietly waiting for his touch, and then sparking into a clawing little bitch in heat at the first gentle caress.

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THE 1970s:

WHEn SOFTCOrE

HArDEnED & THE

SLEAZE bECAME

SICK

By the earlier 1970s, the golden age of the vintage adult paperback had well and truly come to a close. As legal standards loosened, trashy scribes like Jacqueline Susann were free to publish material which was more graphic and descriptive than most adult material published up until the mid 1960s, without fear of being raided and hauled off to jail.

As a result, the market for the rather tame prose of the adult paperbacks began to dry up, and publishers began to concentrate less and less on quirky plots and innocent innuendo, opting instead for a stream of sexually graphic but — for the most part — completely unoriginal and uninspired hardcore drivel. These books certainly had a market, and they continue to be published today, proving their longevity, but any creativity seemed to fly out the door. It’s as if publishers — once given the legal freedom to include as much descriptive language and four letter words as possible — simply stopped caring.

The other factor which helped signal the death knell for adult paperbacks was the transition in cover design. By the early 1970s, colour cover art had become a virtual thing of the past, replaced with either hardcore photos or sub-par, cheap black and white illustrations or line drawings.

There are, however, still some adult books from the post-1970 period which are worthy of attention. Greenleaf Classics made an easy swap from the soft- to the hardcore field, publishing an enormous amount of

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paperback titles throughout the remainder of the 1970s and well into the next decade. Any subtlety which may have remained from the heady days of the 1960s was well and truly gone by the time Greenleaf were grinding out mean-spirited roughies like Teacher’s Horny Itch (Russell Madden, 1975), Mom’s Rape Cure (J.S. Bradley, 1976), Whipped and Raped (Val Marrick, 1977), Incest Reunion (John Adams, 1979) and Three Sucking Daughters (Dan Reagan, 1985).

Incest became a predominant theme of many Greenleaf books, with the most popular ones being penned under the name Kathy Harris (aka

Kathy Andrews), whose titles include Daughter’s Oral Fun, Fun With Daughter, Hot Incest Family, Incestuous Neighbours, Mother’s Hot Sucking, The Niece’s Sucking Fun, We Are Family and Wild Eager Family. A rather lame attempt to pass the books off as some kind of in-depth probing of an important social taboo is presented in the form of a foreword from the publishers, such as this one which introduces Hot Incest Family: Outwardly, suburbia maintains the strait-laced middle-class look that belies the social ferment behind closed doors. There is the secret use of drugs, fed by the marijuana syndrome. There is the river of alcohol flooding from door to door under the euphemism of social drinking. Then, of course, inevitably there is the advent of wife swapping. All in the spirit of good, clean fun…

But where does the fun stop and the degradation begin? When one excess leads to another and another — to what? When the children set as their own lifestyle what already is the norm at home? This is the story of one family in one town, Anywhere, USA. It is startling as a mirror of a way of life behind closed doors. No façade. No regrets. Indeed, to them it is the norm.

And outside their lives go on. Business and its daily conflicts. School and its trials and triumphs. The norm… in Hot Incest Family. And how many other families like them? A novel of fiction for entertainment. A page of our rest-less society as food for serious thought. — The Publisher Dansk Blue Books, a division of Brandon House, were also one of the more important publishers from this period, releasing a string of vicious hardcore titles during the first half of the 1970s, and utilising some very nice cover art which provided a semi-nostalgic link to their predecessors.

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Some of the more noteworthy titles in the Dansk Blue series include Punish Me, Daddy (Peter Kevin, 1972), The Punishment Pawn (Robert F. Slatzer, 1972), Until They Scream (James Montague), The Breaking of Cassie (Lorimer White, 1973) and, one of their later efforts, The Tormented Virgin (Harvey Rodd, 1978).

As the seventies dawned and progressed, bestiality became an increasingly popular theme for some brave publishers, such as Impact Library, who unleashed titles like Bestial Nymph (Luke Washington, 1970), Concentration Camp Bestiality (K. Mason, 1973) and Bestial Quest (Carlton Gould, 1974). Most of Impact’s bestiality paperbacks featured photo covers of semi-naked women rolling around on a couch or the carpet with a large dog. Some — like The Animal Eden (Ron Breker, PhD, 1972) — were pushed through as scientific studies of women who are sexually attracted to animals (note the ‘PhD’ added to the author’s name).

Another publisher who specialised in animal themes was Liverpool Press, who published under their Adult Classics imprint such bestiality books as Spel of the Beast (Richard Mountbatten, 1969), Rajah (Aston Marlowe, 1970 — a highly sought after book dealing with primate sex), Kappy (Son of Kaptain) Vol. 2 (Jon Reskind, 1972) and The Oriental Farm Girl (Faye Jackson, 1977). Bestiality also featured in Liverpool’s Rear Window Series, with titles like Animal Girl (Sabina Graves, 1972) and Present For Teacher (Jackson Robard, 1972) complementing the other Rear Window entries, which included the provoking Love For Little Boys (another Jackson Robard title from 1971). Liverpool even published their own Kennel Club Series, although the only entry of which I’ve managed to track down is 1972’s A Wild Yearning by Carlotta Graham. The publishers were still pushing the animal theme in the early 1980s, with the likes of A Slave for Beasts (Hank Borden, 1981) and Donkey Raped Virgin (Frank Brown, 1983) emerging as part of their Centaur Series.

Two other Liverpool Press series worth mentioning are their Forbidden Romances and Rampant Action lines. The Forbidden Romances line — published in 1972 — utilised nice colour cover art that harkened back to the 1960s, with the stories concentrating on mainly incestuous themes in titles like My Brother Ruined My Life (Betty Morgan), My

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Mother Tempted My Boyfriend (Maryanne Arnold) and I Was The Scandal Of Our Town (Joyce Miller). Liverpool’s Rampant Action Series featured tough, action and crime oriented plots mixed in with the hardcore sex, and bore provocative, hard-edged titles like Shark Bait (Jock O’Hara, 1973), The Flaming Vengeance (Paul T. Scott, 1973), Rape in the Desert (Carl Vandervolt, 1973) and The Triple Cross (Morgan Savage, 1974).

One of the most prolific publishers of adult books during the 1970s was the New York based Star Distributors, who specialised in almost every extreme subject imaginable, with incest again being a popular theme. Star Distributors also had several speciality lines, including their Harding Files series ( Hunger for Humiliation, Anal Cravings of Teenagers), Monks Secret Library (religiously themed titles, including Forgive Me, Father and The Devil’s Nun) , the ultra-rough Violent Stories ( Forced Incest, Sadists and Slaves) and War Horrors ( Defiled by the Nazi Dogs, Rapists of the Rising Sun).

Star Distributors continue to operate out of New York, although their material has been toned down drastically, with transvestite, bondage and cat-fight themes being amongst their most popular titles. Some of Star Distributors’ recent books even offer photo and poster sets for sale, featuring reproductions of their sixties influenced cover art (most of which is contributed by Craig Esposito).

1970s Adult pAperbACK revieWs

 Black Ghetto Teen
by Manuel Marr / 1976, Jaybee/Star Distributors BB-104

A blaxploitation porn novel set in the ghettos of Harlem, this has three young black girls being subjected to various types of sexual degradation, usually at the hands of white honkies or corrupt police officers. The unconvincing foreword by author Manuel Marr laughably claims that Black Ghetto Teens “captures the reality of the racial tension, and the things that ghetto black girls feel they have to do, in order to get out of the pits of the earth.”

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 Cal Me Abigail
by Abigail / 1973, Petomane Publishing/nn/Australia

During the early part of the 1970s, Abigail was the closest thing Australia had to a genuine porn star. A gorgeous, busty blonde with pouting lips and eyes that suggested her thoughts were constantly on the bedroom, UK born Abigail made a huge splash in the saucy, controversial night time soap Number 96 (the first Australian TV series to show — among other things — full frontal nudity and men indulging in homosexual activity), where she was cast as the provocative, flaunting but still virginal Bev Houghton. Abigail became a literal overnight star of Australian television, although her major success was fairly short-lived (after a row with the producers of Number 96, she quit the series in 1973. She was the only original cast member not to appear in the film adaptation released the following year, and spent the remainder of the decade guest-ing on TV shows like The Young Doctors and Blankety Blanks, as well as the occasional sex comedy film like 1973’s Alvin Purple and Al At Sea in 1977. In 1991, she made a return to late night trashy television with her role as sex therapist Bambi Chute in the TV series Chances).

Cal Me Abigail was published just as Abigail’s initial burst of fame was about to peak, and it purports to “Rip the covers from Number 96”. It doesn’t actually quite manage to do this, with the show not even coming into the book until the final few chapters. The first three-quarters of the book is basically a simplified and glossed-over ‘autobiography’ of Abigail (it reads like she has dictated it to a reporter). Thirty pages of black and white photos (including several lovely nude and semi-nude shots taken by her then boyfriend, photographer Mark Hasfield, who also snapped the cover photo) help alleviate the boredom of these early chapters, before Abigail finally wins the audition which propels her to stardom.

Having won the role of Bev Houghton, Abigail (or at least her ghost-writer) does provide a few interesting observations about life on the set of a pioneering sex soap. According to the actress, all people who won parts on the show (regardless of age, sex or looks) had to sign a clause in their contract agreeing to remove their clothes should the script call for it (a frightening prospect, when one remembers some of the people they had cast). Demanding a closed set whenever she was called upon to strip,

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Abigail remembers the persistent efforts of one young studio hand who was desperate to get a glimpse:

After a while, members of the crew grew wise to this young and obviously frustrated lad and they would toss him out. But he still persisted. And I’ll never forget the time I looked idly across towards the studio door and saw this pair of hands coming through on the floor. Then a head followed, and the body and it was our young hero actually crawling on his hands and knees trying to get into the studio.

Other interesting and/or amusing anecdotes which Abigail relates include dropping her skirt on camera without realising she wasn’t wearing any panties (well, it was the seventies!); being mobbed and terrorised by jealous housewives during a promotional trip to Brisbane; working with the famous drag queen Carlotta on the series, and the sexual obsession of television producers on a power trip:

The casting couch is not a myth. The casting couch to some is an essential piece of equipment to be used along with the cocktail cabinet, the expense account and the back-whetted knife. And I almost feel sorry for these men because so unattractive are they, so lacking in warmth, so drained of personality that the casting couch is their first and last hope.

Such men humiliate themselves. Their pride is consumed by their obsession. To watch them grovel is to see the most wretched side of human nature.

 Confessions of a Horny Housewife
by Jeanette, as told to Ed Long / 1974, Eros Publishing CLS-108

Ten years ago, Jeanette was a rarity; today, she’s merely another housewife.

Before the emergence of Linda Lovelace, Marilyn Chambers and Georgina Spelvin, Rene Bond was about the closest thing America had to a porn film star. A very pretty, sweet and youthful looking brunette (mostly), Bond entered the adult industry in 1969, appearing in over

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300 loops (including some amazing
bondage ones) and features, both
softcore ( Please Don’t Eat My Moth-
er, Country Cuzzins, Convict Women,

Ed Wood’s Necromania) and XXX

( Teenage Sex Kitten, Cream Rinse and
the classic Teenage Sex Fantasies aka

Rene Bond’s Sex Fantasies). Known
for her impressive oral techniques,
and possessing an enhanced bust
rumoured to have been paid for by
low budget exploitation producer

Harry Novak, Rene Bond disap-
peared from both the porn scene
and public life in the late 1970s,
and was probably totally unaware
of her new found popularity as a
cult figure when she died of liver problems in 1999.

Rene Bond obviously did a fair amount of photographic modelling work as well,* as she appears (with blonde hair) on both the cover and in the many black and whites throughout this paperback, which is set up as the usual first-person recollections of a bored young housewife who amuses herself with the vacuum salesman, the wife next door, a well-hung black revolutionary named Achmed, and a creepy looking old drama teacher with a taste for bondage. The text is fairly standard stuff, apart from some hints of deviation (“we would go into the bathroom and shower, and watch each other go through our evacuations and urina-tions”), but the presence of Rene makes Confessions of a Horny Housewife something of a little gem.

* I was surprised to be rummaging through the twenty-five cent bin at the local second hand record store a couple of years back when I came across the lovely visage of Rene staring at me from the cover of a cheesy early 1970s LP called Tribute To The Rol ing Stones, featuring a selection of Stones’ classics covered (badly) by the Winstons. The LP was released on the US Citation label.

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 Human-Animal Sex
by Jennifer Stevens / 1971, Val ey Circle VC-144

Exploring one of the most vile of all sexual de-
viations, Human-Animal Sex is a perfect example of just how swiftly attitudes and tolerance
changed between the innocent sixties and the
anything-goes seventies.

Like many adult books that dealt with po-
tentially inflammatory subjects, this tries to
present itself as a serious study of a controver-
sial topic, although one look at the cover illus-
tration clearly shows where the book is aimed

(and unlike many other adult paperbacks
which take the ‘white-coater’ approach, the
book is not credited to a medico).

Although author Jennifer Stevens quotes several sources throughout the book (such as Bestiality in Men and Women by David O. Cauldwell and Different Ways Of Doing It by Grant Nielson, Jr.) in an attempt to legitimise it as a genuine study, it is constructed simply as a string of anecdotes relating sexual encounters between humans and various breeds of animals, with each chapter taking on a specific theme (‘Bestiality and Sadism’, ‘Bestiality and Homosexuality’, ‘Bestiality and Voyeurism’, etc.).

The dog can be a friend to man or woman in more ways than one. The don-key which is the beast of burden can also take another burden from man, such as the weight brought on by sexual frustration. Animals have lent a great deal of help to man. A chicken, for example can be a sex partner or a dinner for the sex partner.

Valley Circle were a Hollywood based company who — apart from other bestiality titles like The Animal Lovers and Incidents of Bestiality —
specialised in other forbidden themes such as incest ( Incestuous Seduction, Incestual Behaviour) and underage sex ( Women Who Seduce Young Boys, Sex With Children). (See appendix a for a further listing of titles).

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 Inside Linda Lovelace
by Linda Lovelace / 1973, Pinnacle Books 523-00240-175

The first name in XXX cinema to receive mainstream media coverage and to be recognised by the general public, Linda Lovelace (nee Linda Boorman) achieved infamy not through her body of work, but for her starring role in one solitary feature, 1971’s Deep Throat (she had previously appeared in a number of 8mm porn loops, including one notorious short where she has sex with a dog). By the end of the 1970s, she had become vehemently anti-porn, and in her best-selling 1980 autobiography Ordeal, claimed to have been beaten, hypnotised and threatened at gunpoint by her pimp/partner Chuck Traynor, to perform sex in front of the cameras.

Although many people — both inside and outside the porn industry

— were sceptical of Lovelace’s claims, nobody ever dared to take her to court over the revelations, despite the fact that she named names (including some high-profile ones, such as Hugh Hefner, whom Lovelace claimed had an obsession with bestiality films). Although she had begun to appear at film conventions during the last few years of her life — sign-ing Deep Throat one-sheets, and even doing a photo spread for Leg Show magazine — she continued to speak out against the ‘evils’ of pornography in all its forms, before dying on April 22, 2002, as a result of injuries sustained in a car accident.

Inside Linda Lovelace was the first of two adult paperbacks credited to Lovelace during the 1970s, and is an almost non-stop menu of supposed sexual adventures undertaken by the star, which cover almost every sexual obsession and taboo imaginable, from her first lesbian kiss whilst still a child to being willingly fondled by her friend’s father while on a camping expedition. There’s also her amazing claim that she comes “at least fifty times a day”!

Through the pages in Ordeal, Lovelace would eventually reveal that she had nothing whatsoever to do with the creation or writing of this book (as well as its follow-up, The Intimate Diary of Linda Lovelace), dismissing them as complete trash and full of lies, fabricated by Traynor.

But even at the time of publication, it’s hard to see how anyone would not have seen Inside Linda Lovelace for the shameless and fanciful self-promotional tool that it so obviously is. Not that that’s a bad thing — the

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book is actually quite enjoyable — but you would have to be completely immersed in the fantasy of pornography not to take the whole thing with a grain of salt.

Inside Linda Lovelace is illustrated with sixteen pages of black and white photos (including some childhood snaps), and comes with a colour centrefold.

linda lovelace: selected reading

 Deep Throat by D.M. Perkins (Del Books 1973, film tie-in).

 Linda Lovelace — the Star of Deep Throat (1973) One-shot magazine featuring photos and articles on Lovelace.

 Getting Into Deep Throat by Richard N. Smith (Berkley Medal ion Books 1973) An il ustrated look at the film and the controversies which surrounded it.

 Inside Linda Lovelace by Linda Lovelace (Pinnacle Books 1973).

 The Deep Throat Papers Introduction by Pete Hamil (Manor Books 1973) A compilation of articles, reviews and interviews regarding the film.

 The Girls of Deep Throat (1973) One-shot magazine, similar in style and format to Linda Lovelace — the Star of Deep Throat , and no doubt put out by the same anonymous publishers.

 The Intimate Diary of Linda Lovelace by Linda Lovelace (Pinnacle Books 1974)

 Here Comes Harry Reems! by Harry Reems (Pinnacle Books 1975) Scarce autobiography of the prolific, moustachioed porn star who appeared opposite Lovelace in Deep Throat .

 Ordeal by Linda Lovelace, with Mike McGrady (Citadel Press 1980).

 Out of Bondage by Linda Lovelace, with Mike McGrady (Lyle Stuart Books 1986).

 The Complete Linda Lovelace by Eric Danvil e (Power Process Publishing 2001) A large trade paperback featuring listings and in-depth reviews of Lovelace’s known film, book, record and magazine appearances, as wel as an interview with Lovelace, and a complete transcript of her testimony at the 1983

Dworkin/MacKinnon Anti-Pornography Civil Rights Ordinance.

 Magazines: Lovelace appeared in numerous magazines
throughout the 1970s, including Playboy, Screw, Gal ery, Bachelor and others.

 Also worth tracking down is the Linda Lovelace episode of True

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Hol ywood Stories, made by the E! television network in 2000, in which both Lovelace and Chuck Traynor are extensively interviewed (Running time: 45 mins approx.)

 Kinky Wet Girls
by El iot Voss / 1971, Gold Star Publications/nn/Australia Published by the obscure, Melbourne based Gold Star Publications, Kinky Wet Girls features over 100 black and white photos of girls ca-vorting about in the surf in various states of undress (although topless is as risqué as it gets). The minimal text by Elliot Voss tries to tie all the photos together by discussing the sexual allure which many men feel towards the combination of women and water. The hair and make-up on many of the models used suggest that the photos were taken at least five years before this book saw publication (no credits are given), and the main point of interest in this book — certainly the one which made me hand over five dollars for it — is the cover, which features a nice colour shot of a naked Erica Gavin, bathing herself in a stream (it looks to be taken from the 1968 Russ Meyer film Vixen — one can only imagine the wrath which Gold Star would have incurred had the highly litigious Meyer got whiff of the fact that they were using a still from his film on the cover of their book).

 Let Me Die a Woman
by M.J. Lucas (aka Doris Wishman) / 1978, Rearguard Productions, Inc. RP1

This paperback tie-in for the tacky sex-change film Let Me Die a Woman, authored under a pseudonym by its director Doris Wishman, is just as outrageous, disjointed and mind numbing as the movie itself.

As you would expect from any Wishman project, this is not a mere straight novelisation of the film’s narrative. Rather, it is set out like one of those great old pitch books which film promoters such as Kroger Babb used to hawk to patrons after screenings of sex and drug exploitation films like Mom and Dad and The Devil’s Weed in the 1940s (apart from providing an extra source of revenue, these booklets also served to legitimise the

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films as ‘educational’, thus allowing them to be
screened in many smaller cities and towns).

In between several case studies of transgen-
der personalities, as related to the (fictional?)

Dr. Leo Wollman (who also appears in the
film), Let Me Die a Woman devotes chapters
to such subjects as ‘Neither Male Nor Female

(The “Why” of Gender Confusion)’, ‘Under
the Knife (The Surgeon Rebuilds)’, ‘The Prob-
lem of Self Hatred (That Thing Between My

Legs)’ and ‘The Transsexual’s New World

(Can it be Conquered?)’. Although both book
and film are clearly designed as sensationalistic tools to draw curiosity seekers in with the promise of a freak show, Wishman’s reluctance to fully exploit her subject is apparent in the degree of sensitivity with which she treats these people.

(In an interview she gave in Psychotronic Video 26, Wishman stated:

“I found the transsexuals to be very sad and lonely people. Because of that, I paid them more than anyone else, to ease my conscience, I guess. I didn’t want to think that I was exploiting them, although I really wasn’t.

They were all very happy to be in the film.”)

At only ninety-six pages, this makes for a pretty brisk, entertaining read, particularly since it is fleshed out with a number of black and white stills from the film, along with several charts and diagrams, all of which help to make it a must for Wishman fans and collectors. The obscure Rearguard Productions were based at 527 Madison Avenue in New York.

recommended doris Wishman films

 Nude on the Moon (1960)

 Bad Girls go to Hel (1965)

 Blaze Starr Goes Nudist (1965)

 Another Day, Another Man (1966)

 Too Much, Too Often (1967)

 Deadly Weapons (1973)

 Let Me Die a Woman (1978)

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 The Molester Stepmother
by Lee Marin / 1977, Star Neva/Star Distributors NB-102

No excuse for a storyline is ever really attempt-
ed in this lewd title from Star Distributors,
published as part of their Star Neva series. A
woman with a penchant for young men (“The
younger the better”) develops the hots for her
soon-to-be stepson. Unoriginal but raw and
confronting in its choice of subject matter, it
perfectly represents the kind of hardcore per-
versions which adult publishers were free to
exploit during the 1970s.

 Satan’s Chicks
by Joe Weiss / 1970, Libertine Books LR-206

Black Sabbath meets Ed Wood in this meld-
ing of hardcore sex and cartoonish devilry, a
cross-pollination of genres which was popular
at the time, not only in adult literature but also in early hardcore cinema, with Satanism
a strong element of featurettes such as Satan’s

Lust and The Devil’s Playground.

 My Sister, the Sex Pawn
by Paul Roan / 1972, Dansk Blue Books

My Sister, the Sex Pawn is first and foremost, then, a novel of suspense, tension, and drama, well qualified to take its place on the shelf alongside the works of John D. MacDonald and other modern masters of crime fiction.

But it is also a milestone in psychological and sociological comment, full of fresh insights and important perceptions.

from the publisher’s introduction

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“OOOOOOOHHHHH,” she yelped, “I’m
coming! I’m going TO DO IT… I’M

BURSTING, OOOOOHHHHHH, GOL-

LY, AAAHHHHH, OH, OH, OH, OH…

AAAHHHHH.”

from pg. 75

One gets the feeling that the publisher
would have been hard pressed to fool anyone
with their grandiose, preposterous introduc-
tion — an obvious attempt to rationalise what
is, at its core, a sick story of violent under aged
sex, as two sisters — one thirteen, the other
sixteen — become disposable playthings for a variety of degenerates, culminating in an incestuous three-way between the two sisters and an older man (the paedophilic angle of the novel is played up by having the younger sister being the more alluring and sexually aggressive of the two).

 Private Swedish Orgy
by Harry Merle / Venus Publications, nd, nn/UK

This publication seems fairly typical of the photo paperbacks which proliferated in Britain during the early 1970s. The format was very simple: instead of a full novel, you would get a short story of around twenty pages, followed by 100-plus pages of black and white photos which were meant to illustrate the action contained in the text (although the two seldom had much in common).

There’s no plot whatsoever in the story to Private Swedish Orgy — it sets off with some private eye being sent to spy on a bloke whose fiancée suspects him of cheating, then proceeds to describe the office antics which he initially observes but ultimately gets involved with himself. The action is written with a typically British sense of absurdity that would have suited a saucy Carry On film perfectly:

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Johnny Cardoe was lying very naked on a large bed, his shaft standing upright from his body in a position of deference to the blonde beauty tying a pair of black panties to the tip! From the look of him he didn’t intend waving a flag of truce, he was ready for the fray.

The low-rent, grimy photos which accompany the text are a hoot. Featuring two skinny, smacked-out looking skinhead chicks rolling around on a mattress with a bearded bloke who looks like a reject from a NEL
biker novel photo shoot, it’s all strictly softcore, keep your pants on material (with the gent sporting a wild pair of paisley underpants I suspect would be truly retina-burning if the photos were in colour!).

Other photo paperbacks in the Venus line include: Cheeks are made for Spanking, Older Men Seduced by Teenagers, The Whip Girl, Girl Raper, Bound to Dominate, Juicy Breasts and Fleshy Cheeks and Horny Parts.

 Sex Parlor
by Larry Kleinman / 1973, Signet W5685

They call them “Massage Parlors”, but everybody knows what their “Body Rubs” consist of.

Penned by a New York Post journalist, Sex Parlor is a rather bland look at the brothel scene in the Big Apple during the early seventies. No doubt inspired by the controversial success of Xavier Hollander’s The Happy Hooker, and aimed at an audience who could skim through the book from the safety of their upper middle-class homes (and feel oh-so-sophisticated and daring while discussing the book and subject at their next dinner party), Sex Parlor takes us on a journey from the grimy, poverty-row parlours that litter Times Square (although sadly, not any more) to the exclusive, luxurious ‘pleasure palaces’ of the East Side.

Of course, how much of Kleinman’s observations and supposed interviews with the various working girls are accurate is open to debate (they all seem to be clichéd characters — including the beautiful Dutch girl, the hooker who offers psychological counselling, and the groovy

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young hippie wife whose husband is fully supportive of her profession, so long as he gets his cut of the bread).

Sex Parlor is fleshed out by eight pages of black and white photos depicting a number of massage parlours and working girls (in obviously staged shots). Signet also published a number of other ‘special interest’

paperbacks around this time, including Gentlemen of Leisure: A Day in the Life of a Pimp by Susan Hall, Red Lights on the Prairies by James H.

Gray (“The bonanza years, when the wide-open frontier was a hooker’s happy hunting ground!”), Tricks of the Trade: A Hooker’s Handbook of Sexual Techniques by John Warren Wells, and The Lively Commerce: Prostitution in the United States by Charles Winick and Paul M. Kinsie.

 The Starlet’s Sucking Lips
by Jason Cannon / 1976, Patch Pockets/Greenleaf Classics PP-8008

The Patch Pockets line was one of the most
popular series to be published by Greenleaf

Classics during the 1970s, and continue to
be highly sought after by devotees of literary
erotica from this period.

The appeal of the Patch Pockets titles lay
primarily between their covers, which bore
a dull brown border and a distinctive denim
patch logo, along with fairly dark and sketchy,
black and white cover art. Their stories, how-
ever, were reasonably well written (if unin-
spired theme-wise), pacey, and often genuinely
arousing. In The Starlet’s Sucking Lips, author Jason Cannon treats us to the well-worn but always popular ‘a star is born’ routine, as fresh-faced aspiring actress Kit Kingston arrives in Hollywood and does the rounds of studio casting couches, happily giving herself over to anyone with the potential to launch her on the path to stardom.

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While hardly the probing exploration of Hollywood’s dark under-belly which is promised in the publisher’s introduction, The Starlet’s Sucking Lips does radiate a heated sexuality that was often lacking in adult paperbacks from this era, and would make an idyllic introduction to Greenleaf ’s Patch Pockets line (which continued to be published well into the late 1980s).

 Sweet, Sucking Kathy
by Manuel Marr / 1978, Star Neva/Star Distributors NB-120

She wanted her daddy in the worst way — and that was just how he took her…

Another dose of incendiary filth from Star Distributors, this follows the same incestuous path as many of the titles in their Star Neva line, with young Kathy deciding that her sixteenth birthday is the perfect time to reveal that she has been harbouring a major lust for her father.

Her father punishes Kathy for her evil thoughts by viciously raping her.

The remainder of the novel consists primarily of your standard recounting of Kathy’s sexual awakening and experiments.

 Young Girls at Play
by Kathi Megaro / 1976, Special

Col ections/Star Distributors SC-102

There’s something quite disconcerting about
the style of cover art used on Star Distributors’

Special Collections series, in that it seems to
go out of its way to emulate the simple, sketchy
look utilised on children’s story books, making
them appear to have a more sinister agenda
than that of a normal porno pulp. It’s an uneasy
feeling that continues to be played out in the
text of this novel, which is full of incestuous

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scenarios and obvious paedophilic tendencies, as a group of fourteen year old girls get together at a pyjama party and decide to explore their own burgeoning sexual desires, experimenting first on themselves, then each other, and finally with the cute new boy on the block. The use of cutesy, innocent dialogue adds to the book’s creepy tone.



greeNleAF, the WAY it WAs


bY rAlph e. vAughN

As an editor at Greenleaf in the early 1980s, Ralph E.

Vaughn witnessed first hand the decline of a once prestigious and profitable adult paperback publisher. In the following essay,* Vaughn recounts Greenleaf ’s downfall, as well as its beginnings as a publisher of science fiction pulps, and the fight the enigmatic William L. Hamling waged with the government over his First Amendment.

Imagine a young man (well, middle-aged at most), who had never wanted to be anything more than a science fiction writer, becoming one of the kingpins of the porno paperback trade.

That was me in 1980, when I took a job as an editor with Greenleaf Classics, Inc., one of the country’s biggest purveyors of adult literature. Previously, I’d been an army photojournalist and the editor of a small weekly newspaper. Money drew me to Greenleaf — it wasn’t that Greenleaf was paying so much but that the newspaper was paying so little.

Right now there are sure to be alarm bells going off in the minds of true fans and science fiction historians. A long time ago, in the sweet summer years of the fifties, there used to be a company called Greenleaf that published a number of science fiction magazines.

One and the same. At the time, the company was owned by William L. Hamling.

* This essay originally appeared in Paperback Parade issue 20 (September 1990), and is copyrighted 1990 Ralph E. Vaughan. It has been reprinted here with permission.

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More bells go off.

Turn back the pages of history to 1940. The World Science Fiction Convention that year was being held in the City of the Winds (Chicago). Grab a program and run your fingers down the listing of the Board of Governors. There he is again — William L. Hamling.

How did one of the big names of first fandom become the king of porn? The road is long and twisted, shaped as much, if not more, by the currents of American life and politics as by individual choices.

By the time I came on the scene, Bill Hamling was no longer in direct control of the company, but his shade lingered. The owner was his son-in-law, an ex-accountant at a shipbuilding company, and many of the people with the company had weathered the Hamling years. ‘Weathered’ is a good word to describe a relationship of any duration with Bill Hamling.

I was in the warehouse when Bill stormed through the doorway that led to the main offices. He was elderly, thin, nattily dressed and not at all frail. He rushed to the water cooler, where we had run out of cups the day before.

“God damn it!” he suddenly yelled, to no one in particular. “I come all the way from Palm Springs, and I can’t get a God damn drink of water! I want a God damned cup!”

One of the warehouse boys ran out of nowhere, clutching a styro-foam cup that had seen better days. He pressed it into the old man’s hand. Without looking, Bill crushed the cup and tossed it into the trashcan.

“I want a God damn cup of coffee!”

And he fumed back to the main offices.

That was William L. Hamling.

Before the fall of Greenleaf (the Greenleaf I came to was analogous to a small outpost in the outskirts of the empire after the fall of Rome), William Hamling ruled his empire from a penthouse of a monolithic office building in Mission Valley, a prime piece of San Diego real estate. It was to this building that Hamling had delivered an onyx table so large that it had to be lowered through the penthouse roof by a crane, in full view of everyone, to Hamling’s

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immense enjoyment.

Back in the Depression days of Chicago, Bill Hamling the fan was trying to become Bill Hamling the writer. In that he succeeded in a modest sort of way. He wrote many science fiction stories for the pulps, the first being ‘War With Jupiter’ (in 1939, with Mark Reinsberg), which appeared in Amazing Stories.

Hamling’s major impact upon the entire science fiction world came not from his fan activities or writings but from his work as an editor. His fanzine Stardust is very much sought after nowadays.

Eventually Hamling became a pro editor, going to work for Ziff-Davis, the outfit that bought his first story. There, he was given editorial work on Amazing Stories, Fantastic Adventures and others.

It was while at Ziff-Davis that Hamling met fellow editors Ray Palmer and Hugh Hefner. Palmer was a small outgoing man destined to drift outside science fiction into a shadowy world menaced by flying saucers, monsters and mysterious men in black. Palmer printed the Shaver stories of lost civilisations, stories which many members of the shattered generation of the forties regarded as true.

The gnomish Palmer left Ziff-Davis to found his own Palmer Publications, which published Fate, Search, Flying Saucers, Other Worlds, and others. To the end of his life, R.A.P was dedicated to convincing the world that reality was merely a façade.

Hamling and Hefner often sat around the editorial office, kicking over any idea that both of them considered a viable one, Hamling more so than Hefner — a man’s magazine that would be a cut above the jaguars-ripped-my-flesh-type magazines then sold from dim-bulbed news-stands. The more Hamling talked about such a magazine, the better it sounded to Hefner. When Hefner left Ziff-Davis, he founded a magazine that would become the nucleus of an empire, the proponent of a way of life and the death notice of all those yellow-paged, rough-edged tough-guy mags.

Hamling was caught in the small world of science fiction publishing, but did not want to escape. As long as he could make money doing what he liked, there was no reason for him to follow any of the other paths he had sent others down. But he did have the desire to

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stop working for others and break out on his own.

In 1951 he bought Imagination from his friend Palmer, and rode the crest of the fifties science fiction boom. Business was so good that Hamling added a companion magazine, Imaginative Tales.

Though both started out with a balance of fantasy and science fiction, Hamling quickly changed the emphasis to science fiction, adventure science fiction at that.

“Flying saucers dogfight with American jets…”

“A blonde, blue-eyed Hero defends an Earthwoman’s honour from octopid aliens with a glinting axe…”

“Sneaky Communists atom blast America in 1970…”

All stories from the pages of Hamling’s science fiction magazines.

Hamling believed that what people wanted was sex and violence.

The violence was okay, to an extent, because there has always been a wide streak of sabre-rattling jingoism running through the science fiction community, but sex was more or less taboo, except at conventions of course. When Hamling ran sexy cartoons and Peter Gowland ads for photographs of women, he ran head-to-head against the prudes. To put it mildly, they were not amused.

Yet Hamling knew there was a lot of money to be made in sex.

That might have been the reason why, in 1956, he started a men’s magazine called Rogue. Or maybe he had begun to sense that the science fiction boom had about run its course. Whatever the reason, the bottom did fall out of science fiction and Hamling’s magazines were numbered among the dead.

Because of his connections with the science fiction community, Hamling was able to attract many talented writers for Rogue. Not only did he continue to publish science fiction stories, but writers of the calibre of Robert Bloch and Alfred Bester became regular columnists for him. For a time, he supported a struggling Harlan Ellison, setting him up in a trailer and providing him with an opportunity to write.

Greenleaf Publishing (which received its name from their telephone exchange in Chicago) was becoming known more as a publisher of adult magazines than as any sort of forerunner in science

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fiction. It was about this time that Hamling deserted Chicago for San Diego, California.

There was one thing holding back the success Hamling craved for Rogue, and it was the same thing that was plaguing Hefner at Playboy.

At that time, no adult magazines had mailing privileges. You could sell them from news-stands (in most cities, there were always places that sold such literature) but you could not send them through the United States Mail. Both Hamling and Hefner knew that subscriptions were the key to success in the adult slick magazines, but it was Hamling who decided to buck the tide.

Hamling offered subscriptions to Rogue. Even though the magazine was recognised by nearly everyone as a high-class product showcasing some of the country’s best writers and photographers, it was still on the Post Office’s ‘black list’. When the first issue went through, postal inspectors were ready and seized everything they could lay their hands on. Hamling was charged with distributing obscene materials through the mail, a federal offence.

None of this came as a surprise to Hamling. He had expected it from the beginning. He fought his way through the courts, gaining ground as he went, until, finally, he found himself at the Supreme Court in Washington. The problem which plagued the decision of all courts, from the lowest to the highest, was the definition of obscenity. The pronouncement of one justice that “I can’t describe it, but I sure know it when I see it”, just didn’t cut the mustard when it came to rendering a legal opinion.

After a frenzied legal battle, the Supreme Court voted that Hamling was in the right, that he did have the right to distribute his periodical through the mail. Unfortunately the victory was something of a hollow one. At the end of the battle, there was no longer any money for Rogue. The magazine folded.

Hefner, who had watched all this with keen interest, secured mailing privileges for Playboy and his empire was born.

Erotic paperback books had always been a sideline of Hamling’s, although a minor one. With the demise of his quality men’s magazine, they became much more important.

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By today’s standards, Greenleaf ’s paperbacks are outdated, almost quaint. They had about as much sex in them as today’s romance novels. But, by the standards of their day, they were hot.

And, unknown to the general public, they were being written by some of the hottest, most popular writers. Hamling used his numerous contacts in the genre field to pump books out of noted science fiction, mystery and romance writers. And he knew how to attract new writers.

Hamling always knew what he wanted and usually spared nothing in getting what he wanted. He was very free with his money and was known by his staff as the “fastest cheque writer in the west”.

The man who was editorial director when I was at Greenleaf remembered being called into Hamling’s office with the manuscripts he was reviewing from unknown authors. Hamling asked him which ones he was going to buy.

“I really haven’t made a final decision on these yet, Bill.”

“Well, make one.”

The editor was forced to choose then and there which one of the manuscripts he wanted. When he walked out of Hamling’s office, he also walked out with five purchase cheques.

Those years were great ones for any writer who could tell a story in even a semi-erotic fashion. A writer could spend a week or two writing a Greenleaf book and receive a four-figure cheque for it almost before it had left the office.

This mad buying had its drawbacks, though. Quite often Hamling would be totally unaware of what his staff were ultimately publishing. Gothic romances were bought and never published. I once saw a box in a back storeroom containing a dozen gothics purchased from a single writer, destined never to see print because the copyright was Greenleaf ’s.

Several of the new writers attracted to Greenleaf by the lucrative arrangements went on to fame in other genres. One mystery writer (winner of an Edgar Award) recently reflected in an interview with a writer’s magazine that he cut his writing teeth “on potboilers”. He did not elaborate on just what those potboilers were, but I did recognise

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his name from old contracts, and his name was quite often mentioned around the office when our editorial director was explaining Greenleaf ’s pedigree.

Another writer, who wrote several of the biggest bestsellers of the late fifties, fell on hard times and wrote several books for Greenleaf before he again found his audience. The problem was that he could not handle writing the sex scenes. The story itself gave him no problems, he soared above other writers in that, but he could not write those sections that the readers really bought the books for. He could not, so his girlfriend did.

Although there were a few success stories with Greenleaf, there were even more tales of woe. Writers who were once good became hacks, grinding out prosaic stories of biological functions. New writers with a lot of talent and promise became seduced by the bucks, by the ease of writing, by the existence of a single market that could support them in a style of comfort — they either burnt out or were destroyed in the crash.

While Greenleaf was making money from the sales of their paperback books (there was no real competition at the time) they were also getting into picture books, a line which also proved lucrative.

They discovered speciality markets and catered to them — magazines with nothing but blondes, nothing but breasts, nothing but big black women, nothing but girls who looked as if they had come from California — no matter where they were born. The subject matter was virtually unlimited. While the pictures in these magazines seem to have a certain air of naivety about them to denizens of the 1990s, they were quite hot to those who had never enlisted in the sexual revolution.

The money kept rolling in, and Hamling kept putting it to his own uses. He published a series of science fiction porn, which went over like a belch in a church. He also published some of the works of Henry Miller and other writers who were too controversial for the

‘legitimate’ presses. Hamling published books against the Vietnam War, usually written by famous politicians. One of Greenleaf ’s biggest sellers at this time was a book called How to Sell Your Home in

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California Without a Real Estate Agent, one which can still be found on the shelves of many bookstores.

It was one of Hamling’s pet projects that eventually brought about the fall of Greenleaf and the destruction of an empire.

Ever since the days of Rogue, an adversarial relationship had existed between Hamling and the government. Not a month went by that some news-stand somewhere was not busted for selling Greenleaf ’s wares. It was a seasonal thing, of course, peaking during election years, especially during close races. A sheriff or politico might do nothing all year, but might be carried into office on a wave of moral indignation. Greenleaf regularly contributed to the defences of the vendors.

Hamling’s liberal stance did nothing to endear him with Nixon’s government. When Richard Nixon commissioned a report on pornography in America, he knew what he wanted it to say — that pornography was dangerous, that it had to be eliminated along with those who distributed it. Imagine Nixon’s dismay when, after months of investigation, his commission produced a report that stated that pornography was relatively harmless, that reading and viewing pornography was normal for most people, that denying such urges was in itself harmful, and that, at most, pornography should be viewed as a symptom rather than a cause of anything. That was not at all acceptable.

For Hamling, the report was a triumph and a vindication, but he feared that people would never hear of it. He surmised that the government would print a few copies for the sake of appearances, then bury it.

That was when he decided to print the report himself. Normally there would have been no problem about that. After all, government reports are not copyrighted. He secured a copy of the report from a secret source and made plans to bring it out before the government.

If Hamling had stopped at that, he would have been hailed a hero by most of the liberal elements of the country. However, it was not Hamling’s way to stop at anything.

Hamling published the il ustrated version.

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That was his downfall.

Hamling was arrested for violating federal pornography laws, and a special prosecutor was flown to San Diego. That was when Hamling made his second mistake — he bought full page ads in newspapers around the country, including the New York Times, and ran an open letter to President Richard Nixon, asking him why, in these times of war, racial prejudice, poverty and hunger, he was trying to eliminate something which his own commission had declared harmless. King Richard was not amused.

The government did not centre its case around the book but around the advertising which had heralded it. Nobody could ever come to a decision about the merits of the book (over twenty years later, the argument on whether the book was actually pornographic is still undecided and is often used as a test case in law classes), but they could make definite claims about the ads.

It was the contention of our editorial director that Greenleaf was torpedoed. He felt that there had to be a secret traitor somewhere in the company. Normally the advertisement would have only been sent to customers who had dealings with Greenleaf in the past; subtler announcements would have gone to the trade and general public.

Instead, those explicit advertisements found their way into the mailboxes of preachers, mayors, chiefs of police and postal inspectors.

Somehow, the trap had been set and Hamling fell in.

Bill Hamling was successfully prosecuted on the basis of the ads.

He appealed.

He appealed all the way to the Supreme Court.

The same government body which had previously voted that he had not broken the law now voted that he had broken the law. The vote was four to three. If one justice had voted the other way, Bill Hamling would have walked away from those chambers a free man.

Instead, he was removed to a country club prison where he stayed for over a year.

That was the end of the heyday of Greenleaf Classics.

Legal expenses had eaten up most of the company’s capital.

It was then that control of the company was taken over by Ham-

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ling’s son-in-law. Jack Aby was no idealist, at least not that anyone could see. Under his control, guided by an editorial director who had once studied literature but had since been taken over by a spirit of cynicism, everything was reduced to basics. If people wanted sex, then give them more. The more sex the better, even if it meant there was no room for a story.

When I came to Greenleaf the amount of sex in a story was virtually the only criteria for purchasing a book. We counted the number of pages in a book that contained actual sex (not just people talking about it) and compared it to the total. That was the ‘erotic percentage’, and it had to be higher than fifty per cent.

After the fall, Greenleaf lost most of its writers. Part of it was because they could no longer write stories that had no stories, but part of it was economic. Payment dropped to $1,500, then $1,000; by the time payment stopped falling it had reached $400. It has not risen in a decade.

When the new owner began to lower the price paid and writers began to flee, he contacted Bill Hamling and asked him where to find new writers. Hamling, confident of his contacts, provided a list of names. Among them was Harlan Ellison, who owed Hamling a favour, at least to Hamling’s thinking.

I saw Ellison’s reply, fished out of a box of dusty papers. In rather scathing tones, Ellison informed Greenleaf that he could get more money for promising to write a short story than actually writing a novel for Greenleaf. And the types of books they expected him to write were the real insult.

Ellison’s reply, although a bit sharper than the others, was rather typical of the replies received. Greenleaf discovered that no writer with talent to write anything else was going to write for them. Still, somehow, they did attract writers. More often than not, though, they attracted typists.

When I came to Greenleaf, we were publishing thirty-eight books a month. That meant a nearly inexhaustible demand for those who could write a halfway decent story and type fast. Very fast.

One of the biggest producers when I was there was an advertis-

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ing agent in Salt Lake City. In the morning, he would tend to the needs of his ad company; in the afternoon, he would dictate his novels into a tape recorder. His wife and secretary typed them from his tapes. This man consistently produced one to two books per week.

When he and his wife went on vacation for a month, he sent us five at once. He continued that pace until his death from cancer. By that time he had written twelve years for Greenleaf, making a total of over 700 books!

The editorial staff considered the best writers to be the best typists, because they were easier to edit. A fast, one-hour edit was not all that unusual for many of the best typists.

I insisted that, even with these books, the story was still the most important aspect, but my advice was rarely followed.

Sales continued to drop, but the problem was perceived as one of distribution.

Print runs barely topped 4,000.

When I left Greenleaf, the company was beginning to get back in the magazine trade, but as a distributor, not a producer. In an increasingly visually oriented society they were becoming their own competition.

I’ve always thought that it would have been better had Greenleaf died a quick death after the Supreme Court decision went against them. They would have thrived in legend, if nowhere else. Greenleaf could have been remembered as a fallen champion of something rather than the mean, cheap reality that has survived. One could have lived with memories of action-oriented science fiction digests, quality men’s magazines, books banned because they were too controversial and bestselling authors cutting their teeth on potboilers.

As it is, Greenleaf is no longer on the cutting edge of society, no longer has anything to say, and that may be its ultimate cause of death.

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horWitZ

These days, the Sydney based Horwitz group are best known as the publishers of innocuous, glossy monthlies like Inside Sports, and the Australian version of MAD magazine .

In the 1960s, however, Horwitz presented an entirely different face, as Australia’s most prominent publisher of grimy, adult-oriented paperbacks. Sold primarily at railway station news-stands and other small, back-alley outlets, the Horwitz paperback titles focused on two distinct subjects: sex and sadism, with the latter often incorporated into scenarios set during World War II (these particular books will be looked at later in this chapter).

Founded in 1920 by Peter Horwitz, the company initially published sporting journals and trade papers, before expanding into the paperback market just after WWII, with a series of science fiction and western titles under the imprint of Transport Publishing Company. Between 1950
and 1952, Horwitz published Thrills Incorporated, Australia’s first science fiction magazine, and their success enabled them to survive the lifting of import restrictions in 1958, which put a lot of smaller businesses out of action.

Horwitz’s biggest paperback successes, sales wise, were undoubtedly their line of Carter Brown detective mysteries (penned by A.G. Yates) and J.E. Macdonnell’s line of wartime naval adventures, both of which the company were still publishing well into the 1980s. They also found a strong readership for their Perry Mason and Raymond Chandler titles in the early 1960s (the Chandler books stand out particularly well, thanks to their terrific Theo Batten cover art). However, it is their more salacious titles which we are interested in here.

By the late 1960s, Horwitz had begun to turn away from reprinting popular overseas material in order to concentrate on original titles written by local, mostly unknown authors (although they did continue to reissue occasional titles imported from the US, particularly from the Midwood company). It was no doubt a money saving move, but one which yielded unlikely fruits. Although they would have been considered little more than mindless lunchtime fodder at the time of their publication,

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Horwitz’s adult paperbacks have
survived as little documents of some
of the more extreme and oddball as-
pects of low-rent Australian culture,
encompassing subjects as diverse
as true crime, film tie-ins for local
exploitation films, and the (mostly
fictional) lives of sex workers in

Kings Cross (a suburb of Sydney
notorious for its prostitution and
drug rackets).

For these titles (which were
usually published under their

Scripts and Stag imprints), Hor-
witz mostly eschewed the use
of original cover art in favour
of cheap photographs featuring

(usually topless) young models in
suitably provocative poses. Strangely, this cost-cutting process lends the books a more memorable, coarse quality which they otherwise may have lacked.

According to Lyall Moore, a long-time Horwitz editor who was still working for the company as a director in the late 1990s, there were a total of sixteen paperback titles published per month at the height of their popularity in the mid to late 1960s, with each title having an initial print run of 20,000 copies. Payment for the authors ran between the $250–$300 mark per book (certainly not a bad wage for the day, especially considering most Horwitz paperbacks ran a slim 120 pages of large type, with some authors, like Jim Kent, grinding out a title every couple of months on average).

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horwitz paperback reviews

 Alvin Purple
by Alan Hopgood / 1974, Scripts AO-125

Alvin Purple (the film, as well as the character played by Graeme Blundell) became a symbolic representation of Australia’s sexual freedom in the early 1970s. Alvin was a typical Aussie larrikin, not traditionally handsome by any stretch, but possessing a quality which the opposite sex found simply irresistible, so much so that women of all ages (and marital status) could barely lay an eye on him without wanting to get him in the sack.

This novelisation of the landmark sex comedy follows the film’s narrative pretty faithfully, not surprising since it was authored by the movie’s screenwriter, Alan Hopgood. Of course, without the comic timing and facial muggings of Blundell, the book tends to fall a little flat, although it still serves as a curious little memento of a much simpler (not to mention more politically incorrect) period in modern Australian history. The abundance of full page black and white movie stills scattered throughout the paperback help add to its desirability.

 Bikie Rumble
by Stuart Hal / 1975, Scripts No. 24

Between 1970 and 1980, Stuart Hall was Horwitz’s answer to Mick Norman and the NEL biker paperbacks (see new english library this chapter). Hall churned out forty-five novels for the company during that decade, the best of which featured the tough exploits of motorbike gangs and their easy riding chicks. Providing the perfect escapist fodder for Australia’s biker obsessed culture of the day, the packaging of Hall’s biker paperbacks aped their NEL counterparts, with covers featuring staged photographs of greasy, denim clad men scowling at the camera whilst striding their ‘hogs’ (later, Horwitz would resort to using solo shots of half naked girls).

Bikie Rumble was written at the height of Hall’s creative peak, and is one of the best examples of his work within the genre. Like many of his biker novels, the setting is a small country town, and the plot is not so

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much a proper narrative as a succession of passages steeped in sex and violence. Perhaps this was Hall’s way of emphasising the pointless, anti-social behaviour which small town boredom can ignite. More realistically, though, it was probably his way of acknowledging that he knew what his readers wanted, and gave it to them in spades.

Appleton’s foot kicked hard at the bike, and it slewed sideways, as Boarden tried desperately to control it… but a rut in the road, and Boarden was off, the shot-gun flying into the air, the machine shooting away from under him, as he crashed to the bitumen, and rolled like a dervish along, and across the road, to finish up half-on the gravel verge, his body a bloody mess, his head at a weird angle.

stuart hall
selected horwitz biker paperbacks

 Wheelie! (1973)

 Bikie Birds (1973)

 Bikie Rumble (1975)

 Bikie Hel cats (1975)

 Wheels of Death (1975)

 Birds of Destruction (1976, reprinted 1983)

 Vengeance is a Woman (1980)

 Black Magic
by James Hol edge / See review in witchcraft chapter

 Crimes of Passion
by James Hol edge / 1963, Horwitz No.6

A forerunner of the cheap true crime paperbacks which now litter most bookstore shelves, Crimes of Passion is a study of Australian crime cases

“where women have aroused men to commit chilling atrocities…” The cover art features a rather foreboding image of a man (seen only in black, silhouette form), clutching a double-barrel shotgun, closing in on a beau-

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tiful, negligee clad blonde woman.

Most of the cases covered by Holledge in this volume are fairly obscure ones, some of them dating from the late 1880s. Among the most interesting are the murder of thirteen year old Alma Tirtschke, found dead in a sordid alleyway in Melbourne that was dubbed Gun Alley, and the murder itself “Australia’s most mysterious and gruesome sex crime”).

A twenty-eight year old bar owner named Colin Campbell Ross was convicted of raping and strangling the girl, and went to the gallows swearing his innocence. I found this case to be particularly enthralling as the murder took place in a section of the city which I regularly walked through, totally unaware of the events that occurred there until I read this book.

The most recent crime featured in the book dates from September, 1961, with the supposed accidental drowning of Brisbane woman Faye Irene Plomp. Thanks to the insistence of Plomp’s mother, who had reason to believe her daughter was a frequent victim of spousal violence (two black eyes had been explained away by the victim’s husband as the result of a car accident), the case was re-opened and Hendrikus Plomp, a thirty year old Dutchman, was convicted of killing his wife and sentenced to life. An appeal by Plomp put forward just prior to publication of the book was unanimously rejected.

Unfortunately, Crimes of Passion contains no photographs, leaving us unable to put a face to many of the people we read about. Holledge authored several other true crime paperbacks for Horwitz, including Australia’s Wicked Women, Notorious Women and Crimes Which Shocked Australia.

 Crocodile
by Carl Ruhen / 1981, Horwitz PB-150

Victoria born filmmaker Terry Bourke has had a varied career, starting off in early seventies TV shows like Spyforce and Catch Kandy, before graduating onto the classic Aussie sex comedy Plugg (1975).

Crocodile is Carl Ruhen’s adaptation of Bourke’s screenplay for a film which — as far as I can tell — was never actually completed (Bourke is credited as producer and director on the back cover of the book, and

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the film is announced as a Samurai produc-
tion presented by Jenbur Films).

Set in the small, isolated Australian out-
back town of Moses, Crocodile is yet another
obvious attempt to emulate the success of Ste-
ven Spielberg’s Jaws. Certainly the idea of a giant crocodile — equally as deadly on land as it
is in water — is a terrifying one, but one which
wasn’t really utilised to good effect until Lewis

Teague directed Al igator in 1980.*

Based upon this novelisation, Crocodile
would have made a routine but reasonably en-
tertaining monster film (one can almost visu-
alise the cheap but bloody effects and nudity). The book’s early pages, where an aboriginal girl is strapped to a platform and sacrificed to the titular creature, are quite engaging and disturbing (attaining an almost Cannibal Holocaust sense of doom), before it settles down into its by-the-numbers plot:

Then the creature had reached the shallow water, its massive body thrashing through the water, the noise of its headlong progress drowning her screams.

There was no help for her, nothing she could do. She saw the wide open mouth, the rows of vicious teeth, the flat triangular head, the cold, cold eyes, the great tail furiously beating the water as it reared upwards and flung itself forward onto the platform, wrenching and tearing, pulling it apart.

The girl had stopped screaming. She had stopped struggling. She lay limp on the wreckage of the platform, conscious of nothing more as those jaws seized her, and flicking her sharply from side to side, the monster dragged her into the shallow water before diving deep to drown then devour her.

The cover of Crocodile features a staged photograph of this opening sacrifice (although the girl is tied merely to a log, not a platform), how-

* Al igator has a clever, in-joke laden screenplay from John Sayles. The 1999 movie, Lake Placid, takes a similar, but less effective, approach.

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ever the most interesting thing visually about this book is the number of full page, black and white illustrations which are contained throughout it. Whether these uncredited illustrations were original production sketches for the film, or drawings created purely for the book, is hard to tell, but they are very nicely done, and reminiscent of the style of illustrations used in classic men’s adventure pulps and magazines.

 Kings Cross Black Magic
by Attila Zohar / See review in witchcraft chapter

 Messalina — Pagan Empress of Rome
by Wilkes Hunter / 1964, Stag No.9

Horwitz had a penchant for publishing novels based around the lives of popular women throughout history. Most of these, naturally, skimped on historical accuracy in favour of piling on lurid adventures, and Messalina is no exception, although it is not as raunchy as some of Horwitz’s other adult books — certainly not enough to warrant its publication under their Stag imprint.

Valeria Messalina was the third wife of the emperor Claudius. Extremely promiscuous, Messalina manipulated her husband into executing a number of those who rejected her advances or otherwise angered her, but she herself was executed after Claudius’ secretary Narcissus informed the emperor of her secret marriage to Gaius Silius.

Wilkes Hunter’s study of Messalina is an odd one, coming across at various times like a staid history lesson, then shifting suddenly to farce and lowbrow humour, before depriving us of any of the real visceral thrills as promised by Col Cameron’s cover art.

 Quick to Learn
by Terry Shaffer / 1973, Scripts No.97

Terry Shaffer trawls the standard bored housewife turns insatiable nymphomaniac territory for this title, first published in 1969 and notable

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mainly for its stream of virtual non-stop heavy sex passages, something that would not become commonplace in adult paperbacks until a few years later.

 The Sex Trap
by Ricki Francis / 1974, Scripts No.32

A good example of the localised adult paper-
back, The Sex Trap is a lively romp through the swinging suburbia of Sydney. It is the same
free-love Australia that was depicted on tel-
evision in shows like Number 96 and The Box

— fanciful and ludicrous, yet rough enough to
have an air of reality about it.

 Slave Women of the Congo
by Jim Kent / 1968, Scripts No.15

Jim Kent is best known for his series of grimy war paperbacks which he authored for Horwitz (see jim kent section this chapter). For this title, he takes a diversionary venture into dark jungle territory, emerging with a story that’s just as violent and mean-spirited as any of his Nazi nasties.

Reading like a Tarzan novel as written by a sadistic sex offender, Slave Women of the Congo is a testosterone packed adventure set in the Kitangi region of the Congo, where gruff Aussie Steve Harrigan (who exhibits the tough traits found in all of Kent’s leading Australian characters) is caught up in tribal and mercenary warfare. To throw us a link to his other novels, Kent includes a clichéd, eye-patched ex-Nazi named Kessler, and has his women subjected to varying voodoo rituals, unwilling and horrified at first, but eventually won over by the power of black magic: They rubbed hard, forcing the substance into her pores, together with the scattered, not yet dry blood of the rooster. They rubbed it into her face and neck, then hard into her breasts. They followed the line of her body, the flat of her stomach, then her lower abdomen and thighs. They weren’t gentle.

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Although she resented the touch of their hands, and was ill at the thought of what might happen to her, she couldn’t help but suddenly feel warm all over, a sense of well being that flooded through her veins then gave way suddenly to sexual desire. God, she thought, it’s some sort of sex balm.

She fought against her feelings, disgusted with herself and the whole world, but the massaging continued and her body urges increased.

 Zenobia — Empress of Lust
by James Workman / 1967, Scripts No.14

“Now I have conquered the world,” she breathed.

Like Messalina, this is another fanciful work which takes great license with a real
historical figure. Here, James Workman takes
the relatively obscure life of Zenobia, Queen
of Palmyra in Syria (who reigned as regent
for Vabalathus, A.D. 267–273) and turns her
into a pre-Xena warrior goddess with an un-
quenchable — and highly manipulative — sex
drive.

Recommended for anyone who ever felt
titillated while watching a vintage Roman epic on Sunday afternoon television — and wishing that the filmmakers had been able to show just a little bit more. Zenobia — Empress of Lust features a stunning piece of Col Cameron cover art which is reminiscent of some of Frank Frazetta’s classic, violent battle panoramas.

sadistic patriots
horwitz’s sleazy war paperbacks

The sadistic war paperbacks published by Horwitz exist in a strange, unique twilight world all of their own. While publishers in the US

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(Monarch) and the UK (Badger) produced war paperbacks with rough plots and provocative cover art, none were as intrinsically mean-spirited as the Horwitz titles, which focused — or to be more precise, wallowed

— almost solely on the cruel torture and punishments which the Nazi and Japanese powers meted out to civilians (in particular, young females) and the Allied armies during the 1939–1945 world war.

The first thing that grabs you about the Horwitz war paperbacks is, naturally, the astonishing cover art. Painted mostly by the late Col Cameron, the cover art invariably depicts terrified women, their clothes torn to shreds, being menaced by a leering Nazi commandant or Japanese General, an unmistakable glint of sex ’n’ sadism in the eyes. Cameron’s gaudy use of primary colours in the artwork gave them a comic book feel, reminiscent of Norman Saunders’ artwork on the infamous Topps’ Battle series of bubblegum cards produced in 1965.* By the early 1970s, Horwitz began to follow the lead set by their sex paperbacks, abandoning artwork in favour of photographs featuring staged scenarios which looked like they had been culled from the pages of some fetish porno magazine.

The majority of Horwitz’s war sleaze was penned by Australian writers Jim Kent and the pseudonymous John Slater (most of the Slater titles were penned by Ray Slattery, who also authored war paperbacks for Horwitz under his own name, including Counter-Spy and Slaves of the Samurai) . Between them, Slater and Kent have more than 150 titles to their credit, most of them published between 1963–1972. James Holledge was another author who contributed some notable work in the genre (see bushido review for more information).

For the most part, the Horwitz war paperbacks stuck to a predictable formula, with their plots often interchangeable. But what they lacked in literary merit they more than made up for in both entertainment and exploitation value, and considering the inherent racism often found within their pages, it’s quite astonishing that these books were being published as recently as the 1970s. The fact that Horwitz were a Jewish owned

* The sixty-six card Battle set depicted the story of WWII via the use of some very violent artwork, which bore captions like ‘Execution At Dawn’, ‘Nazi Terror’ and ‘Torture Chamber’. Norman Saunders, who painted the Battle cards, was also responsible for the notorious series of Mars Attacks!

cards, issued by Topps in 1962.

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company also give the books even more of a peculiar, creepy edge (particularly the Nazi themed ones).

 The Bamboo Cage
by John Slater / 1967, Scripts No. 41

Slater tried — with not much success — to create a James Bondian anti-hero with The Bamboo Cage, which featured Australian adventurer/mercenary Kelly ‘Samurai’ Jones, looking after number one and out to make a profit from the war in New Guinea. Unfortunately, the promising set-up is lost when Slater takes the predictable route of having his self-absorbed character do a complete turnaround in order to save a young American nurse from her Japanese captives.

 Buchenwald Hel
by John Slater / 1967, Scripts No. 38

Life in the concentration camp, as seen through
the eyes of Ivor Lubinov, a proud Jewish writer
losing not only his friends and his health, but
his own sense of self-worth and manhood

(an element which gives this particular novel
its edge). Also interesting is the way in which

Slater relates the sense of total hopelessness
within the camp, its inmates just wishing for a
quick death, unaware that liberation from the
approaching Allies is only days away.

 Bushido
by James Hol idge / 1963, Horwitz No. 8

A reliable journeyman writer, James Holledge authored a total of forty-five paperbacks for Horwitz, all of which were promoted as non-fiction, but spiced up to the hilt with an emphasis squarely on sadism and sex (most of his topics revolved around war atrocities, Hollywood scandals,

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Australian sex workers, white slavery and
crimes involving women — see crimes of
passion and kings cross black magic re-
views elsewhere in this book).

Bushido (the Japanese code for chivalry) is

Holledge’s documentation of “The stark truth
behind brutal Japanese war crimes”. Through-
out the book, Holledge condemns the Japa-
nese code of Bushido as nothing more than a
licence to commit wholesale torture, sadism
and murder. Apart from documenting the
infamous Burma railway of death, and life in
the Japanese prison camps, Holledge also looks at life aboard the Japanese prison ships, and presents mini-bios of some notorious individuals, including General Yamashita (the ‘Tiger of Malaya’ who was the first Japanese war criminal to be tried and executed by an American military court). In an attempt to finish the book on an uplifting note, Holledge includes a chapter on the Bishop of Singapore, the Rt. Rev. J.L. Wilson, who — imprisoned by the Japanese — managed to retain his compas-sion even while he and the others around him fell victim to unimaginable barbarism.

However much my interrogators and torturers seemed to revel in cruelty and enjoy my suffering, I tried to keep before me a vision of them as small children. I saw them as little boys, fat little Japanese boys of three or four —
and I could not hate them.

 The Commandant
by John Slater / 1968, Scripts No. 44JS

The Commandant is one of Slater’s strongest war novels, and also one of his most atypical. Set in post-war France, it takes much more of a psychological approach than the bulk of his other work, and is a tightly constructed thriller woven around Erich Werner, a former German camp commandant, now on the run and — through fate — sheltered in the

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home of a young woman named Nicole, whom he had abused whilst she was imprisoned during the war (and whose family had been sadistically butchered by Werner).

Throughout the book, Slater keeps us guessing as to whether Nicole protects Werner from the authorities because of fear, or out of a warped love for and dependence on the man who had controlled and dominated such an important period in her life. But as the story wears on, we slowly become awakened to a third possibility — that of a disturbed, mentally scarred young woman, who believes that revenge is a dish best served cold and unexpected, luring her tormentor into a cold, cruel trap of her own…

Col Cameron’s cover art for The Commandant is also a welcome change from the Horwitz norm, being a very soft, restrained and almost romantic piece, yet with just enough hint of menace to perfectly reflect the tone of the novel.

 Commando Raid
by R. Charlett / 1965, Horwitz No. 3

Leaving behind the sexual sadism element found in many of their war paperbacks, Commando Raid reads more like a juiced-up boys’ adventure story. Set amongst a ‘search and destroy’ mission in Burma — where Captain John ‘Pearly’ Gates is sent to track down a Japanese transmitter which is luring Allied pilots to their doom by means of a strange, phan-tom radio beam — Commando Raid is enjoy-
able fodder on a par with all those great UK
digest war comics like Battle and Commando.

 Death Island
by John Slater / 1973, Scripts No. 81

“As Colonel say, women have only one use in
war…”

New Guinea is the setting for Slater’s grim

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but largely uninspired catalogue of Japanese atrocities (by this time, the Horwitz war novels had begun to run their course), which is highlighted by Col Cameron’s remarkably brutal cover, depicting a naked man and woman, tied to a teak and waist deep in water, shark fins circling them as Japanese soldiers gleefully toss raw meat into the ocean.

 Escape from the Hel Camp
by John Reeve / 1964, Horwitz No.22

The Jap officers trembled in anticipation. The girls
were young and pretty and Hoshita was a skilled
torturer.

A particularly violent and downbeat title
from the obscure John Reeve, Escape from the

Hel Camp has Australian Captain Alan Brad-
ley leading an escape from the Burma railway,
and plotting his revenge against Lieutenant

Osati (“the cruellest beast of them all”). What
makes this novel particularly vicious is the
treatment which Reeve has the female characters suffer, so much so that by the end of the story they are reduced literally to a babbling, childlike state (the Japanese release the girls back into civilisation as an example of what can happen to people who dare try to
oppose them).

 Hitler’s Thugs
by James Hol edge / 1965, Horwitz No. 28

Hitler’s Thugs is one of Holledge’s many books devoted to Nazi atrocities, and is a rather
hodge-podge collection of stories which seem
to have been culled from war trial records. The
most unsettling moment of the book is that

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which relates (in loving and lingering detail) the torture of a captured French woman, who has her toenails torn out one by one with a pair of pliers, in retaliation for an Allied bombing raid:

His impersonality was terrifying. He took her left foot in his left hand and settled the steel jaws of the pincers tightly around the tip of her nail. Then with a slow, muscular drag, he began to pull. A semi-circle of blood started to the quick, oozed over the skin, flooded after the retreating nail… He shook the pincers and her nail fell to the floor.

 Hitler’s Woman
by Anton Gronowicz / 1962, Horwitz PB-112

This is actually a reprint of the 1942 title Hitler’s Wife (the daring bestseller about the intimate life of Adolf Hitler and Eva Braun). In reality a fairly staid and laboured bio (Gronowicz also penned volumes on Cho-pin, Tchaikovsky and Rachmaninov), Horwitz brought their printing of it down to gutter level by replacing the word ‘wife’ with ‘woman’ (indicating a more illicit content), and adding a cover illustration featuring der Führer biting into the neck of some obviously naked, comely young blonde (who looks nothing like his one and only, Eva).

 Jungle Hatred
by Jim Kent / 1967, Horwitz PB-296

In Jungle Hatred, Jim Kent plays on a favourite male fantasy, by having Aussie diggers Bill Callaghan, Rob Jackson and Jack Young escape from the horrors of the Burma-Thailand railway line to find solace in an isolated tribe of sexy, half naked Amazonian Thai women, whose ‘men-folk’

have been decimated by the Japanese.

Their skins were dark, but not as dark as the other natives they had seen in Asia. They glistened with oil. They were tall, and supple, with well defined features and slightly slanted eyes — betraying Oriental ancestry. There were

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about fifteen of them, all carrying crude bows and an assortment of arrows.

They were young and they were all women.

Of course, the Aussies’ idyllic paradise is ruined when the tribe’s leader, Salah, is captured by the Japanese. Using a cache of stolen weapons hidden away by the girls, the grizzled Harrigan (after realising he has fallen in love with Salah) leads an all-out assault to get her back.

Lots of sex and racial slurs are peppered throughout this one, and the Japanese are portrayed as typically sadistic. But the novel is written with gusto, and Kent nicely balances out the racy material with some genuinely exciting action passages.

 Naked Fugitive
by Jim Kent / 1970, Scripts No.26

This was the final entry in what became known as Jim Kent’s ‘Pessia Galewski Trilogy’,* which followed the exploits of the young Jewish woman of the same name, on the run from the Nazis after her escape from the Treblinka torture camp in Poland. Trapped — completely naked — within the confines of the Polish jungle, Pessia has to outwit not only the Nazis, but anti-Semitic Polish partisans and Russian deserters with a thirst for lust.

Naked Fugitive is a spin on the popular Most Dangerous Game scenario, that of man hunting man, with the spoils being the rape and degradation of Pessia. I’m not sure why Kent decided she was worthy of a trilogy, as she is not a particularly memorable character. It would be interesting to find out why he was so attached to her; possibly the publishers at Horwitz may have requested more stories with her in them, but the books do read as if they were a part of a planned story arc, and by all reports the Pessia books were no more popular than other Horwitz war paperbacks.

* The first two titles in the series were Butchers of Vilna and Revolt of the Jews (both published in 1970).

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 Nazi Love Slaves
by Jim Kent / 1973, Scripts No. 46

By the early 1970s, the Horwitz war paper-
backs had begun taking advantage of Austral-
ia’s loosening censorship laws, and as a result
less emphasis was put on storyline, in favour
of more extreme violence and torture. It was
a transition which befitted the move towards
photographic covers, and Nazi Love Slaves
provides an ideal example of what these pulp
novels had become towards the end of their
run, with the degradation and cruelty piled on
so thick they could be regarded as a dry run
for the notorious and incredibly nasty 1974
exploitation film, Ilsa: She-Wolf of the SS, starring Dyanne Thorne.

The pressure of it all suddenly snapped inside her. She screeched with rage and lifted the whip again. She struck and struck again, Anna shivered at first, silently but finally the screams broke out of her and she twisted and screamed — her wrists were chained to the block, but her hands were free and her fingers knotted, the knuckles strained white, the finger tips trying to drive themselves into the woodwork of the block.

 Operation Rabaul
by John Slater / 1964, Horwitz No. 16

Slater delivers a strong home country flavour in this title, with Melbourne woman Susan Rennie taken captive by the Japanese after her freighter is torpedoed.

“It is sensible to realise that you are a woman and my crew and I are far from home. It is sensible to surrender to women’s fate, to do what you are required to do whether in the galley or on a cabin bunk. Take off your remaining clothes, please.”

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Susan is subsequently placed in a camp
commanded by the sadistic Shimisu, and
forced to assist captive scientist Max Terrace
in his search for a cure for jungle fever.

Amidst much debate as to whether Ter-
race is doing the right thing by not sabotag-
ing his experiments, an Australian commando
team led by the gruff Lieutenant Harrigan
hack their way through the steamy jungle in
order to rescue both the scientist and Rennie.

Operation Rabaul differentiates itself from
the majority of Slater’s war titles, in that it is
centred around the Pacific rather than European conflict. At one point, an Aussie soldier proclaims that “The English are the ones who lose all the tests.” Nice to see that some things never change…

 Prisoner of Dachau
by John Slater / 1967, Horwitz No.39

Another eminently readable slice of demented cheap thrills and low-rent sleaze by Slater. Once again set within the cruel barbed wire fences of a notorious Nazi death camp, Prisoner of Dachau revolves around the experiments which medical officer Rascher subjects the camp’s prisoners to, all for the benefit of the glorious Luftwaffe.

One particular harrowing passage has a young Jewish ‘volunteer’ facing the horrors of a pressure chamber (affectionately dubbed ‘The Sky Ride Wagon’ by Herr Doktor):

I looked in the chamber again. The victim was writhing. She tore at her short-cropped hair and her mouth was opened wide as if screaming. Perhaps she was. I could hear nothing, but the chamber might have been sound-proof. Then suddenly her suffering reached a new peak. She tore at her face and threw herself about so violently that the strap around her waist snapped and she hurtled out of the chair.

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 Terror of the Swastika
by John Slater / 1965, Horwitz No.18

One of Slater’s more routine and safe efforts (he had not yet pushed the envelope to see how much he could get away with), Terror of the Swastika has the Gestapo running riot throughout France, bringing torture and terror upon those who dare to oppose them.

 Torture of the Swastika
by James Hol edge / 1963, Horwitz No. 9

Another of Holledge’s entertaining, scuzzy ex-
posés, Torture of the Swastika is highlighted by Col Cameron’s magnificent piece of cover art

(one of his best Horwitz covers). A forerunner
of his later work, Hitler’s Thugs (see review), the book features a number of case studies of

Nazi war crimes, with Holledge putting par-
ticular emphasis on the sense of terror and
foreboding which the Gestapo would inflict
on the enemies of the Reich. There is also a
chapter devoted to the infamous Ilsa Koch,
the vile ‘Witch of Buchenwald’, whose most
depraved acts included having lampshades made out of the human skins of two of her tattooed prisoners.

 Val ey of Slaves
by John Slater / 1967, Scripts No. 40

South America was a popular destination for many Nazis who were on the run after the fall of the Third Reich (for a while, many people believed that even Hitler had escaped there, having faked his own suicide).

In Val ey of Slaves, John Slater ventures into post-war South America, where a renegade Nazi known as El Presidente has seized control of a small, lost valley, biding his time until the country’s revolutionary air be-

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comes thick enough for him to seize absolute power of the country and posit himself Führer of the new master race!

An interesting and enjoyable title, although Slater unfortunately holds back from laying on the atmosphere of South American oppression and slime, which would have no doubt helped the story. Still, Val ey of Slaves was popular enough to warrant a sequel, Jungle Captives, which was published later in 1967.

 Vil age in Chains
by Jim Kent / 1969, Scripts No. 21

This is one of the more brisk Jim Kent war titles, and reads almost like a treatment for some scuzzy Italian sleaze-ploitation film.

The setting is the small Italian village of Lucevento during 1944. After the humiliated Italian army surrenders to the Allies, German troops jackboot their way in to occupy the town, and proceed to extract revenge on the ‘cowardly’ Italians by systematically executing the entire population. As usual, the Nazi hierarchy take several of the more attractive villagers for their own carnal enjoyment, before angry partisans finally free the village from its enslavement.

Roaring with rage, Ferretti whipped the knife from beneath his waistband and, moving with a speed and drive that could only come from a madman, attacked the nearest of the three Germans, neatly slitting his throat. Then, still shouting, he buried his knife in the second man’s stomach, at the same time snatching the gun from the chair beside him. He aimed the weapon at the third man, who having been knocked down in the melee, was now reaching for his own weapon. Ferretti almost cut him in two with a long burst of fire.

 Women of Auschwitz
by John Slater / 1963, Horwitz No. 10

Featuring what is probably my favourite piece of Col Cameron cover art, Women of Auschwitz uses as its backdrop the (fictional) trial of recently

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apprehended concentration camp director, Felix Hauser.

Through witness testimonies and flashbacks, we learn of the violent, forced love affair which Hauser embarked upon with a beautiful young Jewish prisoner named Pola Koruac. A nasty subplot involves the activities of an insane doctor, who uses one of the cell blocks as the headquarters for his own sadistic experiments:

Cell Block 10 — the infamous Auschwitz ward where only the healthy were sent never to return as normal women. It was here the Direktor threatened to send the women who would not submit…

Jim Kent: horwitz sleaze paperbacks

 Partisan Patrol (1966)

 Torture Camp (1966)

 Changi Terror (1966)

 Nazi Castle (1966)

 Jungle Hatred (1967)

 Slave Women (1967)

 Nazi Holocaust (1967)

 Resistance Woman (1967)

 Death Camp (1967)

 Sea Duel (1967)

 Coastwatch Command (1968)

 Death’s Paradise (1968)

 Chains of Bamboo (1968)

 The Warrior Gods (1968)

 Slave Women of the Congo (1968)

 Chained Women (1969)

 Women of the Earth (1969)

 The Devil’s Mistress (1969)

 Oasis in Hel (1969)

 Death’s Wake (1969)

 Vil age in Chains (1969)

 The Flagel ation Club (1969)

 Tyrant of the Alps (1969)

 Butchers of Vilna (1970)

 Revolt of the Jews (1970)

 The Naked Fugitive (1970)

 Wives Alone (1970)

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 Sold For Pleasure (1970)

 House of Hel (1970)

 Women of Landau (1970)

 Terror in Paradise (1971)

 Women of Stalingrad (1971)

 Gestapo Atrocity (1971)

 In Chains to Hel (1971)

 Women of Sin (1971)

 Slaves in Hel (1971)

 Sands of Sin (1971)

 Pleasure Camp (1972)

 Sin Town (1972)

 Castle of Slaves (1972)

 Officer’s Woman (1972)

 Another Peyton Place (1972)

 Lady with a Whip (1972)

 Mistress of Pain (1972)

 Women on the Loose (1972)

 Savage Woman (1972)

 The Execution (1972)

 Untamed Women (1972)

 Jungle Atrocity (1973)

 The Butcher’s Mistress (1973)

 Restless Women (1973)

 Master of Pain (1973)

 Jungle Slaves (1973)

 Nazi Love Slaves (1973)

 Val ey of Horror (1973)

 Wives at Play (1973)

 Raped (1973)

 Slaves of Pleasure (1973)

 Slave Trader (1974)

 Love Master (1974)

 House of Pleasure (1974)

 Slave Orgy (1974)

 Slave to Love (1975)

 Officer’s Love Slaves (1975)

 Hel ’s Island (1975)

 Wanton Women (1975)

 Boss Lover (1975)

 Sex Crazy (1975)

 Gang Bang (1975)

 Wild Rose (1976)

 The Bridge at Arnhem (1976)

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John slater: horwitz sleaze paperbacks

 The Horror Camp (1962)

 Camp Hel (1962)

 Camp Blood (1963)

 Women’s Camp (1963)

 Camp of Terror (1963)

 Sin Camp (1963)

 Joy Camp (1964; early printings credit Ray Slattery on cover)

 Gestapo Camp (1964)

 Torture Road (1964)

 Women of Auschwitz (1964)

 Gestapo (1964)

 Two for Auschwitz (1964)

 White Slaves of the Swastika (1964)

 Women of Warsaw (1964)

 Women under the Samurai (1964)

 Operation Rabaul (1964)

 Undercover Agent (1964)

 Terror of the Swastika (1965)

 The Captive Women (1965)

 Woman’s Compound (1965)

 Woman in Terror (1965)

 Women of the Resistance (1965)

 The Shame of Auschwitz (1965)

 Butcher of Auschwitz (1965)

 Gestapo Captive (1965)

 Manila Nightmare (1965)

 Death March (1966)

 Horror Camp Escape (1966)

 Swastika Castle (1966)

 Hitler’s Experiment (1966)

 Gestapo Prisoner (1966)

 The Wrath of Jimmu (1966)

 Victim of the S.S. (1966)

 The Slash of Death (1966)

 The Nazi Fiends (1967)

 War Lord’s Women (1967)

 Experiment at Ravensbruck (1967)

 Buchenwald Hel (1967)

 Prisoner of Dachau (1967)

 Val ey of Slaves (1967)

 The Bamboo Cage (1967)

 Jungle Captive (1967)

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 Bride of the Headhunter (1967)

 The Commandant (1968)

 The Savage Warriors (1968)

 The Nazi Lover (1968)

 Brides of Terror (1968)

 Woman of Blood Island (1968)

 Love Slave of Paris (1968)

 Gestapo Fugitive (1968)

 Prisoner of Torture Al ey (1968)

 The Soldier’s Prize (1969)

 The Iron Col ar (1969)

 Slave Ship (1970)

 The Prisoners of Doctor Raven (1970)

 The Black’s Woman (1970)

 Captive’s Choice (1970)

 Slave of the Apaches (1970)

 White Squaw (1970)

 Torture Chamber (1970)

 Sadists Carry Knives (1970)

 Mad Monk of the Mountain (1971)

 Satan’s Captive (1971)

 Beast Woman of Buchenwald (1970)

 Slave Girl (1971)

 The Love Captive (1971)

 Love Slave (1971)

 Woman Tamer (1971)

 Samurai Slave (1971)

 Savage Justice (1971)

 Birds of Prey (1972)

 Black Slave (1972)

 Woman in a Web (1972)

 The Hunted Woman (1972)

 Bikie Slave (1972)

 Spoils of War (1972)

 Beach House Captive (1972)

 Island Hel (1972)

 Slave Terror (1972)

 Death Island (1973)

 The Victor’s Prize (1973)

 The Love Cage (1973)

 The Sadist’s Slave (1973)

 Note: In some of their 1970 paperbacks, Horwitz advertised a magazine cal ed John Slater: Stories of Women in Bondage — an adventure/men’s publication — the debut issue of which was to contain short stories with titles like ‘Women of Manila’ , ‘ House

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of Torment’ and ‘Daughters of Agony’ (the stories traversed subjects like black magic, coercion, bondage and discipline, and the familiar WWI territory). The magazine, which had an advertised cover price of sixty cents, was to also feature a full colour centrefold painted by a regular Horwitz artist (no doubt Col Cameron was one of the potential artists, not only for the centrefold, but for the cover and story il ustrations as wel ).

Unfortunately, it looks like the magazine was cancel ed before the first issue was even published, as no copies of it have ever surfaced, and even the Horwitz archives don’t have a copy.

Col Cameron: selected horwitz covers

Col Cameron was undoubtedly one of the prime keys to the success of Horwitz’s line of war paperbacks. Without his stark — often garish and disturbing — cover art, it would be hard to imagine these books being as popular as they were, so effective was Cameron’s work in capturing the promised thrills of what lay within their pages.

While his work is appreciated amongst the rather small band of Horwitz devotees, Cameron’s art has yet to find any real widespread acknowledgement within the pop culture art community. Unfortunately, Cameron himself will never see the result of any future interest in his work, as he passed away in 1999, perhaps only vaguely aware that his art had had any lasting impressions (Graeme Flanagan, author of the Australian Vintage Paperback Guide — managed to track Cameron down for an interview just a couple of years before his death).

Fortunately, a lot of Cameron’s original paperback art has survived, and is currently in the hands of his long-time partner (most of the Horwitz artists received a flat fee of $150 for their covers, with the work being returned to the artists upon publication). Hopefully, some exhibi-tions of his original art will be organised in the near future, which should help establish Cameron’s reputation as one of the most memorable pulp paperback cover artists.

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Col Cameron covers. Titles listed by author.

James Holledge

 Torture of the Swastika (1963)

 Fal of the Roman Empire (1964)

 Sex and the Sun King (1964)

 Sex Broke the Roman Empire (1964)

 Sex Set the Pharoah’s Destiny (1964)

 Hitler’s Thugs (1965)

 Hitler’s Murder Master (1965)

 For Valour (1965)

Jim Kent

 Partisan Patrol (1966)

 Slave Women (1967)

 Nazi Holocaust (1967)

 Resistance Woman (1967)

 Death Camp (1967)

 Coastwatch Command (1968)

 Death’s Paradise (1968)

 Chains of Bamboo (1968)

 The Warrior Gods (1968)

 Slave Women of the Congo (1968)

 Chained Women (1969)

 The Devil’s Mistress (1969)

 Oasis in Hel (1969)

 Revolt of the Jews (1970)

 Sold For Pleasure (1970)

 Women of Landau (1970)

 Terror in Paradise (1971)

 Women of Stalingrad (1971)

 Gestapo Atrocity (1971)

 In Chains to Hel (1971)

 The Execution (1972)

 Jungle Atrocity (1973)

 Jungle Slaves (1973)

Ken Macauley

 The Nuclear Nazi (1968)

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Marcia McEwan

 Roxana (1964)

John Slater

 The Horror Camp (2nd, 1965)

 Camp of Terror (2nd, 1966)

 Sin Camp (2nd, 1966)

 Joy Camp (2nd, 1965)

 Torture Road (2nd, 1967)

 Women of Auschwitz (2nd, 1966)

 Gestapo (2nd, 1967)

 Two for Auschwitz (1964)

 Women under the Samurai (1964)

 Terror of the Swastika (1965)

 The Captive Women (1965)

 Woman’s Compound (1965)

 Women in Terror (1965)

 Women of the Resistance (1965)

 The Shame of Auschwitz (1965)

 Butcher of Auschwitz (1965)

 Gestapo Captive (1965)

 Manila Nightmare (1965)

 Death March (1966)

 Horror Camp Escape (1966)

 Swastika Castle (1966)

 Hitler’s Experiment (1966)

 Gestapo Prisoner (1966)

 The Wrath of Jimmu (1966)

 Victim of the S.S. (1966)

 The Slash of Death (1966)

 The Nazi Fiends (1967)

 War Lord’s Women (1967)

 Experiment at Ravensbruck (1967)

 Buchenwald Hel (1967)

 Prisoner of Dachau (1967)

 Val ey of Slaves (1967)

 The Bamboo Cage (1967)

 Jungle Captive (1967)

 Bride of the Headhunter (1967)

 The Commandant (1968)

 The Savage Warriors (1968)

 The Nazi Lover (1968)

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 Brides of Terror (1968)

 Woman of Blood Island (1968)

 Love Slave of Paris (1969)

 Gestapo Fugitive (1969)

 Prisoner of Torture Al ey (1969)

 Slave Ship (1970)

 Slave of the Apaches (1970)

 White Squaw (1970)

 Torture Chamber (1970)

 Sadists Carry Knives (1970)

 Mad Monk of the Mountain (1971)

 Satan’s Captive (1971)

 Beast Woman of Buchenwald (1971)

 Bikie Slave (1972)

 Spoils of War (1972)

 Island Hel (1972)

 Death Island (1973)

NeW eNglish librArY

Like all great pop culture artefacts, there’s something about holding a musty, dog-eared old copy of a New English Library paperback which conjures a sense of the times in which it was created

— an awareness which transcends one’s geographical location and age.

Although some paperback purists (particularly in the US) often dismiss them as badly written junk, this points more to a perverse snobbery and misunderstanding of the social climate and ethos in which they were written.

Not all of the titles published by New English Library (or NEL) were of a sleazy nature, of course. But the titles which fit under that general umbrella are most sought-out, read and appreciated by NEL enthusiasts.

While their skinhead and biker paperbacks have been widely covered in fanzines — and are often collected by people with little or no interest in paperbacks per se — their enormous output of horror, crime, sex and war titles remain relatively unexamined. The books reviewed in this chapter represent a cross-section of NEL genres which deserve the attention of any self-respecting reader of pulp culture curios.

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New english library: paperback reviews

 Attack Force! No.3: Roman Holiday
by Joe Hunter / 1976, NEL 28631/UK

Joe Hunter’s Attack Force! was a series* of action/war paperbacks which centred around a ferocious, Dirty Dozen-ish squad of specially trained soldiers who, led by the tough Major Nicky Harrison, take on some of the most foreboding secret operations of World War II.

Featuring the kind of gruff characters and exciting battle passages which fill the pages of digest comics like Commando, the Attack Force!

books are the kind of pulp fodder which many young boys devoured in the 1970s (usually whilst waiting for the glue on their 1/₇₂ scale Airfix Spitfire model kit to dry). Although they are all very similar, Roman Holiday is about the best and most interesting in the series, chiefly because its Italian setting lets a little Mafia violence infiltrate the proceedings. The typically far-fetched main plot has the attack force entering Rome undercover and substituting a stern Italian Army Marshall with his twin brother, who is a sympathiser with the Allies (didn’t I see this plot on an episode of Get Smart?).

 Black Gold
by Clint Rockman / 1972, NEL 012409/UK

One line of paperbacks published by NEL which are yet to be fully appreciated are their ‘slave plantation’ titles. These fused the commercial success (and controversy) of the television mini-series Roots and Southern Gothic novels like Drum and Mandingo with elements from the blaxploitation film genre. The result is a politically incorrect hotbed of racial lust and violence which would not (and most certainly should not) survive in today’s climate.

Black Gold follows a formulaic plot present in pretty much all of NEL’s plantation novels. Set in Jamaica in the early 1800s, the story sim-

* Other entries in the series include French Assignment and Mission to the Gods.

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mers with unbelievably racist dialogue* and
the humiliation of the black slaves, before the
inevitable uprising — led by the powerful

Jabez — climaxes with Lady Diana Deckford,
hated mistress of the plantation, being taught
a severe lesson:

With smooth yet fiercely irresistible move-
ments Jabez stripped off Diana’s cloak to reveal
all her wanton white plumpness and roundness
to the staring eyes below. He bound the cord
around her wrists and with a supple heave of
his shoulders dropped her over the gallery balustrade. He knotted the end of the cord around a gilded upright. Diana swung in mid air, turning and swaying to reveal every part of her anatomy to the gaping blacks.

Then Jabez squeezed the quirt. From the stairway alongside her he struck Diana shrewdly across the buttocks.

She screamed. A long red welt appeared on the rounded whiteness.

Jabez struck again. Down with a swish went the riding crop. Welt after welt sprang out all across Diana’s white skin.

Overshadowed for a long time by their biker and skinhead paperbacks, NEL’s plantation titles have begun to attract a growing cult following made up of a very diverse fan base, including students of black history, collectors of memorabilia from the blaxploitation craze, paperback collectors attracted to the curious and the offbeat, and genuine de-viants who get a sexual or sadistic thrill from reading the passages of oppression and degradation which fill their pages.

* Black Gold was amongst the publications banned in Rhodesia under the terms of the Rhodesian Law and Order Maintenance Act, the Emergency Powers Act, the African Affairs Act, and the Censorship and Entertainment Act, which was in effect between 1959 and 1979.

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New english library
selected plantation novels

 The Abolitionist by Leslie Gladson

 Beast by Leslie Gladson

 Black Gold by Clint Rockman (see review)

 Black Lover by Stuart Jason

 Black Lust by Stuart Jason

 Black Prince by Stuart Jason

 Black Queen by Clint Rockman

 Black Slayer by Clint Rockman

 Chane by Norman Gant (see review)

 The Slave by Alston Anderson

 Slave Rebel ion by Norman Daniels

 Slave’s Revenge by Robert Tralins

 Voodoo Slave by Norman Daniels (see review)

 The Cats
by Nick Sharman / 1977, NEL 37118/UK

Yet another attempt by NEL to try and duplicate the success of James Herbert’s The Rats (see the rats review this chapter), The Cats was the debut horror novel for Nick Sharman (aka Scott Gronmark) and is a violent, bloodthirsty tale of vicious, experimental moggies who turn on their masters and spread terror across London. Featuring the kind of morbid scenarios which would have been at home in one of those anthology films produced by the Amicus studios in the 1970s, The Cats is written with, if not great originality, then certainly terrific gusto and enthusiasm, and has enough moments of blood-curdling nastiness to keep you turning the pages on a cold, wet night (just make sure the cat’s been fed and put outside).

 Chane
by Norman Gant / 1975, NEL 25063/UK

Originally published by NEL in 1969, Chane was re-issued in the mid 1970s — with suitably lurid cover art — to capitalise on the popularity of the slave plantation genre, which the company helped propagate and

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were doing quite nicely from. Because it pre-
dates them, Chane is a lot more thought out and slightly more restrained than many of the
other, similarly themed NEL titles (most of
which were quickly ground out merely to fill a
niche in the market).

This is not to say that Chane is left wanting in the exploitation stakes, as it piles on the sex
and savagery in ample doses, and adequately
traverses all of the traditional co-ordinates
of the plantation genre, with Chane (a name
which delivers its manifestation of repression
with all the subtlety of a jackhammer) being
precisely the kind of big, brutal Negro slave that ran wild within the pages of these books.

Norman Gant sets the novel up with a galvanising prologue, as Chane erupts in a fury of murderous violence against his enslavers. Gant keeps the story bubbling along nicely from there, but unfortunately never really manages to top the raw savagery of its opening pages.

 Cosa Nostra
by Peter McCurtin / 1972, NEL 013715/UK

A gangster story in the Godfather mould, Cosa Nostra is a generic Mafia tale which tries to ape the style of Mario Puzo’s classic, generations spanning epic (although, at only 124 pages, falls far short of matching its sweeping scope). Set amongst a power struggle between warring factions of the crime syndicate, who choose the small, picturesque town of Maine (site of many a Stephen King story) as the ideal place for a show of strength, Cosa Nostra is laced with violence and a desperate attempt to mix ‘hip’ language with pop cultural observations:

A Tammy Wynette record was shaking the place and Rolette was doing a three-note accompaniment with a swizzle stick: highball glass, beer bottle, beer glass. A pile of wet money lay on the bar in front of the big logger.

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Cosa Nostra was a follow-up to McCurtin’s Mafioso (“Brutal as an Ice-Pick in the Spine”, according to its cover blurb). Later on in the seventies, McCurtin authored the moderately successful Soldier of Fortune action/
mercenary paperbacks, featuring the adventures of trained killer Jim Rainey. He has also dabbled in the true crime genre, with titles like Murder in the Penthouse (1980, Tower Publications), an examination of the celebrated Buddy Jacobson case. Jacobson was a horse racing millionaire playboy, who went on the run after being accused of brutally murdering his neighbour, who had begun dating his ex-girlfriend, a beautiful cover girl named Melanie Cain.

 Found Naked and Dead
by Brian McConnel / 1974, NEL 23273/UK

NEL were not particularly known for their
true crime titles, making this book something
of a curiosity.

Between 1959 and 1965, a series of vio-
lent murders rocked London’s prostitute dis-
tricts, with a total of eight working girls being
strangled and dumped naked in various iso-
lated spots around the city, as well as along the
banks of the River Thames. Dubbed ‘Jack the

Stripper’ by the press, the killer was portrayed
by many as a symbol of London’s seamier as-
pects, and his crime spree a reflection of the
new, ‘swinging’ England, up there with the

Profumo affair and the birth of the Beatles. When the killings suddenly stopped in 1965 — the perpetrator having never been brought to justice

— the connection to his more famous nineteenth century namesake was complete. Though never proved, an unidentified man who committed suicide in South London — which coincided with the end of the murders — was thought to have been the killer.

In Found Naked and Dead, Fleet Street crime writer Brian McConnell (he also authored The Evil Firm: The Rise and Fal of the Brothers

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Kray) upholds the NEL tradition, providing a suitably sordid rundown of the killings, as well as constructing a likely profile of Jack the Stripper.

Dubbing him ‘Big John’, McConnell creates a portrait which would soon become all too familiar in the age of serial killer profiling: that of a man raised in a fanatical religious environment, a heavy drinker whose marriage breakdown drove him to seek out disastrous encounters with prostitutes, which — much like Yorkshire Ripper Peter Sutcliffe in the 1970s —
would become increasingly violent, until his hatred exploded into an orgy of killings. The killer’s seemingly intricate knowledge of police procedure and investigative techniques prompts McConnell to suggest he almost certainly was a (possibly disgraced) former policeman or detective.

Apart from the fact that it’s one of the few books written about this particular case, Found Naked and Dead is also recommended for its interesting history of prostitution in Britain, which McConnell chronicles in his prelude, and the compilation of prostitute street language used at the time (I did not know, for example, that a prossie was also referred to as a ‘polesquatter’, and that a wank job was called a ‘hand shandy’. I did have a fair idea, however, that “kinky customers are usually sickies, weirdoes, freaks, masochists or sadists”).

 Freaks
by Doug Lang / See review in drugs and counterculture section

 The Girl From H.A.R.D. — Perfect

Assignment
by James Moffatt / 1975, NEL 23346

This attempt to create a sexy, feminine super-
spy in the James Bond mould probably came a
few years too late to have any real impact (the

Bond send-ups and cash-ins were pretty much
dead in the water by this point, especially since
the Bond movies themselves — with Roger

Moore in the lead — had become camp reflec-

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tions of their own former glory).

Virginia Box is the bisexual heroine of these adventures, working for England’s H.A.R.D. organisation (Hemisphere Administration for Regional Defence). In Perfect Assignment, Box is sent undercover to weed out a Soviet spy, and comes face-to-face with her mortal enemy, Perfect Laye (save the groans, please).

This was actually the third instalment in the H.A.R.D. series, so it obviously appealed to some people with non-discriminating tastes. The first two titles in the series were The Girl From H.A.R.D. and Virginia Box and the ‘Unsatisfied’ (both also authored by James Moffatt).

 The Hard Game
by Trevor Hoyle / 1973, NEL 015483/UK

A prime example of the hard edged adult material which NEL excelled at, The Hard Game is a rocky but memorable journey through the gutters of London’s pornography racket, with anti-hero Kyle Rossiter as our suitably debauched tour guide.

Reflecting the fact that pornography in Britain in the early 1970s was nowhere near as accepted as it was in the US and other parts of Europe, The Hard Game suitably catches the feel of the times, with the David Sullivan-like* Rossiter, although Hoyle stops short of making him a more believable character by imbuing him with some impossibly suave, James Bondian characteristics (possibly a commercial move to make the novel more saleable).

Recommended for anyone with an interest in England’s adult industry.

Trevor Hoyle went on to author a number of Blakes 7 paperback tie-ins.

* David Sullivan was Britain’s premier publisher of adult magazines during this period, with magazines like Playbirds and Whitehouse to his credit. Sullivan also ran a string of sex shops, produced films (including the hit Come Play With Me), and helped launch the career of Mary Millington.

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 The Hel -Fire Club
by Daniel P. Mannix / 1970, NEL 40968/UK

Orgies were their pleasure — Politics their pastime.

Daniel Mannix brings an appropriately
sinister, almost black magic ambience to his
examination of England’s notorious Hell-Fire

Club, which operated from the late 1740s and
into the 1760s. The club consisted of a small,
organised group of select members, with a
central core of thirteen members; Sir Francis

Dashwood — Member of Parliament — be-
ing the leader. Other members (or ‘apostles’) in-
cluded Lord Sandwich (who once commanded
the Royal Navy), politician John Wilkes, painter William Hogarth and poets Charles Churchill, Paul Whitehead and Robert Lloyd (American Benjamin Franklin was also rumoured to have been a guest visitor).

The club formally styled itself the Monks of Medmenham, and originally occupied the caves beneath the ancient Abbey of Medmenham. Its members could reach the Abbey by boat from the river at night, avoiding any prying eyes. Once safely ensconced within its walls, they would take part in mock religious ceremonies, using masks and costumes to allow them to indulge in varying degrees of debauchery. It was alleged that the members took prostitutes down the Thames from London in barges to act as masked ‘nuns’, and were accused of celebrating the Black Mass over the naked bodies of aristocratic ladies, one of whom was Lady Mary Montagu Wortley, the mother-in-law of the Earl of Bute.

Mannix creates a colourful and suitably exploitative work here, although his seemingly indiscriminate use of sources and facts would suggest we should not take everything he proclaims as gospel. A one-time carnival sword swallower, Mannix established a cult following in the 1990s, authoring two books for RE/Search — Freaks: We Who Are Not as Others and Memoirs of a Sword Swal ower — before dying in 1997 at the age of eighty-five.

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 If This Is a Man
by Primo Levi / 1969, NEL 2255/UK

Leave it to NEL to take a factual, heartfelt
document of an Auschwitz survivor and wrap
it up in a blood red cover that looks like a post-
er for some sleazy WWII exploitation film.

If This Is a Man was first published in Italy in 1958, and is author Primo Levi’s account of
his days as a prisoner of the Nazis at the noto-
rious concentration camp, Auschwitz. Levi, an

Italian Jew, was captured by the fascist militia
in December 1943 at the age of twenty-four.

Deported to Auschwitz, he suffered and was
witness to the horrors of the camp, surviving
only because the Nazis had decided by that
point to extend the average life span of prisoners destined for extermina-tion; a decision necessitated by the growing shortage of manual labour.

Written in a rather static, disjointed style (Levi admits in his after-word that writing is not his strong point), the book reveals nothing new about the obscene treatments which the Nazis meted out to camp prisoners, but works as an effective and intimate first person journey through the thoughts and experiences of one man who is constantly surrounded by suffering and death, and trying his best just to survive the madness.

 The Incredible Melting Man
by Phil Smith / See review in horror tie-ins section

 Inseminoid
by Larry Mil er / See review in horror tie-ins section

 I, The Jury
by Mickey Spil ane / 1982, NEL 55086/UK

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Spillane’s tough crime classic from 1952, featuring detective Mike Hammer in perhaps his best adventure, is certainly well known, but it’s worth pointing out the NEL edition here as it features a nice cover photo of Armand Assante, who played Hammer in the ill-fated film adaptation of the novel (which was scripted by Larry Cohen, who was also scheduled to direct before problems on set saw him replaced by Richard T. Heffron).

 Kil er Crabs
by Guy N. Smith / 1978, NEL 38173/UK

Often downgraded as the poor man’s James Herbert (see the rats review), Guy N. Smith was one of the most pure pulp writers of the 1970s.

With no pretence to literary art, Smith authored some of the most visceral, arousing and downright exciting horror novels from that era, all of which were tailor made for the paperback medium.

A published writer from the age of twelve (when he contributed to his local newspaper), Smith had a career in banking forced upon him by his father, before he broke the shackles with his first book Werewolf by Moonlight, published by NEL in 1974. It marked the beginning of an intensely prolific career for Smith, who now has over sixty horror novels to his credit, not to mention a number of crime thrillers (he wrote a serial killer book, The Hangman, under the pseudonym of Gavin Newman), and his 1996 volume Writing Horror Fiction (A&C Black), a how-to manual for aspiring writers wanting to break into the genre.

Kil er Crabs was the second and best of Smith’s series of Crabs books (the original, Night of the Crabs, having been published in 1976), and provides a great summation of his prowess as a writer. The premise of the series is one of pure B-grade schlock: An army of giant, ravenous crabs bob up from time to time at various locales around the globe, wrecking havoc and snacking on the locals.

After being driven out of Wales in the first novel, the crabs this time resurface in the sunny far north of Australia, where they settle down to spawn in the mangrove swamps not far from the popular Hayman Island holiday resort. After treating us to the expected opening chapter crab attack (aboard a small fishing trawler), Smith settles in to introduce

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us to his cast of clichéd but delightfully sleazy
characters. These include Klin, the ruggedly
handsome, G.I. Joe-type action man, big game
hunter Harvey Logan, British scientist Clif-
ford Davenport (returning from the first nov-
el), and holidaying sexpot Caroline du Brunner,
who beds everything in sight bar the crabs, and
whose sexual adventures Smith details with an
enthusiastic gusto that would have doubled
the pleasure of any young male picking up the
book expecting a mere horror story.

Klin began to push forward with his thighs, slowly and purposefully at first, then speeding up as his tension mounted. Her eyes were closed. She was breathing heavily, her whole body stiffening, jerking, convulsing inwardly.

Her legs shot upwards bicycling, faster and faster, and her fingernails tore viciously at his shoulders and back. Seconds later she was going crazy with passion beneath him, pushing her thighs at him, grinding her pubic bone on his as she sought desperately for an even deeper penetration.

The scenes of carnage in the book are equally exciting, as the crabs multiply at an enormous rate and move inland towards the resort, a trail of death and destruction littering their wake. Smith revels in describing these scenes with a sadistic glee, bringing forth images of a gaudy, EC-inspired 1950s horror comic, as this passage describing the demise of a Japanese fishing captain amply illustrates:

The crab was astride the captain, its legs holding him firmly, whilst the pincers, almost delicately, explored his body in search of another limb to amputate.

Helplessly the crew watched, some of them being sick with revulsion.

It reminded them of a spider finding a fly caught in its web, and instead of devouring it immediately preferring to torture its victim by ripping off a leg at a time.

The severed wrist still spouted blood, a bright red fountain which sprayed over the crab, rendering it an even more horrific spectacle. Almost

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effortlessly the pincer found the shoulder joint and with a loud crunch removed the whole arm. Then, seconds later, the captain’s other arm suffered an identical fate.

With its winning combination of action, gore, sex and never a dull moment plot, it’s surprising that an adaptation of Smith’s crab paperbacks never made it to the cinema (or even the straight-to-video shelf ).

Given the plethora of shoddy Jaws clones festering in flea pit cinemas during this time ( Tintorera, Grizzly, etc.), I would have thought that a film about man-eating crabs would have had every cigar-chomping schlock producer foaming at the mouth. I can just see the poster, depicting a horde of the ugly titular creatures emerging from the red-tinged surf, a screaming, bikini-clad young woman clenched between the triumphant claws of the leader crab!

guy N. smith: selected Nel paperback titles

 Werewolf by Moonlight (1974)

 The Sucking Pit (1975)

 The Slime Beast (1975)

 Night of the Crabs (1976)

 Return of the Werewolf (1977)

 Bamboo Guerril as (1977)

 Kil er Crabs (1978)

 Bats Out of Hel (1978)

 Son of the Werewolf (1978)

 Origin of the Crabs (1979)

 Thirst (1980)

 Caracal (1980)

 Wolfcurse (1981)

 Crabs on the Rampage (1981)

 Warhead (1981)

 Sabat 1: The Graveyard Vultures (1982)

 Sabat 2: The Blood Merchants (1982)

 Sabat 3: Cannibal Cult (1982)

 Sabat 4: The Druid Connection (1983)

 The Undead (1983)

 Accursed (1983)

 Crabs’ Moon (1984)

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 The Walking Dead (1984)

 Throwback (1985)

 The Wood (1985)

 The Neophyte (1986)

 Snakes (1986)

 Thirst I : The Plague (1987)

 Crabs: The Human Sacrifice (1988)

 The Man with Mad Eyes
by Peter Hawkins / 1973, NEL 014975/UK)

Hypnotism and mind control — and its potential for misuse in the wrong hands — forms the backbone of this NEL paperback original from Peter Hawkins (the cover photo of which has always reminded me of Alan Bates in the 1978 film The Shout).

Psychic phenomena was a very ‘in’ topic in the 1970s, with the subject being explored (and exploited) not just in fiction but also in reality, with television variety shows (no less in Australia) regularly being invaded by fringe celebrities like Uri Geller, Peter Arnott and Doris Stokes, all demonstrating their innate powers to bend spoons, read minds and com-municate with the dead.

The Man with Mad Eyes is a rambling novel which — despite its length — essentially follows the one thread which most people with any form of mind control would most want to explore, namely the use of its power to gain sexual and monetary gratification. This plot is set against a familiar backdrop of the depraved older psychic hypnotist who takes the budding young student under his wing and begins to thoroughly corrupt him, before the student begins to slowly turn the tables on his master.

“Listen to me carefully”, I said, leaning forward and speaking into the rear of the mastoid of the left ear as Innes had specifically directed. “You will do exactly as I say but, when I have woken you up again, you will have no conscious memory of these actual instructions…

“It is now half-past-nine. At a quarter-to-ten” — fifteen minutes was long enough to wait, and time was pressing — “you will feel an unavoidable urge to do the thing which, secretly, you have most wanted to do all your life. You will have absolutely no scruples. Whatever it is, you will feel this need im-

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mediately. I shall cooperate completely. You will not hesitate, and you will have total enjoyment of your actions.”

This sequence in the book proceeds to take a sharp, disorienting detour into Carry On territory, with the girl’s mother coming home unexpectedly at 9:45, and being clonked on the head with a Bible by her daughter, who exults — “It’s been my ambition for years. Where on earth did I get the courage to do it?”

 Night of the Vampire
by Raymond Giles / 1970, NEL 2760/UK

Modern day black magic and Satanism meld with traditional horror elements in this (seemingly unintentional) campy story of werewolves and vampires who are called back to their hometown of Sanscoeur to reign horror upon the locals. With a storyline better suited to a six-page illustrated tale in an issue of Creepy, Night of the Vampire makes for an unremarkable read, although some may garner amusement from the seriousness with which Raymond Giles relates the ludicrous action. Almost saved by a nice piece of comic book cover art.

 The Rats
by James Herbert / 1974, NEL 50629/UK

Despite being the UK’s most successful hor-
ror author, James Herbert has never quite
attained the position of reverence which his

American equivalent, Stephen King, has en-
joyed for over forty years (maybe it’s the fact
that Herbert’s novels are more inherently ex-
ploitative and pulpy, eschewing the excess pre-
tentious baggage which usually accompanies
most King novels).

The Rats — Herbert’s first novel, and one
of his most popular — may cover thoroughly

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predictable ground, but it does so with an energy and a clear sense of what gives readers the creeps. Having first devoured it as a fourteen year old, I was surprised at just how effective the book is when re-reading it recently, with several passages still managing to send a cold but delicious shiver up the length of my spine (a feat which few horror fiction books have managed to do in recent times).

Herbert followed The Rats with three sequels: Lair (1979), Domain (1984) and most recently, The City (1993, a graphic novel). Unfortunately, the dreadful 1982 film adaptation of The Rats (also released variously as Deadly Eyes and Night Eyes) pretty much canned any chances of Herbert’s work receiving the cinematic attention which it deserved

— although he fared slightly better with the 1995 adaptation of Haunted.

James herbert: selected Nel paperback titles

 The Rats (1974)

 The Fog (1975)

 The Survivor (1976)

 Fluke (1977)

 The Spear (1978)

 Lair (1979)

 The Dark (1980)

 Sir, You Bastard
by G. F. Newman / 1971, NEL 9084/UK

There’s nothing worse than a bent copper.

When it comes to the depiction of law enforcement officers, the English have always preferred theirs to be a little more grubby, violent and, well, realistic than their American counterparts (whom more often than not were either relegated to a world of unreality i.e. Starsky and Hutch, or depicted as superhuman vigilantes of the Harry Callahan variety).

Sir, You Bastard is a powerful story of widespread corruption in the British Metropolitan Police in the 1960s and seventies. It takes as a

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central character a young Detective Inspector
named Terry Sneed, who, whilst sweating on
his arse outside his Chief Superintendent’s of-
fice, looks back on his seven years as a copper

— years full of brutality and treachery, and a
hunger for power and money which results in
him accepting a bribe from a notorious crimi-
nal. This sets off a chain of events which lead
to his disgrace and downfall — although the
crux of the book is whether the innately cor-
rupt force will pull the wool over their own, and everybody else’s, eyes.

Gordon F. Newman graduated from his

NEL writing* to pen some tough, controversial UK television shows such as Law and Order (1978, which resulted in a flood of complaints from the police to BBC2) and Nation’s Health (1983). He has also worked closely as a television producer, including the harrowing BBC4
drama Life for Daniel. A scary looking fellow, Newman’s face appears on both the front and back covers of Sir, You Bastard (which was nominated for an Edgar Award in 1972, but lost out to Frederick Forsyth’s The Day of the Jackal).

 Voodoo Slave
by Norman Daniels / 1973, NEL 015408/UK

“Kneel down and pleasure the master.”

Another in NEL’s line of plantation novels,

Voodoo Slave weds a black magic veneer to its standard plot of an African priest who is taken to America and sold into slavery, where he

* Newman also wrote Bil y (1971, a story of the ill treatment of a young boy) and The Abduction (1972, violence in South Africa) for NEL.

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bides his time before using his voodoo prowess to free himself from his oppressors.

Originally published in the US in 1970 by Paperback Library, one can only imagine what level of furore Voodoo Slave would attract if it was published today, so ripe is it with racial violence and degradation. Author Norman Daniels, who also penned Slave Rebel ion (another NEL title) died in 1995 at the age of ninety.

easy riders
the Nel biker paperbacks

Along with their line of Richard Allen ‘skinhead’ paperbacks, NEL are best regarded today — at least amongst devotees of the outré — as the publishers of a string of incredibly popular biker pulps, which were (and remain) unique, chiefly because they reflected a distinctively British take on a phenomena whose previous media exposure had been relegated primarily to American B-movies* and magazines (although NEL did reprint a number of American titles, see reviews in this chapter).

Many of the NEL biker paperbacks — in particular, those written specifically for the company — were often set in near-futuristic worlds, populated with familiar places and objects, yet simultaneously bearing a strangely alien angle to them (it was almost a reflection of many of the science fiction films that were being produced around that period, like The Andromeda Strain and Westworld). In the NEL world, bikers were a virtual law unto themselves, roaring across the motorways of an England that was ruled by anarchy and up to its neck in corruption and chaos.

* American biker movies became a staple of drive-ins and grindhouses for a brief period in the late 1960s. Inspired by a spread which producer/director Roger Corman had seen on the Hell’s Angels in an issue of Life magazine, one of the earliest biker films from this period was The Wild Angels (1966), starring Peter Fonda, Bruce Dern and Nancy Sinatra. The success of The Wild Angels led to a whole slew of similar, low budget quickies including Rebel Rousers (1967, starring Jack Nicholson), The Devil’s Angels (1967, a much underrated film starring John Cassavetes), The Glory Stompers (1967, with Dennis Hopper) and many more, before the genre culminated with Easy Rider in 1969.

While the cycle cinema craze petered out rather quickly (the occasional odd entry was still surfacing in the early 1970s), it retains a loyal fan base and continues to be a popular topic for discussion in many genre fanzines.

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Although considered fanciful now, the future world depicted in the NEL
biker novels was one which many saw as a distinct possibility, given that the books emerged after the violent death of the sixties (spearheaded by Altamont, the Manson killings and the continual slaughter in Vietnam) and continued to thrive during the first half of the revolutionary seventies. Adopting the biker lifestyle would have seemed for many to be one of the few ways to escape the reality of a world that was rapidly going down the toilet.

Nel biker paperback reviews

 Angel Alone
by Thom Ryder / 1975, New English Library 25436

This is an immediate sequel to Ryder’s Aveng-
ing Angel (NEL, 1974). The anti-hero of the
first novel, Dan, returns to revive the Ghouls,
his bikie gang which had been massacred in
a bloody confrontation with their bitter rival,
the Dudes.

Set in 1986, Angel Alone has a very Clockwork Orange feel to it, particularly in its depiction of the Dudes, who come across as Droog-
like. Ryder has a brash writing style, mixing in
whole chapters of newspaper reports and in-
terview transcripts with the third person prose.

References are made to other NEL biker nov-
els, and even poor old Prince Charles gets a bit of treatment dished out to him.

Several gruesome passages of battle highlight this bizarre offering, as well as the description of the ‘initiation’ which all new members of the Ghouls must undertake:

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Glyn lay on the ground in his Levis first, with his new president standing over him. Dan unzipped himself and let forth a steady stream of hot urine, which he directed up and down the length of the jeans for as long as he could. Then, to Glyn’s surprise — and, it surprised him further to realise, to his excitement, Sunny came over to add her contribution.

 Black Leather Barbarians
by Pat Stadly / 1972, NEL 017923

Originally published in the US in 1960 (by the New American Library), Black Leather Barbarians has some obvious differences to the British based NEL titles. Its American settings, characters and dialogue give us an image of the biker and his world that is more familiar to those who have only seen them through the eyes of American filmmakers. Because of its original publication date, this is more in tune with the American JD paperbacks of the late 1950s, and the fact that Pat Stadly based her research for the book upon time spent with the Pasadena and Glendale police departments, provides the story with a more grounded, almost semi-documentary feel (as opposed to it being pure fantasy indulgence).

 Chopper
by Peter Cave / 1971, NEL 017400

Chopper was the first of Peter Cave’s popular biker paperbacks, and one of the books which
really helped to ignite the whole NEL bikie
genre. It’s a thoroughly enjoyable feast of or-giastic violence, with Chopper being the quin-
tessential, clichéd biker figure, replete with

Nazi insignia and German Stormtrooper
helmet. “The fact that someone had probably
died wearing the helmet often gave Chopper a
thrill of pleasure.” Hopped up on pills, Chop-
per roars aimlessly across the country, relish-
ing any opportunity to crack open a skinhead’s

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skull, before meeting his own sudden, gory death while out on the road; a quick but ghastly, unavoidable death — usually atop the machine they love so much — often awaits the anti-hero of many a biker novel.

Although Chopper himself was never resurrected, his biker babe was back for vengeance in Cave’s immediate follow-up, Mama.

In the mid 1990s, Chopper and Mama were both reprinted — with new covers, photo inserts, and introductions by a member of Britain’s Hell’s Angels — by Nigel Wingrove’s company, Salvation. Peter Cave also authored a series of paperbacks based on the popular television crime series Taggart.

peter Cave: Nel biker paperbacks

 Chopper (1971)

 Mama (1972)

 Rogue Angels (1973)

 Speed Freaks (1973)

 The Run (date unknown)

 The Bikers (date unknown)

 The Devil’s Rider
by Alex R. Stuart / 1973, NEL 013596

The moon gleams ivory through wisps of cloud. Shovels and pickaxes are strapped to the bikes, like Sam insisted. For what? Digging their own graves?

Among his small oeuvre of biker paperbacks which he authored for NEL, The Devil’s Riders would have to rate as Alex R. Stuart’s most ambitious and creative work. Trying its best to exude a surreal mysticism, the novel centres around the relationship between Sam, the Jesus-like (or more appropriately, Manson-esque) leader of the Sons of Baal motorcy-cle gang, and Johnny, a bored dropout who’s both seduced and terrified by Sam’s claims of reincarnation and satanic prowess.

Radiating a feel that’s similar to the warped 1972 UK biker film Psychomania (known in some countries as Psychlo-Mania), The Devil’s Rider

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requires a degree of patience to see it out to its end — it’s no quick paced romp — but remains a prime example of just how bizarre a territory the NEL biker novels were prepared to venture into (Alex R. Stuart was a pseudonym for science fiction author Stuart Gordon, whose work in that genre provides a strong influence here).

Alex r. stuart: Nel biker paperbacks

 The Devil’s Rider (1973)

 The Last Trip (1973)

 The Outlaws (1973)

 The Bike from Hel (1973)

 Guardian Angels
by Mick Norman / 1974, NEL 25365

In Glasgow, at least, the lesson had been learned. Mess around with the Hell’s Angels, and you mess with the inside of your
own nightmares.

A pseudonym for the late Laurence James

— a NEL editor — Mick Norman’s name can
be found on many of the best British biker pa-
perbacks. Guardian Angels is a personal favourite, given that it takes its obvious inspiration
from the events at the ill-fated Altamont rock
festival in San Francisco, in which the Hell’s

Angels were brought on board to provide se-
curity, the event culminating in the stabbing to
death of a young black man whilst the Rolling Stones were performing a few yards away. (See the brilliant 1971 documentary Gimme Shelter.) In Guardian Angels, the Last Heroes — a Welsh based biker club led by Gerry Vinson — agree to oversee a rock tour headlined by some big American acts (with names like Foolsgold and Central Heating!). Vio-

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lence ensues when the Hell’s Angels decide to accompany the US acts across the ocean, and the arrival of a new, futuristic gang calling themselves the Skulls heightens the tension.

What makes this novel so interesting is the structure and grammar which Norman uses to keep the story fresh and moving forward. Like Thom Ryder in his Angel novels, Guardian Angels is constructed with interview transcripts, news bulletins, and even poems, song lyrics and press kits for the visiting musical acts. The news excerpts, taken from magazines with titles like Telescopic Knife and Oral, are all dated from the 1980s, giving us a timeframe for the proceedings (although Norman interestingly refrains from noting what year of the 1980s we are in).

The chapter titles themselves reveal Norman’s tongue-in-cheek humour, bearing blurbs like ‘They’ll Pinch Themselves And Squeal’, ‘I Lay Traps For Troubadours’ (a reference to a line in the Stones song Sympathy For The Devil) and ‘So You Want To Be A Rock And Roll Star?’.

peter Cave: Nel angels series

 Angels from Hel (1973)

 Angels Chal enge (1973)

 Guardian Angels (1974)

 Angels On My Mind (1974)

 The Leather Boys
by Gil ian Freeman / 1973, NEL 011836

The Leather Boys was first published in 1961

(under the pseudonym Eliot George), and
has much more of a grounding in reality than
the majority of NEL’s other biker paperbacks.

Since the front cover of the NEL printing
does nothing to indicate that this novel is any
different to any of their other hot blooded,
heterosexual bikie adventures, many people
would no doubt have been dismayed and/or

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disgusted to take the book home and discover that The Leather Boys is a sobering and believable look at the homosexual love between two working class London teenagers (the back cover blurb makes brief mention of the “strange, twisted love” that develops between the two main characters, as if this is just a minor subplot).

Dick and Reggie are the two eighteen year olds at the centre of The Leather Boys, aimless young men who are part of London’s teddy boy scene, and members of a local gang who commit minor acts of theft.

When cycle-riding Reggie leaves his unfaithful wife, he ends up at Dick’s by way of necessity, and the pair eventually become lovers (although in their eyes, they don’t view themselves in the same way they view other gay couples). They eventually decide to escape the drudgery of London by joining the Merchant Navy, but — as was standard in many gay-themed novels of the day — tragedy intervenes when the pair decide to commit a final robbery that goes horribly wrong.

The Leather Boys reverberates with honesty and genuine emotion, and effectively brings back to life a London which doesn’t exist anymore. A film adaptation of the novel was produced in 1964, for which Freeman wrote the screenplay. She also co-wrote the script for the 1968 Marianne Faithful film Girl on a Motorcycle.

 Then Came Bronson
by Wil iam Johnston / 1971, NEL 2843

This was the first in a trio of American paper-
backs — based on the television series Then Came Bronson, starring Michael Parks, which
ran for twenty-six episodes in 1969 — that
were reprinted by NEL (the original novels
were published in the US by Pyramid in the
late 1960s). Unlike the majority of anti-heroes
that populated the genre, Jim Bronson is more
of a peace loving biker, similar to Tom Laugh-
lin’s cinematic Billy Jack character, who only
resorts to violence once all other avenues have

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been exhausted (as indicated by the cover blurb — “Once there was a time when all Angels came from Heaven…”).

A loner and burned-out reporter, Bronson cruises the US highways on his Harley, sleeps under the stars, falls in love with both Ellen and Laurie — two women with very different beliefs and outlooks on life than his own — sticks up for the downtrodden workers on a farm, and waxes lyrical with his insights into the philosophy of hippie life, and the way in which it is perceived by outsiders:

It’s like looking at a guy who’s on a trip and seeing that he wears his hair down to his navel and saying he’s a drop-out because he’s got long hair. See what I mean? It’s too easy. You’re not thinking. You’re not saying why. You’re just blaming it on hair and letting it go at that. Too easy.

While some may be disappointed by its lack of hardcore violence and sleazy thrills (it was, after all, based on a mainstream American TV
series), Then Came Bronson is at least interesting for the different spin which it tries to take on the biker culture (no matter how sanitary and unrealistic it may have been).

Note: The other titles in the series of Then Came Bronson paperbacks were The Ticket, authored by Chris Stratton, and Rock!. The movie-length pilot episode of Then Came Bronson was released theatrically in some European countries, with added nudity featuring female co-star Bonnie Bedelia. The 1970 film Angel Unchained took a similar angle to Then Came Bronson, casting Don Stroud as a biker with a good heart.

iNtervieW With d.J. NormAN

D.J. Norman is the son of the late NEL editor and bikie paperback author Mick Norman/Laurence James.

hip poCKet sleAZe: How old were you when your father was
editing and writing for New English Library? What are your memories
of him during this period?

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D.J. NORMAN: I was born in 1968, so I must have been between three and five years old when my father worked as editor at New English Library. We were living in the Hertfordshire village of Stanstead Abbotts. The main thing I remember about dad and work at that time was going down to the station in the evening to meet him with mum, and my younger sister Cathy. My younger brother Matthew had just been born.

I’d have my coat on over my pyjamas and I rode down on my bicycle with stabilisers.

Do you know what research your father did while working on his biker
novels? Was he influenced primarily by the American image of the biker,
as dished up by easy rider , B-grade American exploitation bikie films
and easyrider magazine, or did he keenly study British biker culture for
ideas?

D.J. NORMAN: He very much looked to the American Hell’s Angels for research and used the Hunter S. Thompson book in particular for the details of their initiation ceremonies, codes, and group rules etc. I don’t think that the biker flicks were a great source of research for him.

Sonny Barger and the Oakland Chapter were only small in number, but were well known. They represented a dangerous glamour and an outlaw image that the British Angels didn’t have. The British Hell’s Angels had got their whole look and ideas from America anyway.

Your father apparently anonymously submitted his first biker novel —
under the pseudonym Mick Norman — while working as NEL’s co-ed-
itor. Do you know when he eventually told Mark Howell — the other
co-editor — that he was the author? How did Howell react to this?

D.J. NORMAN: Before the Angels books were done, my dad and Mark Howell wrote two issues of the Hel ’s Angels magazine for NEL
that were very successful in which they made up all the interviews themselves. By the time that the first book came out in 1973, Mark Howell had already left NEL and gone back to live and work in America.

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While writing, did your father work primarily from home, or did he use
the NEL office? Did you ever visit him at his workplace?

D.J. NORMAN: I was way too young to have visited the NEL offices.

dad always wrote his books at home in his work room, typing away, playing records, and occasionally swearing very loudly at his typewriter.

When did you start taking an interest in your father’s NEL work? What
were your thoughts when you first began reading his paperbacks?

D.J. NORMAN: To be honest I’ve never actively pursued an active interest in NEL books. I’ve never been interested in reading the skinhead books. I hadn’t read the Guardian Angels series until they were reissued by Creation Books. Maybe this is because they’ve always been around the house. However, as I remember it, the process of getting books republished was started by me. Back in 1993, I was reading an NME interview with Stewart Home for his book No Pity, and he mentioned that Mick Norman was an influence on his writing. I sent dad the article, who then got in contact with Stewart, and through him, James Williamson of Creation Books. It went from there, and the Guardian Angels omnibus was out the next year. I’ve only read a couple of other NEL classics, one of them being 144 Piccadil y, by the film director Samuel Fuller. Another was a City Lights reader called Electric Underground out in 1973.

That was compiled by dad and featured Allen Ginsberg, and William S.

Burroughs, who is my fave literary hero. The main thing that has always struck me about reading both my father and mother’s books, is that some of the action takes place in places that are very familiar to me. When Jerry Vinson first encounters the Last Heroes in their hideout, that place was a missionary college just up the road from us in Stanstead Abbotts. The Welsh deserted village of Nant Gwrtheyrn where the Last Heroes meet the Wolves gang was a real deserted mining village that we used to walk around every year when on holiday in North Wales. After the books had come out in 1973–1974, a couple of the empty stone houses had quotes from the books painted onto the walls. So a few of the British Hell’s Angels had followed the directions in the books and went there themselves!

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When did your father’s tenure at NEL both begin and end? What did he
do after he left the company?

D.J. NORMAN: My father started at NEL in 1970 and left there in 1973. After New English Library as editor, he became a writer full time and worked from home. I guess that me, my sister and brother were lucky to have both parents around all day.

Why do you think the NEL biker and skinhead paperbacks struck such a
raw nerve with readers?

D.J. NORMAN: The reason why the Hell’s Angels and skinhead books touched such a raw nerve with young readers at the time was because they were basically action-packed with lots of ultraviolence and sex. There was nothing else like them at the time. They appeared at a time when there was more fighting between distinct youth tribes such as skinheads, hippies, teds etc., and also between black and white.

Do you know how your father looked back on his biker novels during the
later years of his life?

D.J. NORMAN: When the Guardian Angels were republished, he was of course pleased that they were going to a new audience, and that they were now considered pretty hip reading, and collectable too. Writers like Stewart Home and Tony White have followed on in the same tradition of extreme fiction. My father had no such qualms about discussing them.

He was a hack writer and proud of it. The Angels books were his first published novels, so they did represent the start of his proper career as a novelist.

Did your father keep a large collection of NEL paperbacks? Do you your-
self collect them now?

D.J. NORMAN: Unfortunately, my father didn’t keep a large collection of NEL paperbacks.

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Any final comments on your father’s career as a pulp paperback publisher
and scribe?

D.J. NORMAN: Having read the Angels books, I was amazed at how fresh they still felt despite the fact that they were over twenty years old.

All the various mock excerpts from the government reports, underground press, and rock songs were brilliantly done and all added to them and made the books different. They were politically progressive and were definitely more ‘out there’ than other ‘youthsploitation’ books of the time.

Dad was an amazingly prolific writer, churning out westerns, science fiction, horror and children’s books totalling nearly 200 in a twenty-five year career. I admire him for being able to keep up that phenomenal work rate over so long and knock out a good book.

My brother lives with his family in Harlow, Essex. He collaborated with dad on some children’s books. My mum has retired from writing after completing thirty titles. She has recently moved back to Harlow and is getting back into painting. My sister lives and works in Albuquerque, New Mexico. I live and work in south London. I have no such ambitions to be a writer. However, I do sometimes work in a small analogue recording studio with my friend Gary of the pysch band Sundial. I have engineered the likes of Sundial, Coil, David Tibet and Steve Stapleton, and Edwin Pouncey (aka cartoonist Savage Pencil).

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turNiNg oN ANd droppiNg out
drugs ANd CouNterCulture

Just as it had with juvenile delinquency in the 1950s, the increased popularity (and perceived menace) of recreational drug use amongst the youth of the 1960s provided perfect material for exploitation and profit, as did the counterculture youth movement itself. This manifested itself in both the traditional forms (film and television) and in more offbeat ways (such as the guided bus tours of the Haight-Ashbury).

Paperbacks which exploited the drug and youth movements from this era remain a relatively neglected niche, but are of definite interest and importance, in particular because they provide an invaluable insight into the way in which people viewed and reported on this movement (like the JD paperbacks, many of these books were authored by people who were totally removed from the culture which they were writing about, basing their works upon misguided and hysterical media reports).

 Drugs
by various authors (Gerald Leinwand, general editor) /

1970, Washington Square Press 671-47847-8

Part of a series dealing with ‘Problems of American Society’, Drugs is a heavy-handed look at the problem of substance abuse in the US. The first part of the book is a general overview of the current situation, putting its points forward in the form of a question (‘How Does an Addict Behave?’, etc.). The second part (which comprises the majority of the text) compiles selected articles written by various authors beneath downbeat titles (‘The

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Addict in the Street’, etc.). Other chapters present individual case studies of junkies, one of which (‘Carol’) is a reprint from the 1965 Pocket Book The Junkie Priest by John D. Harris, a biography of Father Daniel Egan.

Reading like a handout to accompany some grim drug awareness film (discussion questions after each chapter suggests the book was put together with the classroom in mind), the text of Drugs is accompanied by many gritty black and white photos — some genuinely disturbing and radiating an almost Diane Arbus quality — of junkies shooting up in dingy lofts, tripping on LSD, and even lying dead on a stairwell.

There’s a great reproduction of an ad designed to curb the increasing use of speed, featuring a photo of a very rough and dishevelled man who looks to be in this late thirties, underneath which is the caption “Happy twenty-first birthday, Johnny”.

 Fraternity of Shame
by Andrew Shaw / 1966, Leisure Books LB-1134

A sexploitation novel set amongst a swinging college, Fraternity of Shame is notable for its spectacular cover art by Robert Bonfils, which features naked girls dancing around the needle of a giant hypodermic syringe!

One of the most sought after pieces of paperback art from the period.

 Freaks
by Doug Lang / 1973, NEL 015432/UK

Freaks was one of NEL’s attempts to capture the counterculture movement from an English angle, although with this particular novel they seem to have left it a few years too late.

Written in the first person by Swansea-born poet Doug Lang, Freaks documents the drug use, sexual activities and political activism which takes place between seven people (five men and two women) who share a communal house in London for two months during the summer of 1972. Self indulgent, and written in a very disjointed style, it makes for a laborious and pretentious read, although admirers of Lang may find his jumbled, peculiar prose to be captivating.

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 Go Ask Alice
by Anonymous / 1973 Corgi 0-552-09332-7/UK

Near the door a fat girl with long string blonde hair is getting to her knees on a green upon green upon
purple robe. She’s got a guy with her and he has a
ring in his nose and multi-colored designs on his
shaven head. They keep saying ‘love’ to each other.

It’s beautiful to watch. Color intermingled with color. People intermingled with people. Color and
people intercoursing together.

Written in ‘Dear Diary’ format, Go Ask

Alice (first published in 1971) was purported to be the real life journal of a fifteen year old

American girl dubbed Alice (the name — and book‘s title — stemming from the Jefferson Airplane‘s classic LSD anthem White Rabbit), chronicling her descent from innocent high school student to teenage junkie who dies of an overdose less than three weeks after her final diary entry.

Although subsequently exposed as a fake, and containing virtually every known cliché about drugs and their side effects (she has sudden acid flashbacks which lead her straight to the hospital ward, sleeps in the park, begins to have casual sex, etc.), Go Ask Alice is amazingly still in print, and still on the reading lists for many US grade schools. What’s even more amazing is that so many people believed this account was real long before its fraudulency was ever revealed (if this was a real diary, one wonders when the writer would have actually had the time to indulge in any drug-taking).

APRIL 9: Today I went back to school and was called into the principal’s office immediately. He informed me that he had a record of my behaviour and that I was a disgusting example of young American womanhood. Then he told me that I was thoroughly selfish, undisciplined and immature and that he would not tolerate any misbehaviour on my part at all. Then he sent me to my classes like garbage thrown on a disposal. What a jerk!

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If I ever had any doubts about going into psychiatric work and guidance work, I don’t have them now. Kids need understanding, listening, caring individuals. They need me! The coming generation needs me!

Diary excerpts like the one above are included to demonstrate what a potentially valuable member of society has been wasted by the evil scourge of drug use, and of course the epilogue (‘What Defeated Alice?

— A Psychologist’s Comment’ , by James Hemming) takes the well-worn route of pleading for us to learn from Alice’s mistakes, so that her death will not have been in vain (or should that be vein?).

Interesting as a piece of historical pop-psychology, one has to wonder whether Go Ask Alice remains popular reading today purely because of its attributes as a piece of camp, hysterical madness — a diarised Reefer Madness, if you will.

Note: Go Ask Alice was adapted into a television movie in 1973. Directed by Ken Korty, it starred Jamie Smith Jackson, William Shatner, Andy Griffith, MacKenzie Phillips and Charles Martin Smith.

 The Hippie Papers
edited by Jerry Hopkins / 1968, Signet Q-3457

A paperback compilation of articles and essays culled from various underground newspapers, which were a popular forum for self-expression during the counterculture movement (particularly in San Francisco).

Chapters cover fairly predictable subjects like drugs (‘Take Tea and Sea, Take LSD and Be’), politics (‘Turn On, Tune In, Take Over’), censorship (‘F*ck Censorship!’), the police (‘Warning: Your Local Police Are Armed and Dangerous’) and education (‘Student is Spelled N-I-G-G-E-R’).

 Kent State: What Happened and Why
by James A. Michener / 1973, Corgi 0-552-09186-3/UK

“The National Guard made one mistake — they should have fired sooner and longer” (citizen and taxpayer)

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The tragedy which took place at Kent State University in Ohio during the first week of May 1970, when the Ohio National Guard opened fire on unarmed students protesting the American invasion of Cambodia, killing four and wounding nine, was without doubt one of the defining moments of that decade (certainly as far as American history is concerned). In many ways, it was both the climax of the 1960s counterculture generation, as well as being the beginning of its end. After Kent State, America settled down to become absorbed in the ‘Me Decade’ —
where the individual came first, and profit was paramount — and universities and colleges became filled with students who were progressively more interested in getting stoned and listening to Zeppelin while hanging out in the parking lot than they were in organising mass campus protests.

Kent State: What Happened and Why is a mammoth (564 pages) documentation and investigation of the events leading up to — and the consequences of — Kent State, penned by award-winning author Michener.

From President Nixon’s invasion of Cambodia, which ignited the already tense campus into holding mass protests, to the calling up of the National Guard, whose actions would eventually leave four students dead and nine others wounded. Piecing together information gleaned from interviews with just about everyone who was connected to the event, as well as a multitude of eyewitnesses, Michener’s experience with writing epic novels like Hawai holds him in good stead here, with the book reading like a taut thriller in the best seventies tradition.

For those who were either too young or too distant from the events at the time of occurrence to fully appreciate their impact, Michener succeeds in bringing both the era and the people involved in the incident back to life with amazing clarity, creating an atmosphere of a country on the verge of civil war. The narrative of the book is further fleshed out by the inclusion of dozens of stark black and white photographs which captured the incidents as they unfolded, and help bring the book visually to life. It is, perhaps, the ultimate documentation of this darkest of days in American education (only the events at Columbine more than twenty years later have come close to equalling its impact).

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 The LSD Story
by John Cashman / 1966, Fawcett/Gold Medal D-1716

“…I began to turn in on myself, to loop through my
own flesh. I swirled and involuted and squirmed and tried to keep from screaming at the glory and
the terror of it all. Then the eye appeared, a great
shining eye suspended in space. The eye pulsated
and shot rays of burning, sweet-sounding light
through my body. Suddenly I was the great eye and

I saw everything there is to see. It was ecstasy and
it was horrible and I saw it all and I understood it
all…”

No, the above quote is not taken from some cheesy, Roger Corman acid film starring Jack Nicholson or Peter Fonda. It is, in fact, a statement issued by a US college student who volunteered to take — while under clinical supervision — 100 micrograms of lysergic acid diethyla-mide (LSD).

Penned by ‘prize-winning reporter’ John Cashman, The LSD Story does occasionally read like a series of newspaper tabloid articles cobbled together to comprise a book, but the author remains fairly open minded throughout, refraining from the shock tactics and sensationalism which many other LSD studies aimed at Middle America at that time often resorted (exemplified by the plain cover design — a rarity for Fawcett’s generally gaudy Gold Medal line).

Cashman’s brief study (126 pages) is broken down into chapters which seem to zigzag all over the place, yet do add up to a decent overview of its subject as it was seen from that 1966 perspective, when LSD

— though first created over thirty years earlier — was still a relatively new and unknown phenomenon for most Americans. Apart from the expected chapters devoted to Timothy Leary, the wild ‘trips’ which can inspire both religious awakening or total insanity, and the correlation between LSD usage and the alienation of the young campus generation, The LSD

Story also looks at the political, social and military implications of LSD,

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and its potential as a treatment for alcoholics, schizophrenics and homosexuals (!). Cashman’s final paragraph reads like something which may have come to him in his own moment of LSD fuelled revelation: What it all boils down to is that all mind-affecting drugs are amazing and LSD is one of the most amazing of them all. But drugs are not magic, nor are they God’s will or the devil’s brew. They merely are. If LSD can cause heavenly visions in some, hellish experiences in others, fear in those who have never tried it, concern for the now and the future in many, perhaps it is the beholders who are inconsistent and not the drug. The Talmud says it most clearly: ‘We do not see things as they are, we see them as we are.’

 The Marijuana Papers
edited by David Solomon / 1969, Panther 586-02884-6/UK

Subtitled An examination of marijuana in soci-
ety, history and literature, The Marijuana Papers certainly tries hard to live up to its promise.

First published in the US in 1966, the book
serves as an excellent source work for all the
myths, fallacies and truths about cannabis (at
least as they were known at the time of publi-
cation). Rather than commit to any one side,
the book simply presents us with a number
of articles, essays and studies, then leaves us to form our own opinion and conclusion on
the subject (although it may appear to some
as being a cop-out, it would have been quite a
daring move for a major publisher like Panther to take at the time, when marijuana use was still a hotly debated topic and one still fighting for acceptance outside of the youth culture).

Broken down into three separate sections (‘Historical, Sociological and Cultural Papers’, ‘Literary and Imaginative Papers’ and ‘Scientific Papers’), the middle portion of the book is easily the most interesting, containing as it does contributions by Allen Ginsberg (‘First Manifesto

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to End the Bringdown’) and Terry Southern (‘Red-Dirt Marijuana’).

Southern’s piece — dating from 1960 — is a short story which illustrates the then popular (and totally misconstrued) image of the African American turning the innocent white boy onto marijuana, while Ginsberg’s essay (the first part of which was written at two a.m. whilst under the influence of grass) is a passionate defence of the drug, with the beat poet condemning America’s marijuana laws, and arguing that the only negative side effects of dope are the paranoia and anxiety one feels at the thought of being busted by the law:

It is no wonder then that most people who have smoked marijuana in America often experience a state of anxiety, of threat, of paranoia in fact, at the microscopic awareness that they are breaking a Law, that thousands of In-vestigators all over the country are trained and paid to smoke them out and jail them, that thousands of their community are in jail, that inevitably a few friends are ‘busted’ with all the hypocrisy and expense and anxiety of that trial and punishment — jail and victimage by the bureaucracy that made, propagandised, administers, and profits from such a monstrous law.

pg. 270

Elsewhere in The Marijuana Papers, we get Timothy Leary’s ‘The Politics, Ethics and Meaning of Marijuana’ (which he eventually whittles down into two basic commandments: [ 1] Thou shalt not alter the consciousness of thy fellow men, and [ 2] Thou shalt not prevent thy fellow man from altering his own consciousness ), and even a reprint of William S. Burroughs’ 1963 piece ‘Points of distinction between sedative and consciousness-expanding drugs’ (in which the writer declares cannabis a key to the creative process, and of great benefit to the artist).

The Marijuana Papers was published as part of Panther’s Modern Society series, which also included Gillian Freeman’s The Undergrowth of Literature, a look at all the English language publications which deal with sexual fantasies.

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 Sex-Happy Hippy
by R. N. Nelson / 1969, Candid Reader CA-954

Another softcore sex paperback set within the counterculture, Sex-Happy Hippy is worth pointing out for the purple haze cover art (artist unknown), which features the unmistakable likeness of Frank Zappa peer-ing out from the bottom left hand corner! The image of Zappa seems to be taken direct from a publicity still, and looks to have been added onto the artwork as an afterthought, as it doesn’t blend in particularly well with the rest of the image. One has to wonder what Zappa thought about his visage being used to sell an adult novel, if indeed he was even aware of its existence.

 Sin Street Hippy
by J. X. WIl iams / 1968, Corinth Publications NB-1872

Although overly desperate to be hip, this is an enjoyable softcore title set in Greenwich Village, where a politician is making things tough for a beatnik coffee house run by his daughter’s boyfriend. Although the constant, forced usage of beatnik slang throughout the novel quickly wears thin, it is still worth persevering for the odd little touches of creativity, such as the staging of a play at the coffee house, which is reproduced in its entirety in proper script format, complete with stage directions.

 We are the People our Parents

Warned us Against
by Nicholas Von Hoffman / 1968,

Fawcett Crest 499-01543-095

Originally published as a hardback by Quad-
rangle, Nicholas Von Hoffman’s book is con-
sidered a classic journey through the height
of hippie life in the Haight-Ashbury district
of San Francisco, capturing the whole scene
just as it was turning dark and ugly. Observa-
tions and third-party recollections collide to

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give the book a duplicitous feel; at times it reads like an extended LIFE
magazine cover story, while at other times it comes across as corny as one of those hippie exploitation films which were being turned out by the studios at the time (often by people who had no experience or understanding of the counterculture movement). The book even includes ad reproductions for films like The Love Ins (1967) and Maryjane (1968).

If the Love Generation, platonic, sexual, or political, was easy to announce on the billboard, it was harder to find in fact, though God knows there were enough reporters sent looking for it.

To his credit, Von Hoffman does at times create a genuine feel for a lifestyle in Haight-Ashbury that was completely at odds with the image held by Mr. and Mrs. Middle America (again, cultivated in part by cinema, along with sensationalistic media stories, and the portrayal of hippies on television shows like Laugh-In). The book also makes for a handy guide to drug-dealing etiquette, and depending on your sensibilities will make you either glad or sad that you weren’t there when all this psychedelic madness was going down.

be warned
someone is passing out bad trips
in
coffee mugs
he is about six feet tall, long dirty-blonde hair, well dressed, but wears a mean expression. he will offer you a mug of coffee that contains a stiff dose of belladonna and speed — if you see this monster, warn everybody in sight.

—Late summer sign on Psychedelic Shop window

 Woodstock
by Richard Hubbard / 1971, Award Books A840N

The Woodstock music festival, one of the true defining cultural moments of the twentieth century, and the apex of the love and peace movement (af-

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ter Manson and Altamont, it had nowhere to
go but down), is used as the backdrop for this
mild sexploitation title, in which author Hub-
bard has his ‘Four Apostles’ — Matthew, Mark,

John and Irving — plan their own follow-up
event, one in which they hope to attract:

With-it chicks fed up with the same old scene, squares who like to groove by night, acidheads, tee-nyboppers newly turned-on to sex, cool cats out to
score, rich brats making the festival’s sickest scenes, and a lot of kids just looking for kicks…

It’s a hell of a promise, and one in which the book unfortunately (but not surprisingly) fails to deliver. In fact, the sex is kept to a minimum (most of the characters are too busy sucking down bongs to think about that business), and much of the story is bogged down as the organisers try to get the local authorities and residents to allow the concert to go ahead (after what they went through with the first Woodstock, they’re understandably reluctant to repeat the experience).

Still, Woodstock stands unique as the only adult paperback I have come across (so far) to exploit the festival itself, and the strong smell of stale ganja which wafted into my face as I first flicked through the book (having purchased it second hand from the US) has certainly helped endear me to it!

sCreAm ANd sCreAm AgAiN
horror tie-iNs

Movie tie-in paperbacks have long been popular, chiefly because they provided film buffs with a means to relive their favourite cinematic moments in those dark days before the popularisation of home video.

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Apart from the purely nostalgic appeal, another important aspect of the film tie-in can be the additional information which they often reveal about plot and character. This is usually the result of the author being given either a shooting screenplay, or a rough cut of the film, upon which to base their adaptation (this allows the paperback to be released simultaneously with the film, ensuring optimum sales and cross-publicity). As a result, sequences which are subsequently edited from the final cut of the film prior to release are likely to turn up in the novelisation. Of course, some authors can take it upon themselves to provide their own story and character embellishments, occasionally creating a work which is surreal and schizophrenic in nature (and as we shall see in our later look at the paperbacks of herschell gordon lewis, some novelisations exist on a completely different plane to their cinematic counterparts).

 The Bride of Frankenstein
by Carl Dreadstone / 1977, Berkley Medal ion 0-425-03414-3

This was one of a series of six novelisations of classic Universal horror films which Carl

Dreadstone authored in the mid 1970s.* A
very faithful adaptation of William Hurlbutt’s
screenplay — and packed with many fine black
and white stills — it makes for a quaint relic
from an age of horror film fandom that was on
the verge of major change (within a few short
years, the glossy Fangoria would dethrone the waning Famous Monsters of Filmland, make-up artists like Tom Savini would replace ac-
tors like Karloff and Lugosi as horror’s big-
gest names, and any subtlety and atmosphere
present in the genre was lost amidst a cesspool of crappy teen-in-peril splatter movies).

* The other titles, all published by Berkley Medallion, are Creature from the Black Lagoon, Dracula’s Daughter, The Mummy, The Werewolf of London and The Wolfman.

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The Bride of Frankenstein also features a nice introduction by Ramsey Campbell, who presents his appreciation of James Whale’s 1935
film, along with some interesting information regarding its production and critical reaction (the Sunday Express called it “an unpleasant shocker which revels in its morbidity”), along with details of a scene cut from the shooting script which shows a villager taking advantage of the Frankenstein monster’s rampage to knock off his grandfather and take off with his loot.

 Dawn of the Dead
by George Romero & Susanna Sparrow / 1979, Sphere 0-7221-7452-7/UK

Upon its very low-key Australian cinema re-
lease in 1979, Dawn of the Dead only played
for about one week in Melbourne. Having read
about the film in the debut issue of Fangoria

(which published a spectacular colour shot of
that Tom Savini-orchestrated shotgun blast to
the zombie head which highlighted the open-
ing sequence of the movie), I remember leaping
off the couch in excitement as a trailer for the
movie was broadcast on television, then sink-
ing back down in despair when I saw the rat-
ing it had been slapped with — the deadly ‘R’

(restricted to adults over the age of eighteen).

Having resigned myself to the fact that my sorry fourteen year old backside would never make it past the ticket box, I decided to pick up the paperback novelisation from Space Age Books in Swantson Street (Melbourne’s then-mecca for science fiction geeks and horror film freaks), thinking it would be little substitute for the actual film experience. How surprised I was to find myself devouring almost the entire book in one long session (it was actually the four hour walk from Space Age Books back to my house, as the cost of the paperback had actually eaten into my train fare home!).

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Co-authored by director George Romero and Susanna Sparrow, the novelisation of Dawn of the Dead makes for a rollicking, exciting horror-cum-action story — much like the film itself. However, devoid of the film’s gaudy visuals, the novel takes on a somewhat darker tone than the comic book violence which permeated the movie.

It would be interesting to see if Romero actually had an active hand in writing the novelisation, or if Sparrow simply adapted it from his existing (and by all reports, quite lengthy) treatment and screenplay.

Certainly many portions of the book (particularly the long action passages) bear some similarities to Romero’s screenplay style and formatting, which are very free flowing and descriptive. However, the novel does not contain much that wasn’t included in the initial cut of the film (such as those scenes included in the longer Cannes festival print, or the later director’s cut), indicating that the book must have been penned after the final edit of the original theatrical version had already been settled upon.

Note: There was also a trade paperback version of the Dawn of the Dead novelisation, which included a graphic full colour photo insert section.

 Friday the 13th, Part 3
by Michael Aval one / 1982, QB Books 0-7255-1281-4

Although inspired by the success of John Car-
penter’s masterful Hal oween (1978), Sean S.

Cunningham’s 1980 quickie Friday the 13th
was the film most responsible for igniting the

‘stalk and slash’ genre which dominated horror
cinema for the first half of the eighties (look-
ing back, it’s almost hard to believe that films
like Happy Birthday to Me, My Bloody Valen-
tine, Slumber Party Massacre and a multitude of others actually garnered widespread cinema
releases, while within a decade similar fare was
being relegated straight to the video shelves).

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Although hardly an interesting or semi-complex villain like Michael Myers ( Hal oween), Leatherface ( The Texas Chain Saw Massacre), or even Freddy Krueger ( A Nightmare On Elm Street), Jason Voorhees —
the hulking, hockey masked, kitchen implement-wielding villain at the centre of most of the Friday the 13th movies — has managed to slash his way into popular American culture, with his visage adorning model kits, action figures, trading cards, computer games, comic books and other memorabilia.

In my horror obsessed world, Jason Voorhees quickly managed to wear out his welcome. Although Cunningham’s initial feature worked extremely well as a roller-coaster ride of cheap, gut level scares, each subsequent sequel in the series became an increasingly predictable exercise in banality, with stupid and clichéd characters who existed solely to get sliced and diced in the most gruesome and graphic ways imaginable (although the splatter make-up effects were inevitably trimmed by the censors in most countries, rendering most of the ‘highlights’ impotent).

The Friday the 13th films didn‘t make it into novelisation form until the release of the third film in 1982, making this book amongst the first pieces of memorabilia produced for the series.* The only one I’ve ever bothered with is Michael Avallone’s adaptation of the third film, partly because I had enjoyed the movie’s trashy 3-D in which it was filmed, and because the film was so underdeveloped (take away the 3-D effects and you have possibly the most thinly plotted horror film ever to be released by a major studio) that I was intrigued to see how a writer could draw enough plot out of the screenplay to fill 200 pages.

Unfortunately, the novelisation for Friday the 13th, Part 3 contains nothing in the way of originality, nor does it try to add anything new either in the way of plot or character. Like the film, the only (mildly) amusing characters are Chuck and Chilli, a pair of permanently stoned campers obviously moulded on Cheech and Chong, and a trio of sweaty, inept bikers who terrorise the campers before getting pitch-forked by Ja-

* In 1986, author Simon Hawke adapted Jason Lives: Friday the 13th, Part 6 and penned novelisations for the first three Friday the 13th films, including a rewrite of Part 3, which were published in paperback form by Signet in the US in 1987/88. The Friday the 13th TV series also inspired a number of paperback tie-ins.

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son. Sure, these characters are clichéd and badly written, but at least their presence brings some diversity to the environment, and helps tie the film to its exploitation roots. Without them, the book (and film) would be even more of a chore to endure. Actually, you can just skip the text and flick through the sixteen pages of black and white stills, which pretty much tell the story in full.

 Gorgo
by Carson Bingham / 1960, Monarch MM-603

A British cash in on the Godzil a films, Gorgo was an enjoyable monster mash romp from
director Eugene Lourie (who had directed the
classic Beast from 20,000 Fathoms in 1953).

Apart from its London setting and UK accents,
there’s not much to differentiate the film from
its Japanese inspiration (although the sight of

Gorgo trampling typically unconvincing mini-
atures of famous London monuments certain-
ly provides a sense of excitement). Released
at a time when most UK horror films were
desperate to emulate the success of Hammer’s
gothic, gory period pieces, Gorgo was a surprising crowd-pleaser, spawning not only this pa-
perback tie-in, but even its own American comic book series, published by Charlton and running for a healthy twenty-three issues from 1961 to 1965 (the comic featured some nice artwork by Steve Ditko, and near mint copies of the first issue are now priced at $450 in the Overstreet Comic Book Price Guide).

The novelisation of Gorgo is, like the film, entertaining if low-rent trashy thrills are the order of the day. Carson Bingham was the pseudonym of Los Angeles born Bruce Cassidy, a radio announcer and script-writer who puts his experience in those mediums to good use here, with the novel reading at times like an old-fashioned radio drama. Cassidy

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was also a hardened WWII veteran, having served with the US Air Force in Tunisia, Algeria, Italy and Puerto Rico.

Apart from his Bingham pseudonym, with which he wrote such juvenile delinquency paperbacks as the classic Run Tough, Run Hard (1961) and The Gang Girls (1963), Cassidy also used the name Max Day to author a number of adult titles, including So Nice, So Wild (1959), The Resort (1960) and Bachelor In Suburbia (1966). He also had many mystery paperbacks published under his own name, such as The Buried Motive (1957), Payola Woman (1960) and The Corpse in the Picture Window (1961).

In an interview published in issue No. 57 of the US fanzine Paperback Parade (April 2002), Cassidy shared some interesting recollections of his work on the Gorgo novelisation:

Gorgo was the first book I did for Charles N. Heckelmann at Monarch Books, and the first time I used the Carson Bingham aka. Charlie was unable to get a screening of the film for me, and so I was presented with a copy of the shooting script of the movie and told to see that for guidance.

The script was all action, and consequently very short without a lot of palaver in it. Some of the stuff was labeled “process shots” and “street scenes to be selected later”, and with no indication of what was happening on the screen. I also remember thinking that the hero really didn’t have much of a part in the thing except for the fact that he was in all the action sequences. I realized that if the prose was in first person I’d have an easier time in padding out the pages of the manuscript. Most movie scripts are written from a universal point of view; that is, the various groupings and settings collect up in sequence, but there is no one person stringing them all together. I should think Gorgo was one of the first scenarios changed into a first-person rendition, rather than a third-person narrative.

I still needed words, words, words. And then it hit me. In books into movies, producers add a girl. I turned that on its head and in my movies into books I added a girl, too — not the kind of thing that’s generally done. Mild sex only, please.

The action of the film takes place around Ireland and England, with part of the story set off the west coast of Ireland. And so I added another wrin-

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kle: I bought an English-Irish dictionary and had the girl occasionally lapse into Gaelic for the sheer picturesqueness of the thing. Anyway, I got about 50,000 words out of all the types of padding I used.

I also purchased a book on the city of London at a remainder sale, from which I added detail of a descriptive nature: the beast roamed Piccadilly and the Thames River. When I finally got over to London for the first time in 1975, I was surprised and gratified to see that my research had not all been in vain. I had it down pretty good for an armchair globe-trotter.

 Great Monsters of the Movies
by Edward Edelson / 1974, Pocket Books 0-671-29953-0-150

While not a novelisation per se, this title deserves mention here as it is a good example of
the kind of paperback published in the early

1970s to cash in on the continuing popularity
which vintage fright films were experiencing

(thanks largely to Famous Monsters of Filmland
and the continual presence of old horror mov-
ies on late-night American television).

At a slim 120 pages, Great Monsters of the

Movies reads almost like a paperback version
of Famous Monsters (which is I suspect is ex-
actly what the publishers were aiming for —
even the title of the book echoes Forry Ack-
erman’s magazine). Edelson provides a very
compact history of horror cinema, devoting chapters to all the usual suspects (Lon Chaney, Bela Lugosi, Boris Karloff, King Kong, etc.). Space is handed over towards the rear of the book for slightly more modern fare (such as the early Hammer horror films, The Day of the Triffids and even Mario Bava’s Planet of the Vampires, which seems strangely out of place here), but the high violence and sexual excesses of 1970s genre films are completely ignored.

Illustrated throughout with a number of fairly common black and white stills, Great Monsters of the Movies was obviously written with a

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younger audience in mind, and survives today as a rather quaint little relic of a much more simple time in monster movie fandom.

 The Incredible Melting Man
by Phil Smith / 1978, New English Library 43487/UK

Written and directed by William Sachs,* The Incredible Melting Man was something of an anomaly for late seventies genre cinema: a horror/science fiction film recalling (with seeming pride)

the B-grade monster movies of the 1950s, yet
piled on the gore which hardcore exploitation
audiences from that era demanded (courtesy
of make-up maestro Rick Baker).

When astronaut Steve West returns to

Earth as the sole survivor of the Prometheus

One space exploration mission, he is consid-
ered lucky until it’s discovered that he has been
infected with a radioactive virus that not only
causes his skin to rapidly degenerate, but also
gives him an appetite for human flesh (for no
other reason than to beef up the horror con-
tent). Although not a new ploy, one refreshing aspect of the story is the fact that the character retains his sense of sanity and wrong-doing, fully aware of, and loathing, his vile deeds yet unable to control or stop himself.

Phil Smith’s routine but rarely dull novelisation of The Incredible Melting Man has both its positives and negatives. On the one hand, without the disgusting but impressive Baker effects to marvel at, much of its visceral impact is lost. On the plus side, at least we are spared the trauma of having to suffer through the clunky, sub-porno level of acting which permeated the film.

* Sachs went on to write and direct the science fiction fantasy Galaxina in 1980, starring the ill-fated Playboy playmate Dorothy Stratten, who was murdered by her estranged husband Paul Snider on the day the film was released.

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 Inseminoid
by Larry Mil er / 1981, New English Library 0-450-05224-9/UK

Directed by Norman J. Warren (who, along
with Pete Walker, waved the flag for 1970s

British horror cinema), Inseminoid was a slea-zy but highly enjoyable Alien rip-off, and its release in many ways represented the close of
an era, as the home video market all but spelt
the end of low budget horror cinema in the

UK (Warren and Walker would rarely work
in the genre again).

Featuring a slumming cast that included

Judy Geeson, Victoria Tennant and Stephanie

Beacham, Inseminoid sold itself on a sequence which depicted the alien impregnation of a
young female astronaut (Geeson, who thrilled many with her nude moments here), as well as the subsequent birth. Naturally, these sequences also provide the highlights of the novelisation, with the rape in particular being described in gloriously tacky detail:

When the creature saw she was no longer struggling, it released its grip on her and with a curiosity of its own began examining the young woman spread beneath it on the floor. Suddenly and without warning it flung itself onto Sandy and dug its sharp teeth into her bare shoulder. Blood trickled down her arm from the wound. A moan came from within her but the creature was oblivious to all but one thing. Its tongue lashed out and whipped back in its mouth taking with it a sample of the woman’s blood. It stared at her belly then its eyes fell lower. A claw grabbed the elastic of her panties and ripped through the flimsy material.

With unrestrained fervour the creature inserted one of its sexual organs into her womanhood, pushing the long thin member deeper and deeper, and ejaculated into her. Then the second organ penetrated and ejaculated in the same way.

The creature rose from her body, a body now covered in greasy yellow saliva. The fluid was on Sandy’s face, her breasts and it ran down her thighs.

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Although not an exceptional read, Larry Miller’s novelisation does —
like the film — move along at a steady clip and, free from any budgetary restraints, is able to bring a greater degree of menace to the alien creature, as well as a more epic sense to the extraterrestrial settings.

 The Making of Exorcist I : The Heretic
by Barbara Pal enberg / 1977, Warner Books 0-446-89361-7/UK

‘Making of ’ paperbacks proved to be quite popular during the mid 1970s.

Before cable television shows and magazines like Entertainment Tonight brought us behind-the-scenes glimpses of almost every feature to go before the camera — and long before the world wide web gave us access to virtual day by day filmmaking diaries — ‘making of ’ books provided an interesting account of the mechanics of motion picture production; a virtual documentary in text form. They are especially fascinating when they cover a film that went on to become a monumental flop, as did Exorcist II: The Heretic, John Boorman’s ill-fated sequel to William Friedkin’s 1974 classic.

More than just a critical and box-office disaster, The Heretic was one of those confused, ill-directed and just plain dumb movies, which ranks alongside such other famous misfires as Ishtar, Bonfire of the Vanities and Hudson Hawk as studio embarrassments of the highest order (although the film certainly does have its admirers — there are many who view The Heretic as a brilliant study of New Age mysticism, though they are few and far between).

Pallenberg doesn’t get to cover the release and subsequent condemnation of the movie (even if she did, it’s highly unlikely it would have made it into print, seeing as the book was published by Warner, who produced the film), but she does give us a thorough overview of the production, from script development to casting, through to production, editing, special effects and the final wrap. Pallenberg remains rather clinical and detached in her observations, with most of the controversy limited to dissatisfactions over dialogue, although as the deadline for completion looms — with so much of the film yet to be completed — tensions start to mount as star Richard Burton threatens to walk off to begin his work

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on Equus, and Linda Blair has to try to keep it together after a split with her boyfriend.

The most interesting chapters are easily the earlier ones, as we get to witness the development of the film from the initial idea to produce a low budget ($3 million) rehash of the original Exorcist, to the high-concept ideas which would eventually surface in William Goodhart’s completed screenplay (and of course, John Boorman’s unique interpretations of this script).

Like most ‘making of ’ paperbacks, The Making of Exorcist II: The Heretic is illustrated, with sixteen pages of black and white photos, many of them behind the scenes shots.

 Queen Kong
by James Moffat / 1977, Everest Books 0905018-419/UK

The discovery of this paperback in my local
used bookstore has convinced me that any film may have its own tie-in novel sitting out there
hidden on some musty old shelf, waiting to be
rediscovered.

Rushed together in an attempt to cash in
on the hype surrounding Dino de Laurentiis’

much anticipated (and ultimately unfulfilling)

remake of King Kong, Queen Kong is a ludicrous UK comedy starring Robin Askwith

(the Peter Noone look-alike best known for
his roles in several of the Confessions of… films made in the mid seventies) and Rula Lenska

(red-headed star of The Rock Fol ies and a minor UK TV celeb) alongside a giant female gorilla with obvious breasts. The basic story of King Kong is reversed: Lenska plays a filmmaker named Luce Habit, and Askwith her leading man Ray Fay, who is captured by a race of beautiful Amazonian women while shooting on location in the jungle (the leader of the bikini clad tribe is statuesque Hammer and Carry On beauty Valerie Leon). Fay is offered up to Queen Kong as a sacrifice (they put

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him inside a giant cake!), but of course the ape ends up falling in love with him instead. The remainder of the plot follows the original film closely, substituting London for New York, with Queen Kong ending up atop Big Ben.

Upon its completion, the producer of Queen Kong (Virgilio de Blasi) was threatened with a plagiarism lawsuit by de Laurentiis, and the film was subsequently buried (meanwhile, de Laurentiis got away with murdering a classic). Nearly thirty years later, Queen Kong is still unofficially available in any format, although it has become something of a mild cult favourite amongst certain bad film freaks who have obtained bootleg copies of the film (and it’s not too hard to see why, as the film — stupid thought it may be — does have its own certain charm, and is actually quite amusing in spots).

James Moffat’s novelisation of Queen Kong is basically a straight re-telling of Frank Agrama and Ronald Dobrin’s screenplay, although without the aid of visuals (and Askwith’s unique facial expressions) Moffat has to resort to describing many of the visual gags, obviously lessening their impact and spontaneity. However, at least we get eight pages of black and white stills from the movie to enjoy, and the book itself is a definite must-have curio for all fans of 1970s camp UK cinema.

If it had not been for the hairy fingers grasping him, and, especially, the stentorious grunting conversation in gorilla tongue as his captor kept pausing to examine and chat to him, Ray could easily have believed he was being taken for a fast whip through Kew Gardens.

 Return of the Living Dead
by John Russo / 1978, Dale Books 0-89559-062-X

Dawn is a time of rebirth.

All life senses this, the rising again to face new beginnings. Our story begins at dawn. Or should we say, our story begins again.

John Russo co-wrote with George Romero the original screenplay for the landmark independent horror film Night of the Living Dead (1968).

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He also authored the paperback novelisation
of the film,* before embarking on his own
moderately successful career as a horror nov-
elist (he has also tried his hand at directing, with his best effort being the adaptation of his
novel Midnight in 1981).

Return of the Living Dead was Russo’s fol-
low-up to Night. Published just prior to the cinema release of Dawn of the Dead (see dawn
of the dead review this chapter), Return
of the Living Dead was a project which Russo himself hoped to adapt into a feature film (it
would take another six years before the film
would eventually come to fruition — albeit in
a drastically different form — as the 1985 Dan

O’Bannon directed comedy/horror classic, on
which Russo receives a co-writing credit).

As a novel, Return of the Living Dead bears
no resemblance to the splatterpunk comedy
film which it eventually spawned. It follows in-
stead the downbeat, serious tone of the origi-
nal source material, even emulating it with the
inclusion of old civil defence radio broadcasts,
which provide background information on the
origins and evolution of the living dead plague.

Set in a small country town, where a horrific bus crash re-ignites the zombie epidemic which has been brought under some semblance of control, Return of the Living Dead does seem to retread a lot of familiar ground from the original movie, but Russo does have a flair for creating

* Russo’s novelisation of Night of the Living Dead was published by various publishers in many countries, including New English Library in the UK and Warner in the US (the Warner release included a sixteen-page photo insert). One of the most obscure and nicest printings of the book is the 1979 German release published by Taschenbulch under their Vampir Horror-Roman imprint, which features a great piece of dark, gothic cover art that may not have reflected the actual setting of the story (I don’t recall an old castle in the book or film!) but certainly had the atmospheric edge over most other cover designs used for the title.

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memorable white trash characters, and knows the audience whom he is primarily writing for, which ensures that it’s never more than a few pages before some ghastly horror unfolds.

Tacky but rousing entertainment, and certainly an important part in the Night of the Living Dead legacy.

 The Scars of Dracula
by Angus Hal / 1971, Sphere 42714/UK

While not one of Hammer films’ more memorable outings (by the time of its release, the hallowed production company was in obvious decline), I’ve always harboured something of a soft spot for The Scars of Dracula, no doubt because it was one of my earliest introductions to both Hammer horror and Christopher Lee’s characterisation of Count Dracula (along with The Horror of Frankenstein, The Scars of Dracula would show up on late-night television at least once every couple of months in the late seventies. Of course, I would ignore my parents’ orders and dutifully stay up to watch each screening through red, appropriately bloodshot eyes, until I knew the film off by heart).

For this reason, Angus Hall’s novelisation of Scars of Dracula always took something akin to pride of place on my shelf of Hammer memorabilia (which back then consisted merely of a few paperbacks, a small stack of Dez Skinn’s Hammer House of Horror magazines, one copy of Little Shoppe of Horrors (the ultimate Hammer fanzine), and a set of lobby cards from Hammer’s Phantom of the Opera remake). Maybe it was the cover photo of Chris Lee, bending menacingly over the bloodied corpse of a female victim, which endeared the novel to me (especially since this scene, along with most of the other violence and nudity in the film, was missing from the print which screened on television).

Devoid of the rich visuals, stirring musical score and distinctive performances that were evident in even their worst productions, most of the Hammer tie-ins make for faithful but fairly unmemorable reading, and at the time of their publication would have been best suited to younger readers who were not allowed to see the films, yet had marvelled at the full colour stills from them which used to fill the pages of hardcover

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books devoted to horror cinema (in particular, the works of Alan Frank, whose studies like Horror Films and Monsters and Vampires turned many a young reader onto the genre in the mid seventies).

Published simultaneously by Beagle Books in the US, Scars of Dracula was one of four Hammer films to be novelised by Sphere; the others being Countess Dracula, Lust for a Vampire and Hands of the Ripper. Among the more desirable of the Hammer tie-ins are the Perma Books’ edition of Dracula published in the US to coincide with the release of Horror of Dracula in 1958, and Panther’s tie-in for The Revenge of Frankenstein —
published the same year — which features a magnificent cover illustration of Frankenstein’s creation suspended in a glass cabinet, awaiting his birth (oddly, no author is directly credited with the novel, it is merely

“Based on a screenplay by Jimmy Sangster”, with “additional dialogue by Hurford James”).

 Scream and Scream Again
by Peter Saxon / 1967, Paperback Library 52-598

Although it has developed something of a mi-
nor cult following over the years, Scream and

Scream Again (1969) is a much-neglected little UK horror gem from the era. Directed by the
usually trashy Gordon Hessler (who helmed
the woeful 1978 TV movie KISS meets the

Phantom of the Park), Scream and Scream Again transcended its memorable title and poster art

(“TRIPLE DISTILLED HORROR… as
powerful as a vat of boiling ACID!”) to de-
liver a surreal and disturbing horror thriller
which resonated with mod sensibilities while
simultaneously exuding a classy, old-world at-
mosphere (thanks chiefly to a cast of greats that would make any self-respecting Famous Monsters of Filmland reader salivate, including Peter Cushing, Vincent Price and Christopher Lee).

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Part of the reason for the success of Scream and Scream Again can be gleaned from its source material. Originally published in 1966 as The Disoriented Man, Peter Saxon’s novel of Scream and Scream Again is a dark and brooding story of modern black magic, seeing Frankenstein reborn thanks to the breakthrough in organ transplants, with elements of Nazism thrown into the mix for added spice.

“I’ve never seen anything like it”, said Keene. “I’ve heard of animals biting and tearing their legs off in order to escape from a trap — but a man! It simply isn’t normal…”

Peter Saxon was a house name for a number of authors — including Martin Thomas, Stephen Frances and Wilfred Glassford McNeilly —
on a series of black magic and voodoo themed paperback originals, including The Darkest Night, The Torturer and Corruption (filmed in 1967, also with Peter Cushing). Both Scream and Scream Again and Corruption are thought to be the work of McNeilly.

Although Paperback Library published a film tie-in edition of Scream and Scream Again in 1970 — with a photo cover that featured none of the major stars of the film — I’ve always favoured the 1967 printing, primarily because of its rather trippy and dreamlike cover art, supplied by Victor Kalin.

 Squirm
by Richard Curtis / 1976, Sphere 0-7221-

2731-6/UK

I know that my redeemer liveth, and that he
shall stand at the later day upon the earth. And
though after my skin worms destroy this body,
yet in my flesh shall I see God.

Book of Job, Chapter XIX, verse 25

One of the most fondly remembered movie

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going experiences of my youth occurred on a Sunday afternoon in 1976, when I jumped on a train and — for the first time solo — headed into the heart of Melbourne to catch a screening of a new, for one week only horror double bill at the much-missed Dendy Cinema fleapit (an underground tomb which spent its last decade as a hardcore porn cinema

— apart from their brief run of The Texas Chain Saw Massacre in 1983

— before being concreted over in the early 1990s). The main feature, Bert I. Gordon’s ludicrous ‘adaptation’ of H.G. Wells’ Food of the Gods, was enjoyable enough in its own lame, schlocky way (and I do have to credit it with introducing me to the magnetic talents of child evangelist turned exploitation actor Marjoe Gortner), but it was the supporting feature, an obscure low budget American film called Squirm, which really got to me.

It was one of those rare occasions where a horror film actually had me looking behind my bedroom door and opening the cupboards in trepidation for months after seeing it.

Written and directed by Jeff Lieberman, Squirm was an atmospheric southern horror, set in the small Georgian town of Fly Creek, where a freak electrical storm has driven the worms out of the earth, imbuing them with a ravenous appetite for human flesh! The film successfully played to the natural revulsion which most people feel towards worms, with the major set-piece being an early Rick Baker effects sequence depicting a number of large worms literally burrowing their way through a man’s face (an amazingly unsettling image that should be considered one of the most iconoclastic moments in 1970s low budget American horror cinema).

Richard Curtis’ novelisation of Squirm is required reading for fans of Lieberman’s film. Not only is it one of the few meagre pieces of memorabilia available from the film (apart from the standard posters, stills and lobby cards, etc., there was also a 200’ 8mm digest version of the movie released by Ken Films), it succeeds in actually fleshing out and developing many of the characters from the film, particularly that of the unfortunate Roger Grimes (played on screen by R.A. Dow), whose face becomes the testing ground for the previously mentioned Rick Baker effect. While in the film Grimes is used as little more than a generic southern slime-ball out to cause the hero and heroine a few headaches, Curtis uses the

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novelisation to delve into his background, particularly in the moody prologue, which is set in 1960 and depicts Grimes as a small farm boy, whose nonchalance towards worm farming turns to revulsion and fear after the death of his mother, and the realisation that her body will eventually be digested by the slimy creatures. His hatred is made even more intense when he loses his finger to one, after stumbling upon his obsessive father’s experiments with using electricity to stimulate the rapid growth of worms.

It provides a great set up for the character’s later actions, and a nice starting point for this highly efficient little creature feature.

 Zacherley’s Midnight Snacks
by various authors / 1960, Bal antine 370-K

While unknown to the majority of people outside his home country, Zacherley is something of an icon to American baby-boomers. A television horror movie host, Zacherley came along at just the right moment, when Famous Monsters of Filmland magazine and the premiere of all those classic Universal horror films on US TV sparked a monster movie craze (along with the accompanying merchandising blitz). An influence on just about every horror host who came down the pike in subsequent years (the closest Australia came was with the Deadly Earnest character, who presented movies on ATV-10 in the 1960s and early seventies), Zacherley (born John Zacherle in Philadelphia on September 27, 1918) would fumble about his cheap laboratory set, blowing things up and making ghoulish, tongue-in-cheek remarks about the particular film he was presenting.

This collection of short stories was no doubt cobbled together by Ballantine in an attempt to cash in on Zacherley’s burgeoning popularity.

Although it has absolutely nothing to do with the horror host (apart from the fact his name is on it, and a sepia toned photograph of him in his lab appears on the back cover), this is still a fairly good collection of macabre short stories from a number of respected writers, including

‘Sorry, Right Number’ by Richard Matheson, ‘Talent’ by Theodore Sturgeon and ‘The Ghost’ by A.E. Van Vogt. Rounding out the anthology are a number of stories by lesser names, the best of which are ‘Carillion of

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Skull’ by Phillip James, ‘The Piping Death’ by Robert Moore Williams and ‘The Whispering Gallery’ by William F. Temple. All of the stories are reprints culled from various pulp magazines published during the 1940s and fifties, including Beyond, Unknown and Thril ing Wonder.

Ballantine also published a follow-up anthology later in 1960 called Zacherley’s Vulture Stew (417-K), which featured Zacherley on the cover illustration and contained a one-page bio of the character. Zacherley is still a popular guest at horror conventions and Halloween functions.

hersChell gordoN leWis
the gore Novels

After spending most of the 1970s rotting away in obscurity, the ground breaking gore and sexploitation movies of Herschell Gordon Lewis re-emerged with a vengeance in the early 1980s. Spurred on by retrospectives in both pro and fan magazines like Fangoria and The Splatter Times — as well as the release of several of his films on the then-burgeoning videocassette market — the interest in, and appreciation of, Lewis and his work became more intense than it had ever been during his actual period of filmmaking (1960–1972), with newly appointed ‘gorehounds’ scrounging high and low for original posters, stills, press books and other Lewis memorabilia.

As further digging into Lewis’ work was conducted, it soon emerged that the one-time Mississippi State University English and Humanities teacher had authored paperback novelisations of his infamous trilogy of ‘blood films’: Blood Feast (1963), Two Thousand Maniacs! (1964) and Color Me Blood Red (1965). While these paperbacks (published by Novel Books) are now extremely rare (and, like most original Lewis memorabilia, usually sell for high prices on the odd occasions they surface), Fantaco Enterprises reprinted Blood Feast and Two Thousand Maniacs! in 1988, with re-designed covers, colour photo sections, and new introductions provided by Lewis himself.

Originally authored under the pseudonym of L.E. Murphy (a ‘prize-winning author’, according to the cover blurb), Blood Feast is one of the

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most bizarre, off the wall film novelisa-
tions you’re ever likely to read. The frag-
mented text is like a demented Dragnet
episode, with detective Pete Thornton

(played in the film by Lewis stalwart

Thomas Wood) providing the bulk of
the narration. Detractors who claim
that any humour which the film pos-
sesses is purely the result of budget-
ary restraints and production inepti-
tude should read the novel, as Lewis’

tongue-in-cheek intentions are appar-
ent right from the opening paragraph:

It was a lousy day for Gloria. Thursday,

April 14th. Everything had gone wrong. She was late for work, caught a run in her stocking, got an overdraft notice from the bank, lost her umbrella, learned that Karl wouldn’t be able to keep their dinner date… And, at 9:14pm, she was murdered. Nothing ever seemed to go right.*

Aside from the disjointed nature of the text (with whole chapters put together as strange little character vignettes), one of the most interesting aspects of the Blood Feast novelisation is the inclusion of characters not featured in the film, such as Donald Roberts (an eccentric millionaire playboy), Lieutenant Abercrombie, and Sergeant Bull Schitt (!).

In contrast, Lewis’ novelisation of Two Thousand Maniacs! is written in a more traditional, straightforward style, and follows the narrative of the film quite closely. Lewis elaborates on the relationship between Tom White and Terry Adams (played in the film by Thomas Wood and Connie Mason), and the exaggerated southern characters and comic book violence are translated well from film to book. Lewis also tacks on a ghoulish little epilogue which would have suited the tone of the film perfectly.

* Gloria is the character killed in the bathtub during the film’s gruesome Blood Feast pre-credit sequence.

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Unfortunately, for whatever reasons, Fantaco chose not to (or were unable to) reprint Lewis’ Color Me Blood Red novelisation, making it hard to compare to his two previous books. Certainly, Color Me Blood Red was not as memorable a film as either Blood Feast or Two Thousand Maniacs! , despite its promisingly grim premise (a mad Miami artists discovers that human blood gives the red in his artwork just the right touch). And as Lewis discusses in the following interview, his successful partnership with producer David Friedman was dissolving at this point, resulting in a loss of enthusiasm and interest in the whole Color Me Blood Red project.

interview with herschell gordon lewis
hip poCKet sleAZe: How did the novelisation for blood Feast
originate? Did Novel Books approach you with the idea after the film had
been released, or had the book been planned all long?

H.G. LEWIS: I had no original notion of novelising Blood Feast. The reason I accepted the challenge with enthusiasm was because it seemed to be a way to interest theatre owners in the film.

What can you recall about Novel Books? Did you or David Friedman
know someone within the company?

H.G. LEWIS: Novel Books published a weekly newspaper called The Insider. I had editorial connections and sometimes handled advertising (radio, primarily) for the publication.

How long did you spend working on the novels?

H.G. LEWIS: Each novel required a start-and-stop period of about three weeks. Please understand: I had other projects and never regarded these as worthy of full time attention.

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Why did you decide to use a pseudonym? Was it the same reason you used
a number of aliases on your films, to avoid the image of being a ‘one man
band’?

H.G. LEWIS: Blood Feast was a parody of a parody. The idea of using my own name never occurred to me. This wasn’t the kind of novel that seemed worthy of personal identification, especially since the switch to

‘black humour’ wasn’t in keeping with the movie itself.

Were blood Feast , two Thousand maniacs! and Color me blood red
the only novelisations you authored? Were any of your other films ever
adapted into novels?

H.G. LEWIS: As far as I know, no other films were made into novels.

I’ve written twenty-six books, but all are non-fiction.

Do you recall what the pay was for the books? What about distribution?

Were the books mainly sold through adult shops, or did regular news-
stands carry them?

H.G. LEWIS: My memory is dim, but the number $500 comes to mind.

The film company, of which I was a partner, bought about 1,000 copies. I never saw any of these in bookstores, which is why I was nonplussed to see them, so recently, for sale at outrageous prices at fantasy film fairs.

blood Feast is such a bizarre and off-the-wall novel, I’m sure many peo-
ple who saw the film on its initial cinema release who then subsequently
picked up the book would have been scratching their heads in bewilder-
ment as they read along. What made you decide to use such an unconven-
tional narrative?

H.G. LEWIS: The movie as such almost defied novelising. Part of the decision was to have a book that might be a stand-alone, not mirroring the unrelieved gore of the movie. I admit cheerfully: I didn’t care about anyone comparing the two, assuming the book would simply augment

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the movie as a promotional weapon.

You often cite two Thousand maniacs! as one of your favourite produc-
tions, and it’s certainly a more ghoulish
and macabre film than blood Feast .

Do you recall a conscious decision at
the time to make the novelisation a
more faithful adaptation than blood Feast ?

H.G. LEWIS: You’ve struck home
with that question. To this day Two

Thousand Maniacs! is my favourite, of
all the films I made. I took a much
more paternal view of this book, and that’s why I paralleled the movie.

Your novelisation for Color me blood red is almost impossible to find.

What can you tell me about that particular book?

H.G. LEWIS: One reason Color Me Blood Red may be difficult to find is that, as I recall, fewer were printed. The technique of ‘movie plus book’

was wearing thin, too. Dave Friedman and I split up during the cutting of the film, and I had far less interest in it. I’m guessing I spent less attention on that adaptation.

Did you author any other books between Color me blood red and everybody’s guide to plate Collecting in 1988?

H.G. LEWIS: As I stated earlier, I’ve written twenty-six books… ex-cluding the film/novels. In 1974 McGraw-Hill published The Businessman’s Guide to Advertising and Sales Promotion. Next month [April 2002]

Amacom is publishing Effective E-Mail Marketing. In between are the other twenty-four. You can see many of them on my website [w] www.

herschellgordonlewis.com

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the devil mAde them Write it

WitChCrAFt & the oCCult

In the latter half of the 1960s, and on into the early part of the seventies, witchcraft, black magic and the occult seemed to ingratiate itself as a popular subject (and pastime) amongst certain areas of the world’s youth (in particular, the US and Britain). Spurred on by the writings of Aleister Crowley and Dennis Wheatley, whose books became cult items, particularly within some darker factions of the hippie and counterculture movement, interest in witchcraft during this period was also influenced to some extent by the success of Hammer films (notably The Devil Rides Out, based on a Wheatley novel and one of the studio’s best productions, and Dracula A.D. 1972, where a group of thrill seeking youths use incantations to re-awaken Dracula in modern day, swinging London). The Tate-LaBianca killings, with their ritual-like slayings, also conjured up images (mostly created by a sensation hungry press) of black magic dabbling taken to its horrifying extremes. The charles manson case also created its own mini paperback industry, as will be seen in the following chapter.

 Black Magic
by James Hol edge / 1967, Scripts 40/Australia

As other Scripts titles, Black Magic can easily be digested in a single afternoon, and pushes
all the right exploitation buttons, rattling off a
string of brief chapters on topics that border on
the witchy, including the requisite chapter on

‘the Great Beast’ Aleister Crowley, and a look at

Australian ghost legends. (“Our local spirit law
stems from convict days when brutal violence
supposedly prompted many victims’ return to
haunt their tormentors.”)

An in-house writer, Holledge also penned
such other Scripts titles as Sex and the Aus-

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tralian Teenager, What Makes a Cal Girl, Cult of the Bosom, Notorious Women and Flying Saucers Over Australia.

 The Dark World of Witches
by Eric Maple / 1965, Pan X373/UK

Highlighted by its beautiful, striking cover
painting, this unabridged Pan edition of Ma-
ple’s 1962 volume is a thorough examination
of the history of British witchcraft, and suc-
ceeds admirably in evoking the feeling of black
magic practices which took place in England
during the Middle Ages.

Maple takes his subject matter serious-
ly, and with authority delves into obscure
witchcraft lore, presenting original case stud-
ies based upon his own research. Particularly
chilling is the chapter entitled ‘The Law of the

Mob’, in which Maple describes the horrifying and barbaric punishments meted out to those suspected of practising witchcraft.

The Dark World of Witches includes a glossary, comprehensive bibliography, illustrations, and four pages of black and white photos (including a great portrait of George Pickingill, the last wizard of Canedwon, posing outside his cabin).

 Devil Worship in Britain
by A.V. Sel wood and Peter Haining /

1964, Corgi GG7084/UK

A. V. Sellwood and Peter Haining found it no
easy task to write this book. Warnings and
threats followed their attempts to uncover the
secrets of Britain’s thriving Satanist cults — se-
crets of which are guarded as closely as an in-

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sane killer, and which are just as dangerous. All too often, those who could provide them with the details were prevented from doing so — by Fear!

This grim message from the publishers, which greets us on the inside title page, sets the tone for a study of its subject conducted at a time when occultism was raising its profile within mainstream society, yet was still looked upon as a very dark and disturbing practice, not the theatrical vogue which it was to become for many later on in the decade. The book as a result has a more menacing, almost Wicker Man-ish quality to it, as the authors investigate the extent of satanic practices in the UK.

While most of it does revolve around the expected black masses presided over by shrouded figures in the dark woods, followed by the inevitable sexual orgies (with the authors heightening the drama by claiming they and their editors were victim of many threatening phone messages), Devil Worship in Britain has an underlying seriousness to it. The passage of time has cushioned its impact significantly, but in 1964 this would have been very bleak reading for many, painting a portrait of a country whose haunting practices of the past had not yet fully abandoned it.

 Kings Cross Black Magic
by Attila Zohar / 1965, Horwitz 239/Australia

Throughout the 1960s and seventies, the Syd-
ney suburb of Kings Cross was a dark place
in which prostitution, drugs and crime thrived
amidst a whirl of neon lights, street noise and
drunken brawls (some great shots of Kings

Cross at its grimy prime can be seen in the
music video for Cold Chisel’s 1983 track Sat-
urday Night).

Although Kings Cross Black Magic offers
up the ominous promise of revealing the sub-
urb to be the centre of Australia’s witchcraft
cults, or thereabouts, the book is actually a
general look at the emergence of witches and

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black mass practices throughout Australia. It is written by the exotically named Attila Zohar (actually a pseudonym for Horwitz regular James Holledge) with a flair for sensationalism and a desire to instil a sense of impending doom in the reader’s mind (it wouldn’t be a Horwitz publication if he didn’t at least try). Zohar/Holledge does manage to track down a few Kings Cross witches, although how genuine their comments are is open to debate. At any rate, any interest in witchcraft and the black arts is a one-way ticket to damnation, according to Zohar/Holledge: It can bring nothing but harm, and young people particularly should be warned that in any shape or form it is best left alone. Very often the self-confessed witches admit they worship a god and a goddess of fertility and dance in the nude in barbaric ceremonies. And those ceremonies are not so very far removed from — and very often degenerate into — the loathsome practices, the vile orgies, the terrible celebrations of black magic.

 Modern Witchcraft
by Frank Smyth / 1970, Macdonald 356-03466-6/UK

In yet another UK published witchcraft title,

London based author Smyth (whom, accord-
ing to the brief bio, has “handled the publicity
for various well-known pop groups”) devotes
chapters to the popularity of witchcraft in the
latter part of 1960s England, the life of Gerald

Gardner (hailed by the press at the time of his
death in 1964 as ‘King of the British Witches’),
early witchcraft lore, the Inquisition, modern

Satanists and witchcraft in America (most of
which is devoted to covering the Manson case).

Included is a brief bibliography, along with
eight pages of black and white photos (including a couple of topless English witches, portraits of Gardner and Aleister Crowley, a still from Rosemary’s Baby, and two shots from a witchcraft initiation ceremony that looks like a scene from some bizarre underground sex film).

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Modern Witchcraft was published as a tie-in with the serial magazine Man, Myth and Magic (see witchcraft magazine this chapter).

 Murder by Witchcraft
by Donald McCormick / 1968, Arrow 09-00200-9/UK

An interesting title exploring the witchcraft angle in a fairly obscure murder which took place on St. Valentine’s Day, 1945, in the small English village of Warwickshire near Lower Quinton. Finding tenuous links between that murder and the discovery of a skeleton in the vicinity two years previously, McCormick journeys to Warwickshire and, turning amateur detective, uncovers evidence of covens which gathered at nights around the evocative Rollright Stones.

Since the events under investigation occurred during the first half of the 1940s, McCormick takes a moment to briefly examine the purported use of black magic (in particular, by the Nazis) as a psychological weapon during WWII. Murder by Witchcraft is illustrated with eight pages of black and white photos.

 Voodoo
by Alfred Metraux / 1974, Sphere 0-7221-6060-7/UK

This was volume nineteen in Sphere’s Dennis Wheatley: Library of the Occult series, which reprinted old texts, both fiction and non-fiction.*

Voodoo was first published in French in 1959, the later English printing being translated by Hugo Charteris. Author Alfred Metraux compiled this study after spending long periods in Haiti, observing voodoo cults and rituals. The result is certainly a fascinating and challenging work, with Metraux providing an in-depth history of voodoo cults in the region, the part they play in Haitian society, and the various music, initiation and sacrificial rituals which they partake in. Metraux also looks at the correlation between voodoo and Christianity, and includes many maps, sketches,

* Other books in the series include titles as diverse as Bram Stoker’s Dracula, Moonchild by Aleister Crowley, Zolra’s The Interpretation of Dreams, and Uncanny Tales One and Two (anthologies of short stories selected by Wheatley).

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voodoo chants and recitations in the book, along with a bibliography and annotations. Dennis Wheatley provides the introduction, in which he both praises the book for its depth of information, yet criticises Metraux for omitting many of the more salacious details regarding his subject, such as “men consider it an honour to be allowed to kiss the vagina of a woman while she is possessed and in convulsions, or of men copulating with pigs — as was the ritual for initiation into the Mau-Mau”.

 Witchcraft
by Wil iam Seabrook / 1970, Sphere 76902/UK

Originally published in 1942, Witchcraft is a much more scholarly and, at 350 pages, in-depth study than the other titles covered here. That said, its cover photo, featuring an attractive young female witch, wearing false lashes, thick black eyeliner and obviously naked underneath her robe, indicates the demographic at which this printing was aimed.

Right off the bat, author Seabrook states his intentions: Although this book may boil and bubble with the dirty doings of modern witches — it is going to be a disappointment to all who believe in the supernatural. I am addressing it to rational people only.

Seabrook still manages to lay out an interesting and reasonably digestible menu of the macabre, with chapters devoted to voodoo, vampir-ism, astral projection, ESP, alchemy and necromancy as well as witchcraft.

 Witchcraft and Black Magic
by Montague Summers / 1964, Arrow 785/UK

Like Seabrook’s Witchcraft, this is another reprinting of a volume from the forties (first published 1946). It’s a thorough but fairly bland rundown of the origins of witchcraft and its various levels of practice throughout history. Serious students of the subject would no doubt appreciate it more than those looking for some cheap vicarious thrills.

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 Witchcraft in the World Today
by C.H. Wal ace / 1967, Universal-Tandem Publishing 1-170/UK

A very schlocky and exploitative (hence emi-
nently enjoyable) title, which reads like an ex-
tended Sunday supplement from some tacky

English tabloid. Chapters cover topics such as

‘Occultism in the Orient’, ‘Necromancy in New

York’, ‘Witchcraft as a War Craft’, ‘Potions and

Politics in Africa’ and ‘Hexing at Home’.

Author Wallace constructs this paperback
like a beginner’s tour guide through the seamy
side streets of sorcery, promising to deliver
the simple witchcraft that “b-girls from coast
to coast use for getting rid of unwanted men”,
and urging us to “set up a do-it-yourself séance with a friend, a stemmed goblet and an inquiring mind as your only ‘props’”.

 The Witchcraft Reader
edited by Peter Haining / 1972, Pan 0-330-23335-1/UK

Originally published in 1969 by Dobson

Books, this is an anthology of eight short sto-
ries penned (some as far back as the 1940s) by
authors mostly known for their science fiction
work, including A.E. Van Vogt (‘The Witch’),

Richard Matheson (‘From Shadowed Places’),

Ray Bradbury (‘The Mad Wizards of Mars’),

Fritz Leiber (‘The Warlock’), Theodore Stur-
geon (‘One Foot and the Grave’) and Robert

Bloch (‘Broomstick Ride’).

The most effective story in this volume is
its lead-off, ‘Timothy’ by British author Keith

Roberts. It’s a haunting little tale effectively il-
lustrating the sense of superstition and menace which can pervade small English towns.

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 Witches — Stay Away From My Door
by Jack Thomas / 1967, Wolfe Publishing Limited/UK

A very simple read, set out not unlike a child’s
encyclopaedia, with various aspects of witch-
craft given for the most part a basic one or two paragraph explanation. Subjects include

‘Child-Murder’, ‘Obscene Rites’, ‘Dangers of

Satanism’, ‘Ending a Haunting’ and ‘First-Aid

Against Witchery’. The last couple of chapters
feature some popular spells, incantations and
potions to help you out in all manner of situ-
ations (from ‘How to Keep Quiet Under Tor-
ture’ to ‘Three Ways of Finding a Husband’).

 Witness to Witchcraft
by Harry B. Wright / 1958, Corgi S-615/UK

One of the earlier witchcraft studies to be pub-
lished in mass market paperback format, Wit-
ness to Witchcraft is a first person account of various voodoo, witchcraft and cultural rituals
as observed by author Wright (a Philadelphia
based dentist, curiosity seeker and member of
the Explorers’ Club). Because it predates the
late sixties witchcraft craze, the book is devoid
of much of the sensationalistic angles of later
paperbacks on the subject, taking a more gen-
tlemanly, old world traveller feel, tinged with on
occasional moment of Ripley’s Believe It or Not-
styled panache. As a result, it reads much like an enjoyable compilation of stories culled from some vintage adventure pulp magazine.

Travelling through such exotic locales as Papua New Guinea, the Belgian Congo and the jungles of the Amazon, Wright bears witness to various witch doctor medicine practices, childbirth methods, snake curses, the initiation of virgins, trials by witchcraft, and rituals which

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purport to resurrect the dead. Throughout it all, Wright remains fairly detached from the proceedings, although he interrupts the raising of the dead ceremony to check the condition of the supposed deceased. He finds no sign of breathing or a pulse, deducing after the man is successfully ‘resurrected’ that he had been rendered virtually comatose by some potentially deadly concoction.

Witness to Witchcraft provides an interesting expedition through these native cultures that would have seemed even more exotic, menacing and mysterious at the time of writing. It features nice tribal cover art and four pages of black and white photos, including one of the bizarre

‘Talking Drum of Bapende’ — a small boy is placed inside a drum and answers questions which other villagers put to it.

Witchcraft magazine

One of the more curious printed artefacts left over from the witchcraft craze of the 1960s and seventies is the UK monthly magazine Witchcraft, published by TNT Publications (who were based at 344 South Lambeth Road in London). The cover of the magazine dubs itself ‘A Gresham Publication’. Judging by the plethora of advertisements for adult books, ‘exotic’ nightwear, erection creams and 8mm glamour films contained throughout the magazine, it seems almost certain that TNT
were an adult publisher seizing the opportunity to reach a potential new audience (and of course, make a quick quid while the iron was still hot).

Information available on Witchcraft magazine is scant. There is no editorial credits page. The only issue I’ve been able to track down (actually, it simply fell into my lap) is Vol. 1, No. 7, published in 1972 (no month listed). Featuring reasonably high production values (glossy colour pages mixed with tinted newsprint), Witchcraft catered to all (gutter) elements, with a combination of fiction and fact stories, illustrations, and, naturally, photo layouts which emphasise nude sacrifices and rituals.

Articles in this issue include ‘Dark Face of Voodoo’ (a look at voodoo practices in the West Indies), ‘Fire Walkers of Serres’, ‘The Horror of Bamberg’, ‘Terror of the Tongs’ (part three of the magazine’s ‘Secret

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Societies’ series) and ‘To the Devil,

A Virgin’ (child sacrifices in Ceylon).

Apart from a colour two-page layout
on the Christopher Lee/Hammer
film The Brides of Fu Manchu, the
photo layouts — obviously the
main selling point of the magazine

— are all weaved around a fictional
short story. ‘The Devil’s Disciple’

seems to have been a continuing
serial, with this instalment (‘The

Outsiders’) starting off as a seem-
ingly innocent naked frolic in the
woods, before it degenerates into
something a little more sinister:

She took off her cloak to reveal she was totally naked except for a pair of boots and, now visible, was a vicious looking multi-thonged whip rather like the old cat o’ nine tails. She tapped the girl on the shoulder with the handle and held it before her eyes for a few seconds so she could see the instrument of punishment.

The other main photo features in this issue are ‘Witches Wedding’, eight pages detailing a Wicca wedding ceremony, where the bride and groom have sex inside the magic circle while the Horned God watches on approvingly, and guests hold hands while dancing naked around an open fire, and ‘Into the Unknown’, which uses as its basis the time-worn theme of the man who runs out of gas on a country road, only to be saved by a beautiful girl. This time, though, the girl happens to be a witch, and she tempts the man back to her coven, where an initiation ceremony leads to an orgy of degradation and sex.

The wine, the food, the music, and all that naked, wanton flesh made me one of them, one body in a mass of bodies; and I knew that I was truly and indistinguishably one of them, a full member, fully accepted, without the

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needs for words and explanations, a full
member of this witches’ coven.

Other necessary vintage kitsch
publications for witchcraft enthu-
siasts would include issues of the
weekly series Man, Myth and Magic,
a colour UK series published in

1970 by Purnell which built up
into ‘an illustrated encyclopaedia
of the supernatural’, and issue No.

148 (March 1963) of the Austral-
ian periodical Parade, which has a
striking, EC-flavoured cover illus-
tration (artist unknown) that re-
flects the growing merger between witchcraft and pop culture (the issue also featured a two-page article on the torture, hanging and burning of accused witch Gellie Duncan in May 1591, which heralded a period of mass witchcraft hysteria to sweep across England, Scotland and Ireland).

Not exactly kitsch but still worth hunting down is the August 24, 1971 issue of the American magazine Look. Published in a similar format and style to the better known LIFE, this issue of Look has a startling full cover colour photograph of Anton LaVey, high priest of the Church of Satan, glaring at the reader with piercing black eyes as his hands caress the cranium of a human skull. A similarly startling photo of LaVey greets us in the two page opening spread to the article ‘Witches Are Rising’, in which LaVey is interviewed and the growing number of Americans turning to witchcraft practices (“once punishable by death”) is examined, although not in too deep a manner (author Brian Vachon writes the piece as though he knows that his subject is just a passing fad adopted by some of the more eccentric elements of the dwindling hippie movement).

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ChArles mANsoN*
pAperbACK’s First true Crime hero

“Live Freaky, Die Freaky”

Lawrence Schiller, The Kil ing of Sharon Tate

The Charles Manson killings certainly weren’t the first to be documented in paperback form. Throughout the 1950s and early sixties, publishers like Monarch would rush out paperback originals to cash in on sensational crimes, such as Born to Kil by Glenn Shirley (about the American spree killer Billy Cook), which often read like drawn out stories pulled from the pages of a popular detective magazine.

However, it would be safe to say that more words have been written about Manson, his followers, and the crimes of which they were convicted than any other random act of murder (i.e. not a premeditated killing of a specific target, like the Kennedy assassination). Inexorably linked to the era in which they were committed, the mainstream media loved playing up the public’s fear of the Manson family, painting them as the bastard children of the hippie and free love movement. The undeniable magnetism of Manson’s persona, the slavish devotion he inspired in his (mostly female) band of followers, and the stark, terrifying brutality of Line art illustrations throughout this chapter are by Bill Lignante and appear in the book Witness to Evil, reviewed on page 270.

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the senseless killings created an insatiable public appetite for information, both factual and exaggerated, which publishers were more than willing to feed. It’s a fascination which continues to this day, with new books on Manson, his followers and the Tate-LaBianca murders continuing to hit bookshelves with amazing regularity.

Apart from the millions of words committed to paper about Manson himself, Manson could also be considered the catalyst for the thriving market for true crime paperbacks which is so prevalent today.

 Alone with the Devil
by Ronald Markman, MD and Dominick Bosco / 1990, Bantam 0-553-28520-3

A forensic psychiatrist, Dr. Ronald Markman has been involved with some sensational criminal trials, including the killing of Marvin Gaye by his father, and the sickening serial killings of Lawrence Bittaker and Roy Norris (who cruised the Californian highways in their specially modified van, picking up teenage girls, raping, torturing and killing them, and unceremoniously dumping their bodies). Dealing one on one with the convicted killers, Markman is able to gain a unique insight into the workings of their minds (although many killers are apt to tell a psychiatrist exactly what they think they want to hear, in order to benefit their case).

In Alone with the Devil, Markman recounts his work on many of his more high profile cases, including his association with Manson family members Charles ‘Tex’ Watson
and Leslie Van Houten. The title
of his chapter on the case, ‘Hearts

Unblamable,’ gives a clear indica-
tion of Markman’s psychological
assessment of Watson and Van

Houten, whom he considered so
brain-fried from drug abuse that
they were virtually incapable of
rational thought:

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When Leslie and Tex and the others committed the crimes, their brains were literally pickled in drugs. They were taking all kinds — LSD, ampheta-mines, pot, downers, and others — almost continuously. They were high twenty-four hours a day, even when they went to sleep. A person taking the kind of drugs the Family did would almost automatically have lacked the mental capacity to meaningfully and maturely premeditate, deliberate, and reflect upon the gravity of an act. Therefore, if this psychiatric information were carried over into the legal decision, a first-degree murder conviction would not be possible. In Leslie’s case, I further believed that she was so spaced-out that she may have also lacked the mental capacity to harbor malice. Therefore she could not be proved to have the mental capacity for either first or second-degree murder. Without establishing malice, she could be found guilty of only manslaughter.

Unfortunately for the two accused, Markman’s assessment failed to save them from the death penalty (later overturned to life imprisonment). Markman discusses the ethical issues which confronted him regarding his evaluation of Watson and Van Houten (“I was about as comfortable with this testimony as a surgeon would have been if put in the position of saving Adolf Hitler’s life on the operating table.”), before proclaiming his belief that both of the convicted killers would eventually be granted parole (a prediction which has, of course, yet to come true for either party).

In something of an ironic twist, Markman was later called in to assess Roman Polanski — husband of slain actress Sharon Tate — when Polanski was accused of having sex with a thirteen year old model while

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photographing her in Jack Nicholson’s Hollywood home. Markman’s opinion that Polanski was not a mentally disordered sex offender never made it to court, after the disgraced filmmaker jumped bail and high-tailed it to France, where he remains to this day.

 Child of Satan, Child of God
by Susan Atkins with Bob Slosser / 1977, Logos International 0-88270-229-7

Susan Atkins is the name most often credited
with blowing the Tate-LaBianca murder case
wide open. Incarcerated at Sybil Brand prison
over her role in the Gary Hinman murder, At-
kins bragged to her cellmate Ronnie (a prosti-
tute serving a stretch for prescription forgery)

about her involvement in the Tate-LaBianca
slayings, an act which finally brought the net
down upon Manson and his family.

Of course, had Atkins kept her mouth
shut while in prison, it’s unlikely that Manson
and his conspirators would have remained at
large for long. Most members of the family
had criminal records of some kind, and their Death Valley ranch had already been raided by officers in connection with Manson’s string of automobile thefts.

Written only a few years after Atkins had been sentenced to life imprisonment (her trip to the gas chamber having been revoked after the death penalty was temporarily abolished in California on February 18, 1972), Child of Satan, Child of God reeks of a condemned woman trying desperately to convince the world that she has found salvation and redemption through Christianity. Branded during the trial as the most sadistic and evil of Manson’s girls, Atkins tries her hardest here to project herself as someone who knew all along that what she was doing was wrong, yet was unable to restrain herself, such was the power of Manson’s influence.

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Almost every page that deals with Atkins’ childhood is filled with tests of faith, visions of burning crosses on hillsides, and an almighty fear of upsetting God. Despite these shortcomings, the book does make for an entertaining and at times revealing read. Particularly engaging is the opening chapter, where Atkins describes her first meeting with Manson, painting an atmospheric portrait laden with typical late 1960s hippie trippy imagery:

A woman was seated on each side of him, and the rest of the girls in the house were ringed around him on the floor. Only two other men were in the room. A smoky haze deepened the tan aura of the wood-paneled room.

The smell of marijuana was heavy, despite the sweetness of burning incense.

Food and candy were piled high on the coffee table in front of the singer.

A slight smile flickered on and off the skinny little man’s clean-shaven face. “The shadow of your smile when you are gone”, he sang softly, seductively, “will color all my dreams and light the dawn.” His voice was middle range and expressive. He played the guitar magnificently.

I stood for a moment longer at the doorway, fascinated by the scene before me. The women’s faces were rapturous, uplifted toward the little man on the couch. Obviously most of them were stoned.

There was a space on the floor to the man’s right. I tip-toed to it and eased myself cross-legged to the floor, my skirt rising nearly to my hips. He looked at me and smiled. I studied him, unsmiling. He had a tattoo on each forearm — the heads of women. He wore a white tee-shirt, blue jeans, and sandals, and several strands of multicolored beads hung from his neck almost to his waist. His small hands moved deftly upon the battered guitar.

“He’s like an angel.” I don’t think I spoke the thought aloud, but I was so loaded I couldn’t be sure.

According to Atkins (at least at the time of writing), it was her mother’s premature death from cancer which sowed the seeds for the abandonment of her faith, and an increased propensity for shoplifting which saw her grades slide and her loathing of authority figures grow. Leaving home and arriving in San Francisco in time to meet the burgeoning counterculture movement head-on, Atkins readily embraced the free sex

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and drug usage that accompanied the lifestyle, working as an under aged topless dancer at a North Beach nightclub. It was at this club that she was introduced to Church of Satan leader Anton LaVey, who was suitably impressed by Atkins’ dancing prowess to cast her in his production of a witch’s sabbath. Atkins’ recollection of her first (and only) visit to LaVey’s house creates an almost Addams Family type image: We turned the corner and there was no mistaking LaVey’s house. It sat in the middle of the block, with empty lots on each side. The house was wholly black. Not one bit of white or other color showed. Even the curtains were black.

Unfortunately, after providing a fairly brief and glossed-over recollection of the Tate-LaBianca killings, Child of Satan, Child of God bogs itself down with religious rhetoric, as Atkins has a literal visit from God while lying in her cell (he even appears in the middle of the requisite blinding white light), which seems to transform her overnight from foul-mouthed, violent murderess into one of God’s chosen ones.

Was Atkins rebirth the only way in which she could deal with the vile acts she committed, or just another further stop on the descent into madness she seemed to have been spiralling towards for some time? Or perhaps the answer lies in this quote from Susan herself, taken from the pages of the book:

I’ll die if I escape. They’ll no doubt shoot me. I’m not clever or tough enough to make it on the run for long. And I can’t stand rotting in prison forever.

What does that leave me? Become a Jesus freak and preach my way out?

 The Family
by Ed Sanders / 1973, Panther 586-03717-9/UK

First published in 1971, The Family was one of the earliest Manson books to hit the shelves, and it has definitely remained one of the most engaging and essential works on the subject, not so much for its historical accuracy (or lack of ), but for the way in which author Ed Sanders cre-

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ates a pervading atmosphere of malevolence that clings not only to Manson and his followers, but to the whole of the Californian youth culture.

Sanders first achieved notoriety in the countercultural underground of the 1960s as a poet and leader of the Fugs, a satirical folk-rock band that performed at Vietnam war protests across the country. (‘Fug’ is a euphemism for ‘fuck’ that was first coined by Norman Mailer in his novel The Naked and the Dead). Sanders also helped co-found the Youth International Party (also known as the Yippies), and was arrested and charged with obscenity for publishing Fuck You: A Magazine of the Arts.

Needless to say, Fuck You did not fare well with the authorities — the New York City Police Department raided the Peace Eye Bookstore in 1966 and arrested Sanders, charging him with obscenity. He successfully defended himself against the charges, with assistance from the American Civil Liberties Union

When the Tate-LaBianca murder case broke, Sanders began to research Manson — or, more exactly — his followers, infiltrating the group by posing as a “Satanic guru-maniac and dope-trapped psycho-path”. Sanders’ unique take on the events comes from his initial thoughts that Manson and his family may have been framed, then realising during his investigations just how guilty they all were. What further angered and terrified Sanders was that he felt the accused were representing themselves as members of the wider hippie community, and the fact that

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certain factions of the counterculture were supportive of Manson (it was this that really drove Sanders to write the book the way he did, so that the genuine hippies would want to sever any and all ties with Manson and his cult).

One of The Family’s most notorious and provocative elements is its investigation into the world of snuff movies — one of the first times that the existence of such films had been discussed in print. In the text, Sanders reveals that the Family may have been involved in the making of ‘brutality’ (or ‘snuff ’, as he later dubs them) films. The story goes that Family members stole an NBC-TV truck loaded with film equipment sometime during the summer of 1969. Although the truck was later dumped, and most of the film given away, Manson kept one of the NBC
cameras. Manson was also said to have been in possession of three Super-8 cameras, which were used in the making of home-made porn films.

The rumours of snuff film production stem from an interview Sanders conducted with an anonymous former member of the Family, who tells the author about a film rumoured to have been shown at Sphan Ranch involving a female victim being killed on film during a Satanic ritual that took place on the beach. Sanders then claims to have been offered at one point a collection of Manson porn, but was unable to come up with the $250,000 that was demanded as payment.

Although it’s doubtful that these pieces of footage ever actually existed — given the obscurity of the sources, and the fact that no trace has ever been found of them over the years — it certainly provides a piece of grim food for thought, and apart from its historical role in perpetuating the snuff film myth, helps explain why the book is considered to be such a dark gem, and definitely not the panacea that most of America was hoping for (they had to wait until Vincent Bugliosi wrote Helter Skelter a few years later to be told that the danger had passed).

“I just saw a Charlie Manson tee-shirt in the filling station in Woodstock, New York. So I guess this guy is the devil-worshipper’s darling, still!”

Ed Sanders in an interview with Jessa Piaia

Squawk, No. 55, 1995

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 God’s Prison Gang
by Chaplain Ray with Walter Wagner / 1977, Revel 0-8007-0840-7

Chaplain Ray (born Raymond Hoekstra) is
the Director of International Prison Minis-
try, a department of the American Evangelis-
tic Association who traverse the USA, giving
hope to the incarcerated by spreading the
word of Jesus through sermons, his Cellblock
radio broadcast and Prison Evangelism magazine, personal visits and free Bibles.

God’s Prison Gang features accounts of
notorious past and present convicts who pro-
fess to have accepted Christ as their saviour.

Two of his better known disciples are Man-
son members Susan Atkins and Tex Watson,
whose stories of salvation are detailed in the chapters of this slim book which, as one might expect, is full of praise for the Lord for saving these two poor souls from the eternal fires and damnation of Hell.

In ‘The Conversion of Susan Atkins’, Ray briefly recounts the events of the Tate-LaBianca murders (“What I consider the crime of the century…”), before jumping ahead to New Year’s Eve 1974, when he receives his first letter from a born-again Susan Atkins. Ray then proceeds to describe his first visit to Atkins at the California Institute for Women, where she gushes about her conversion (as detailed in child of satan, child of god elsewhere in this chapter), her plans for baptism, her free-ing herself of Manson’s will (“I no longer consider myself a member of his Family. I’m now a member of the family of God”), and her claim that her hands had never actually gotten red with blood.

Atkins’ claim to have not taken a human life compels Ray to visit another family member, Charles ‘Tex’ Watson, at the California Men’s Colony at San Luis Obispo. Unlike Atkins, Watson had not already begun his religious conversion when Ray first meets him, which makes this chapter of the book (‘A Human Vegetable’) the more interesting of the two in dealing with the subject (it also gives Ray a chance to wallow in his own ability to save the souls of criminals).

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“She’s telling the truth”, Tex Watson said. “She didn’t kill anyone. I killed them all!”

Recounting his initial meeting with Watson, Ray relates his subsequent embracing of God, and transcribes — in interview form — the tape he and Tex had made and sent on to Manson, in the hope of getting Charlie to see the light (what that conversion would have done for Ray’s profile!). The chapter ends with Tex leading a prayer for his former Mes-siah:

“We come to You now, Jesus, just asking that You touch men’s lives in institu-tions all over the United States. We come to You praising Your Holy Name and thanking You because we know this is within Your power, to pour Your spirit down upon each and every man’s heart. We pray that each man will open up his heart and let Jesus in. Yes, we know You’re going to come into their hearts and set them free and give them the love, peace and joy that is there when we abide in You. And we know that You can move the heart of Charlie Manson and give him love, peace and joy. In the name of Jesus, we pray. Amen.”

Unfortunately for Tex, this was one prayer that obviously wasn’t answered.

Note: Chaplain Ray went on to co-write the Tex Watson book will you die for me? , reviewed elsewhere in this chapter

 Helter Skelter
by Vincent Bugliosi with Curt Gentry /

1974, Bantam 2222

The most widely read Manson book — and
quite possibly the best selling true crime ti-
tle of all time — Helter Skelter has long been touted as the ultimate document of its subject,
certainly as far as the mainstream audience is
concerned. While it is certainly thorough at

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covering the case from a legal point of view (author Bugliosi was, after all, head prosecutor), it comes off as very grandstanding and one-sided, with very little attempt made to examine Manson’s motivations and hypnotic influence, simply painting him as a lunatic loser who misread the lyrics on a Beatles album and recruited a bunch of doped-up, misguided hippies to do the dirty work the music commanded of him.

One of the reasons for the enormous success of Helter Skelter was that it delivered exactly what Middle America were craving at that point in time: reassurance that the ‘evils’ spawned by the 1960s had been subju-gated, and Bugliosi was more than happy to step into the role as saviour, using the publicity as a successful prosecutor to carve out a lucrative media career (he still appears on Manson documentaries spouting the same lines of dialogue which he was using on TV news bulletins from thirty years ago).

Helter Skelter features a fairly comprehensive sixty-four page photo insert section, with the crime scene photographs being given a surreal edge by having the bodies ‘whited out’.

In 1976, Helter Skelter was adapted into a tacky but reasonably entertaining two-part TV mini series, highlighted by a very convincing performance by Steve Railsback as Manson, as well as an appearance by Texas Chain Saw Massacre star Marilyn Burns, who portrayed Linda Kasabian (the Manson family member who drove the car to the Tate murder scene and later turned state witness in return for protection from prosecution). The two episodes were later edited together and released to cinemas in some countries, with some slightly more bloody scenes (the film was also released on video in the US under the title Massacre In Hol ywood).

 The Kil ing of Sharon Tate
by Lawrence Schil er / 1970, Signet N4258

This early Manson paperback is highlighted by an exclusive talk which author Lawrence Schiller managed to snare with Susan Atkins. This was obviously the selling point of the entire book, as Atkins’ name appears twice as large as author Schiller’s on the cover, and the early chapters by

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Schiller provide a very routine and unmoving
account of the crimes, along with brief biogra-
phies of all the major participants.

It’s only when the book reaches the chap-
ter containing Atkins’ story that The Kil ing of Sharon Tate comes to life. Wisely, Schiller doesn’t edit his conversation with Atkins
into a standard interview questionnaire. In-
stead, he simply transcribes in a free-flowing
format the stream of thoughts, observations
and reminiscences which she dictated into his
tape recorder. What is most interesting here is
reading Atkins’ views on herself, her real family,
the crimes and Charles Manson when she was still so plainly under the influence of Manson himself, and comparing them to those which she put down several years later in Child of Satan, Child of God (although I’ve no doubt that Schiller has edited Atkins’ monologue for dramatic effect).

While Atkins’ version of the events change much in the ensuing years, her tone here is much more aloof and full of counterculture observations (“The changes, man, the changes are what it’s all about ” ), quite unlike the born-again exuberance which permeated her own autobiography.

Well regarded for his research prowess, Lawrence Schiller more recently returned to the true crime genre with his massive work Perfect Murder, Perfect Town: JonBenét and the City of Boulder, a thorough investigation into the (still unsolved) murder of child beauty pageant star JonBenét Ramsey (published by Harper Collins in 1999). He has also authored books on juvenile delinquency, Lenny Bruce, master spy Robert P. Hanssen, and the O.J. Simpson case.

 Satan’s Assassins
by Brad Steiger and Warren Smith / 1971, Lancer Books 78678-125

While not exactly living up to its cover boast of presenting “Earthshak-ing evidence for a bold new theory: that history’s most notorious slay-ers have been controlled by the Occult…”, this volume does make for

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a mildly interesting overview of crimes where
occult practices have either been in evidence or
simply used as a convenient hook for a sensa-
tion hungry media.

Written at a time when public awareness of
the occult was at an all-time high (see the chap-
ter on witchcraft paperbacks), Satan’s As-
sassins covers crimes as diverse as the Zodiac killings, various voodoo killers, Father Stocker

(a German priest and violent witchfinder who
tortured a young woman to death in 1966 on
the pretext of driving the devil out of her cor-
rupt soul), and the Kennedy murders (Oswald
apparently spoke of the ‘Devilmen’ after his arrest, while Sirhan Sirhan inscribed the phrase ‘The Once and Future King’ in crayon on the front of the ice cabinet near where Robert Kennedy was shot — the authors equate this as the handiwork of Satan, who “in the eyes of his minions both mortal and immortal, is the ‘once and future king’ of Earth ” ). Of course, these links to Satanism and occult practices are tenuous at best, but do provide an intriguing example of how the media were always looking for a new angle with which to exploit newsworthy crimes.

The chapter devoted to Charles Manson (entitled ‘Satan’s Slaves: The Sharon Tate Murders’) casts Manson in the popular role of satanic Pied-Piper, wielding his mystical spell over his confused young followers. As expected, much is made of Sharon Tate’s rumoured involvement in occult rituals and drug-fuelled sex orgies, as well as husband Roman Polanski’s Rosemary’s Baby (mistakenly labelled as the film which shot Polanski to prominence). The authors try to heighten the sense of doom and high drama by claiming that Polanski, in London to promote his latest film A Day at the Beach, was sitting around discussing the wave of bizarre deaths that were currently sweeping the film industry. Supposedly, Polanski had glanced around the room and composed a macabre riddle — “Eeny, meeny, miney, mo. Who will be the next to go?” — just as the phone rang to inform him of Sharon’s death!

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In order to flesh out the Manson chapter (as it was doubtless one of the main selling points of the book), the authors have included a very dubious interview with an unnamed ‘young sociology professor’, who expounds his deep insight and views on Manson and the terrifying potential of cults:

There are a lot of people like Manson running loose in our society. Fortunately, not all of them have the qualities of leadership that Manson possessed. I have noticed they are attracted to the hippie youth movement. This is possibly because the kids accept anyone with a free, open mind. However, it is vitally important to realise that Manson’s people are cultists, weirdos, or

“hippie mimics”. A true hippie is a flower child with love for everyone and he is a pacifist.

Manson did not have to cast a spell, or hypnotize, his followers to commit murder. They willingly did whatever he commanded or the group would have been destroyed. If they failed to follow his murderous commands, they would have to see Charles Manson as he really was: a silly, illiterate, hostile little guy who had spent most of his life in prison. He was a Satanic little creep who stole the souls of lost young women.

 Wil You Die For Me?

by Tex Watson (as told to Chaplain Ray) / 1978, Spire Books 0-8007-0912-8

This book reads as pretty much an extension
on the Watson chapter contained in Chap-
lain Ray’s earlier god’s prison gang (see
review). If you’ve already read that book, you
may want to skip the second half of Wil You

Die For Me?, which pretty much repeats the
same information regarding Watson’s version
of events on the night of the murders, not to
mention piling on the rhetoric regarding his
discovery of, and devotion to, God (the book
even ends with the six steps required to receive

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Christ as your saviour).

Of greater interest are the earlier chapters of the book where Watson relates, with a sense of almost innocent nostalgia, tales of his childhood in Texas, and the excitement and new found sexual freedom which he discovered upon his migration to California in 1964, before the tone turns darker and overly dramatic as he meets up with Manson and gets seduced into the world of heavy LSD use, his growing belief in the coming of Helter Skelter and finally, his part in the Tate-LaBianca slayings.

When it comes to the killings, Watson certainly doesn’t refrain from being graphic. Here he describes the murder of Leno LaBianca: I drove the chrome-plated blade down full force. “Don’t stab me anymore,”

he managed to scream, even though the first thrust had been through his throat. “I’m dead, I’m dead…” The shiny bayonet plunged again and again.

Once more, as had happened the night before, the room began to explode with color and motion.

Of course, it’s probable that the vivid narrative of the killings was a deliberate attempt to show that — no matter how vile an act you may be driven to commit — God’s strength is enough to heal even the worst of us.

You can still order copies of Wil You Die For Me? (along with God’s Prison Gang and Watson documentary video Forgiven) from the website which Tex and his wife Kristin have set up to promote their Abounding Love Ministries. It’s at [w] www.aboundinglove.org

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 Witness to Evil
by George Bishop / 1971, Del 9721

At over 330 pages, Witness to Evil provides the reader with a very thorough rundown of
the Manson trial, on a virtual day by day basis,
which would have made sensational reading at
the time of publication, and would still be es-
sential reading for people who are just becom-
ing interested in the subject.

For those already familiar with the case,
the book can be appreciated for its very psych-
edelic, collage cover design, and the inclusion
of Bill Lignante’s very comic-bookish court-
room illustrations and crime scene interpre-
tations [scattered about this chapter]. There’s
also a drawing which Manson sketched of his jury, and an introduction by Art Linkletter — a popular media commentator — who seems to think that confronting America’s drug problem will prevent incidents like the Manson killings from being committed in the future.

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OFFbEAT

&

ESOTErIC TITLES

The following chapter looks at various paperback titles which have no real common thread, other than the fact they all deal with extreme, strange or unique topics, and appeal to my eclectic tastes.

Some, like The Train Ride, were no doubt considered provocative and confronting at the time of their publication. Others, such as Thirty Seconds Over New York, would have seemed like little more than far-fetched, James Bondian pulp stories, yet take on an ominous portent in the light of September 11, proving once again that fiction can indeed become fact…

 Crash Club
by Henry Gregor Felsen / 1960, Bantam A2076-6

During the 1950s, Iowan writer Henry Gregor Felsen (1916–1995) was king of the Hot Rod genre of paperbacks, with titles like Hot Rod, Rag Top and Street Rod to his credit. Crash Club, originally published in 1958, is perhaps his most curious and original work, which centres around the old road race game of ‘chicken’ taken to its logical and deadly extreme.

“When you’re top man”, said Mike Revere, leader of the high school gang,

“you’ve got to fight to keep it that way.”

The exhaust pipes of his bronze couple blasted his victories in the drags.

He set the fads, made the decisions. And Donna Whittier, loveliest, coolest blonde in school, was his girl.

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But then Dave “Outlaw” Galt moved to town.

Outlaw had utter contempt for authority. The gang
was dazzled by his $4,000 Chevy F.I.

Mike saw he had to fight for his title. His an-
swer to Outlaw’s bid for power was a new kind of
hot rod club.

He called it Crash Club!

Written at a time when concern over teenage
driving habits was at an all-time high, Felsen’s
hot rod books are grim and preachy, a perfect
companion piece to the gory driver education
films which were being turned out by Highway Safety Films, Inc. (such as Mechanized Death and Wheels of Tragedy). Most of his paperbacks followed the same basic plot: a hot-headed, teenage speed freak learns about the dangers of fast driving the hard way, with either the death of himself or someone close to him (usually his best buddy or girlfriend).

From Hot Rod:

The crushed pile of twisted metal that had once been My-Son-Ralph’s Chevy was on its back in the ditch, its wheels up like paws of a dead dog.

Two of the wheels were smashed, and two were turning slowly. Something that looked like a limp, ripped-open bag of laundry hung halfway out of a rear window. That was Marge.

The motor of Ralph’s car had been driven back through the frame of the car, and its weight had made a fatal spear of the steering column. Somewhere in the mashed tangle of metal, wood and torn upholstery was Ralph.

And deeper yet in the pile of mangled steel, wedged in between jagged sheet steel on one side, and red hot metal on the other, was what had been the shapely black head and dainty face of Laverne.

The written equivalent of the small genre of hot rod themed B-pictures that were popular with drive-in audiences during the latter half of the 1950s (such as Hot Rod Gang etc.), Felsen’s novels were quite popular with young teenagers who were just discovering a love of fast cars, and

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could be found lining the shelves of many American high school libraries well into the 1970s. Felsen’s books were quite beefy ( Crash Club clocks in at 202 pages of fairly small type), and they were often dedicated to his own son, who seemed to have inspired the characters for many of his hot rod books:

To my teen-age son
and his teen-age friends.

Black leather boots,
blue denims,
turned up jacket collars,
and all…

henry gregor Felsen: hot rod bibliography

 Hot Rod (1950, Dutton)

 Street Rod (1953, Random House)

 The Cup of Fury (1954, Random House)

 Rag Top (1954, Bantam)

 Fever Heat (1954, Del )

 Crash Club (1958, Random House)

 Boy Gets Car (1960, Random House)

 To My Son, the Teen-Aged Driver (1964, Dodd)

 Here is Your Hobby: Car Customising (1965, Putnam)

 A Teen-Ager’s First Car (1966, Dodd)

 Exorcism: Fact Not Fiction
edited by Martin Ebon / 1974, Signet Y5701

This paperback was one of a rash of books (not to mention countless magazine articles) hurriedly published to exploit and capitalise on the popularity — and just as importantly — the publicity, hysteria and paranoia, which followed in the wake of the cinema release of The Exorcist in 1973.

Exorcism: Fact Not Fiction is a compendium of short, previously published articles dealing with the subjects of exorcism, possession, haunt-ings and anything else remotely close enough to warrant their inclusion

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in the book. Some of the stories date back as far as the 1930s, and are culled from the pages of periodicals like True Mystics Magazine, Tomorrow and Fate.

The lead off piece, and obvious selling point of the book, is D.R. Linson’s essay ‘Washington’s Haunted Boy’. Originally published in the April, 1951 issue of Fate, it looks at the supposed demonic possession — and subsequent exorcism — of fourteen year old Douglas Deen, the Washington boy whose celebrated case served as the basis for William Peter Blatty’s novel The Exorcist (Blatty kept the Washington location, but changed of course the child’s gender). Linson’s account of the incident is brief (it barely covers four pages), but the influence which the events had on Blatty’s novel is easy to see (right down to the violent shaking of the child’s bed).

Each chapter in Exorcism: Fact Not Fiction contains a new introduction by editor Martin Ebon, who has also written and edited other studies of strange phenomena, including Test Your ESP, They Knew the Unknown and True Experiences in Prophecy.

 The Mysterious Monsters
by Robert and Frances Guenette / 1975, Schick Sun 1548

Growing up, I was always a sucker for those Chariots of the Gods-type documentaries, which purported to finally reveal the truth behind UFOs, mythic monsters, and other mysteries which had baffled man for decades (or in some cases, centuries). The hokiness of these documentaries (as well as TV shows such as In Search of, hosted by Leonard Nimoy) always gave them an eccentric edge which, combined with the genuinely intriguing subject matter, made them all the more engrossing to watch.

The Mysterious Monsters is based on Robert Guenette’s documentary of the same name (also released as Bigfoot, The Mysterious Monster), and details the hunt for history’s three most mythical creatures: Bigfoot, the Loch Ness Monster and the Abominable Snowman. Much of the book reads like the narration of the film (which was provided by Peter Graves), with Guenette tracking down and recording the comments of eyewitnesses who claim to have seen these creatures. Starting off as a reserved

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sceptic, Guenette becomes more accepting of the possibility of the existence of these creatures as the book wears on. Most readers, however, are likely to be less convinced, particularly as many of the sightings reported, and photographs reproduced, within its pages have since proven to be deliberate fakes or genuine misinterpretations.

The most interesting portion of the book is the chapter dealing with the famous, twenty-four-feet piece of 16mm film shot near Bluff Creek, California, in October 1967. Taken by Roger Patterson and Robert Gimlin, it purports to show a genuine Bigfoot walking along a creek bed, the creature turning and glancing at the camera before scuttling off into the bushes. Almost ranking alongside Zapruder’s footage of the Kennedy assassination, Guenette suggests the film is authentic after having several Hollywood special effects artists (including John Chambers, who developed the make-up for Planet of the Apes) examine it frame by frame, and suggesting it would cost between $5–10,000 to create such a realistic Bigfoot suit. If this were the case, where would Patterson/Gimlin have obtained the money from, and who would have built the suit for them? Patterson died in 1972, maintaining on his deathbed that the footage was genuine. Gimlin to this day has denied faking the event, and certainly no one has ever come forward to claim that they were the person who constructed the suit.

Guenette ultimately suggests that the Bigfoot footage is either: [ a] A picture of an actual Bigfoot; [ b] A fake Bigfoot i.e. a man in a fur suit, either Patterson or Gimlin themselves or a third party put there by them;

[ c] A man in a fur suit put there by Patterson, unknown to Gimlin; [ d]

A man in a fur suit put there by Gimlin, unknown to Patterson; and/or

[ e] A man in a fur suit put there by someone else, to hoax both Patterson and Gimlin.

Despite many attempts to debunk the Patterson/Gimlin film using digital enhancement and cleaning, as well as more recent admissions from people who claim they either sold Patterson a gorilla costume in the sixties (Philip Morris of Morris Costumes) or were offered $1,000
to wear it “in a Bigfoot film” (Bob Heironimus), the debate has never been truly put to bed. The footage is now available to view online or in countless Bigfoot documentaries.

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 Thirty Seconds Over New York
by Robert Buchard / 1970, Belmont Tower 0-505-51181-9

A title which would have previously been
looked upon as little more than a low-rent

James Bondian adventure takes on a grim new
light in the aftermath of September 11, 2001.

The uncredited cover art features a stunning
but disturbing image of a plane being flown
directly towards the twin towers of the World

Trade Centre (which, at the time of the book’s
publication, would have only just been com-
pleted).

Authored by a French television news re-
porter (and former military parachutist who
had served in the Suez and Algeria campaigns),
the plot centres around a fanatical, America-hating Red Chinese colonel, who hatches a fantastic plan to hijack a passenger jet and — carrying a nuclear warhead — fly it into the heart of New York, detonating the weapon above the city. Moving away from the startling cover, the novel is actually a very serviceable thriller, and unlike the majority of similar books from its day, ends on a grim note, as the bomb is actually detonated above the Big Apple.

The fantastic American war machine was at a standstill because no procedure had been devised to prevent this kind of incident. The men crowded into the three war rooms were naked, disarmed, alone in the face of this absurd and incredible thing: the “bomb under the doormat”, the anonymous bomb, origin unknown, making no strategic sense — one lone bomb, gratuitously dropped with the sole purpose of razing a city, not to start or win a war.

On the central board, the Boeing’s luminous dot had exploded.

From Omaha, Moore said:

“New York no longer exists.”

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 The Train Ride
by Peter Loughran / 1968, Macfadden 520-00193-075

I had never heard of this book until a paper-
back copy of it turned up unexpectedly in my
mailbox. I had purchased a small bundle of
books from a private seller in the States, and
when they arrived he had thrown in a copy
of The Train Ride for free, along with a hand-written note saying “Read this… you’ll love it”.

Amongst certain devotees of crime novels,

The Train Ride (originally published in 1966) is considered to be something of a neglected
masterpiece. Certainly, the premise is a chill-
ing and provocative one for its day — the rape
and murder of a seven year old girl on board a
train, committed by a young, arrogant merchant seaman who has a rage against women, fuelled by pornography and inflamed by a disastrous encounter with a deceitful prostitute the previous evening.

Jesus Christ almighty — the face was gruesome, purple and swollen, tongue sticking out black and the eyes so wide you think they’d fall out the sockets.

And the look in those eyes — it was the worst thing I’d ever seen in my life

— wild, terrible, like a screaming that goes on and on and on.

While author Peter Loughran does sustain an atmosphere of grim in-evitability throughout the book, not to mention a thoroughly downbeat ending as the girl’s body is forced like a rag doll under the seat in the train compartment, and the killer walks away scot-free from his heinous crime, the story as a whole is far too long-winded and drawn out to be totally effective. And I imagine many readers would get frustrated at having to wade through the central character’s pretentious and repetitious mus-ings on life in general and sex in particular.

Had Loughran cut the excess from his story and presented The Train Ride as a short story or novella, it would have made a much more satisfy-ing and memorable journey.

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FILM rAGS

They may not fit into your hip pocket too snugly, but I’ve always felt that vintage smut film magazines share the same dirty bed as adult paperbacks from this era.

Looking at them now, it’s hard to believe that these publications actually once did exist. In the mid 1980s, aficionados were endlessly searching for information, graphics, and fuzzy, fourth generation bootleg videos of the softcore sex films of David Friedman, Harry Novak, Joe Sarno and others they had been turned onto through the pages of influential volumes like The Psychotronic Encyclopedia of Film and Incredibly Strange Films. Many of them never realised there was a time when these films — which they were treating as obscure and marginal underground entities — were receiving glossy, front cover coverage in nationally distributed magazines. Even if they did have to be distributed under the counter…

AdAm Film World

For fans and collectors of 1960s sexploitation film memorabilia, Adam Film World represents something of a Holy Grail, and not without good reason. A trailblazing publication, Adam Film World first appeared in 1967, an offshoot of the popular men’s magazine Adam (conceived in 1956 by the Los Angeles based Knight Publishing Company).

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Initially published as a quarterly, Adam Film World’s popularity quickly saw it jump to bi-monthly, a schedule which it kept up into the late seventies. The aim of Adam Film World was to promote and provide coverage of all the latest adult related films, which by the late 1960s were moving away from the harmless nudist camp format and were becoming more graphic and daring, as well as more accessible, thanks to the emergence of cinemas devoted strictly to the screening of adult films, such as David Friedman’s chain of Pussycat theatres (it’s probably no coincidence that many of Friedman’s films received ample coverage in the pages of Adam Film World).

Most of the writing in Adam Film World — in particular, the reviews

— were credited anonymously (most of the reviews would probably have been pieced together with a little help from the film press kits), with the only credited pieces being the articles, artist profiles and occasional interviews (even the editorial staff were not listed in the magazine’s early period)

Aside from its content, one of the things which impresses most about the early issues of Adam Film World are its high production values.

Square bound, and published on thick stock, the magazine also boasted sturdy card covers, which later employed a fold-out feature, containing colour photos from that issue’s highlighted film. By the 1970s, the thick covers and fold-outs had disappeared, but the magazine compensated with an increased colour page count, and more varied contents and regular columns. Editorial credits also began to appear in the indicia page (the 1970s issues I own list Edward S. Sullivan as editor).

Although Adam Film World continues to be published, much like the adult paperbacks it has been reduced to a shadow of its former self: high on gloss and silicone but low on any kind of originality or uniqueness, an unfortunate reflection of adult cinema itself. Its current mediocrity only serves to emphasise the brashness of those early ground breaking issues, my favourites of which will be looked at more closely here.

 Adam Film Quarterly No. 4 (April 1968)

Dean Martin in a bedroom scene from the 1967 Matt Helm adventure

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The Ambushers graces the cover of this issue, lending a semblance of respectability masking the sleazy goodies that lay within! Skin flicks which are (un)covered inside include Peddlers of Sin (1966; an exposé of the infamous Hollywood casting couch), Barry Mahon’s 1965 roughie Hot Skin and Cold Cash (“Her man jailed, Shelly sells her hot skin for cold cash — to feed her baby”), Shameless Desires (an obscure and very grungy looking sexploiter, filmed on the steamy bayous of Louisiana), Nymphs (Anonymous) and Joseph Sarno’s 1966 housewives exposé Come Ride the Wild Pink Horse (“Bored, Thrill-Hungry, They Shop For Sin!”).

Some slightly more mainstream fare is well represented. Apart from The Ambushers cover feature, there is also a look at Bonnie and Clyde (including some great colour stills), profiles of Jean Seberg and Ann-Margret (‘Candid confessions of a sex symbol’), and a piece discussing Sean Connery’s rumoured departure from the James Bond franchise, with writer Robert Black coming to the popular conclusion that the 007 films simply could not continue without Connery’s presence. Some lovely colour plates from You Only Live Twice illustrate this article.

Demonstrating their willingness to devote space to what must have then been considered some very obscure cinema, this issue of Adam Film Quarterly also contains a ten page article devoted to Japanese sex cinema, which includes coverage of the films produced by the Nikkatsu studios (whose work has since come to be discovered and appreciated by western audiences, thanks in part to Tom Weisser’s series of books on Japanese cinema, and the availability of many Nikkatsu films through Weisser’s Asian Cult Cinema label).

 Adam Film Quarterly No. 5 (July 1968)

The voodoo drumbeat sequence from The Acid

Eaters (1967, see listing in adult paperback
reviews) features on the cover here, as well
as in a four page photo review of the film. The
back cover features a great photo of the cast
members standing atop the giant LSD cube
that’s featured in the movie!

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The contents of this issue deal with a real obscurity, the 1968 film A Guy, Eight Girls, which looks like a very vicious sexploitation vehicle about a group of young girls on a cruise who wind up stranded on an uncharted island ruled over by a gang of sadistic lesbians ( Gil igan’s Island would have been so much more entertaining if it had taken this approach!). No cast or crew members are listed in the article, the only information offered is the name of the production company (Iota Productions), and the fact that this is their first feature, filmed under the working title of Linda.

From the review of A Guy, Eight Girls:

The leader of the lesbo-pack, who has been off trying to capture the third girl, walks into camp just as the two are about to consummate the feelings aroused by the dance. Angry at missing out on the fun, she pulls the girl away from camp, ties her to a tree and whips her into unconsciousness. Then the lesbian makes an overture of love. When the girl resists, she is raped in a manner never before seen on the motion picture screen.

This scene is so shocking one can hardly watch it. Though we show part of the rape scene in the photos, we tried not to reveal the rape method — we don’t want to ruin its impact.

Other adult films covered in this issue include Robert Lee Frost’s The Animal (“It takes magnificent advantage of the new freedom won in the courts and manages to exhibit more of the human bodies and its perver-sions than any other film we know”), A.C. Stephen’s Motel Confidential, Suburban Girls Club (1968, yet another sex film which revolves around the theme of bored housewives getting their wild kicks while hubby’s off at work earning the bread) and Loves of a Psychiatrist (also 1968 — “Dr.

Silo’s sex life is a case history in itself — as this movie reveals!”).

Leaving the pure sleaze behind for one moment, we also find here coverage of Barry Shear’s cult 1968 youth-quake film Wild In the Streets, Barbarel a (including colour shots from Jane Fonda’s famous opening credits space striptease) and Rosemary’s Baby (accompanied by a four-page interview with director Roman Polanski, conducted by the late Lee

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Jensen, whose son kevan jensen is interviewed elsewhere in this chapter regarding his father’s work with Adam Film World).

 Adam Film Quarterly No. 6 (September 1968) With this issue, Adam Film Quarterly introduced a very cool new feature in the form of a fold-out front cover, which contained colour photos from the issue’s lead-off film. The first movie to be so honoured was Donald Davis’ Odd Tastes, a 1968 excursion into hedonism, which documents the life of playboy Charles Oddman as he seeks out sexual adventures in exotic locales like Hong Kong and Singapore (filmed on location, it allowed Davis to imbue his film with some mondo qualities which would increase its appeal).

From the far east, this issue then moves back in time to the Wild West, with coverage of the 1968 Lee Frost sex film Hot Spur (“The West at its rawest… when the only thing faster than the guns or cheaper than the lives were the women!”). Produced (and based on a story) by well known exploitation eccentric Bob Cresse, Hot Spur was a typically rough and rugged production from Cresse and his Olympic International company.

The stunning Pat Barrington features heavily in the photo layout from Al the Way Down (1966; an early film which exploits the popularisation of topless clubs and bars which were beginning to proliferate the west coast of America), while yet another A.C. Stephen opus gets the Adam treatment — this time, it’s Swinging Secretary, which is also known under several other titles, among them Office Love-In and Office Love-In, White Col ar Style.

The sexploitation element in this issue comes to a climax (sorry) with Invitation to Ruin (Kurt Richter’s 1968 slave racket roughie which even up until the mid 1970s was still doing the rounds in grindhouses and drive-ins across the US, often re-titled as The Invitation). The remainder of the magazine devotes its space to Zeffirelli’s Romeo and Juliet; the UK coming-of-age comedy Here We Go ’Round the Mulberry Bush; articles on the burgeoning Clark Gable cult which was beginning to emerge several years after his death, and the controversy surrounding the film adaptation of D.H. Lawrence’s The Fox (a major studio produc-

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tion which garnered public and critical outcry — as well as praise — for its realistic scenes of lesbianism between stars Sandy Dennis and Anne Heywood).

 Adam Film Quarterly No. 7 (December 1968) David Friedman’s The Lustful Turk (1968; a sexploitation take on Arabian Nights) features as the fold-out cover of this issue, which
includes a number of great, rare colour stills
from the movie. A fairly diverse issue, the adult
content here is rounded out by coverage of The

Psychic Lover (1969), William Rostler’s Suburban Pagans (1968; a very grimy and enjoyable exposé of partner swapping in suburbia),

Brand of Shame (another ambitious David

Friedman production from 1968, this one
sending up the western genre), the controver-
sial I Am Curious Yel ow, and Radley Metzger’s lesbian ’art’ film Therese and Isabel e (an affecting look at love between two schoolgirls, which succeeds despite the fact that the lead actresses are clearly in their mid to late twenties).

Of the non-adult pieces in this issue, the most interesting is coverage of the 1969 counterculture/drug film Free Grass (1969, also known as Scream Free! and Street Drugs). It features Lana Wood and future Twin Peaks stars Russ Tamblyn and Richard Beymer. Errol Flynn and Kim Novak are profiled, and there are nice colour features on The Boston Strangler (with Tony Curtis) and the tough Sinatra detective vehicle The Detective.

My favourite ad in this issue is easily the Coffin Nail Cigarette Box, shaped just like a miniature coffin, for only $1.50!

 Adam Film Quarterly No. 8 (February 1969) One of the most interesting things about looking through sequential is-

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sues of Adam Film Quarterly is seeing how the articles and still photos became more daring
as the sexploitation films themselves became
more adventurous and revealing. That is cer-
tainly the case with Adam Film Quarterly No. 8, the highlight of which is the article and photo
layout for the 1969 Donald David film The

Muthers, which features Marsha Jordan (one
of the main softcore starlets of the late 1960s
and seventies) as a sexy blonde mother who
competes with her teen daughter to see who’s
best in the bordello.

Another interesting feature in this issue is the article on the obscure adult film You, which, according to the article, was filmed in ‘Feel-A-Vision’. (Was William Castle, king of the gimmicky horror films, making nudie flicks on the side?)

YOU will feel every sensuous sensation! YOU will live through every shattering climax! YOU will perform every depraved act in this picture! YOU
will participate in every unspeakable performance.

From what I can gather from the still used to illustrate You, the premise of the gimmick was achieved merely by using the camera as the point of view of the male during the sex scenes (not just a neat promotional scam, but it saves the producers money on hiring actors).

Sisters In Leather (1969) may have been one of the first adult films to capitalise on the biker film craze, but the plot was more of a warped blackmail drama, with three lesbian bikers hitting a married sleazebag for all he’s worth after catching him in the back of his car with an under aged girl. The film probably vies with Sock It to Me with Flesh for the most memorable title to be covered in this issue (although Flesh — another Marsha Jordan vehicle — was also released under the less original but more to the point title of I Want More). More whipping and sadomasochism can be found in the coverage of William Rostler’s The House of Pain and Pleasure.

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Also worth noting is James Fulton’s article titled ‘Dirty Movies Are Dirtier Than Ever’, in which the writer looks at the emerging ‘split-beaver’

genre — shorts which focused almost their entire running time on a girl’s spread-eagled crotch. They may seem tedious and repetitive now, but at the time split-beavers were an important step towards opening the road for hardcore pornography.

 Adam Film World No. 9 (July 1969)

The first of the bi-monthly issues of Adam Film

World is also one of the best, and a much desired item for all sick sixties cinema freaks. The outrageous cover fold-out for Love Camp 7 — a film afforded a massive twelve pages of coverage —
adequately sets the tone. Directed by Lee Frost
and co-written by legendary livewire Bob Cresse

(himself apparently a not-so-closeted Nazi sym-
pathiser), Love Camp 7 is a very rough sexploitationer set inside a Nazi slave camp, and was certainly a forerunner of the 1970s cycle of Nazi sleaze cinema which included the likes of Ilsa: She Wolf of the SS, The Beast in Heat and The Gestapo’s Last Orgy. A virtual non-stop procession of whippings, beat-ings and other sundry forms of torture — all of it involving naked female flesh — Love Camp 7 (released on video in some countries as Nazi Love Camp 7) featured Cresse in an over-the-top but completely enthusiastic performance as a sadistic camp commander. Producer David F. Friedman also enjoys himself in his role as a Nazi general. Director Frost went on to helm the 1975 film Black Gestapo; Cresse died in 1998
after suffering years of ill health, the result of being shot in the stomach by two undercover cops!

While the remainder of the issue may seem tame in comparison to its opening feature, there’s still plenty here to warrant attention, including coverage of two period adult features — Royal Flesh (aka The Undercover Scandals of Henry VIII) and Harry Novak’s genuinely amusing produc-

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tion The Secret Sex Lives of Romeo and Juliet (which features a lot of spot-on satire of late sixties pop culture).

The Satanist — “A sensual probe into the intimacies and terrors of a black-mass cult” — is an adult film I’m not familiar with, but am certainly keen to hunt down after seeing the stills and reading the outrageous blurbs: “She became a succubus — not to have intercourse with men but to copulate with the arch-demon!”

Alexander Maxwell’s It’s Al For Sale is not a story of prostitution, but rather another trawl through the dirty world of underground newspaper sex ads, where everything is on offer, from orgies and lesbianism to voodoo sex rituals. Shots of a naked girl performing an erotic dance with a snake are the highlight of the piece. The Pleasure Machines (1967) is a science fiction/softcore porn amalgam which plays upon the fantasy of beautiful robots who do whatever you command and don’t talk back! (A more risqué take on a similar theme was explored the following year in Herschell Gordon Lewis’ (better known) How To Make A Dol .) The most interesting thing about The Pleasure Machines is that it was directed by Ron Garcia, who went on to become cinematographer for the Twin

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Peaks television series, as well as photographing the Twin Peaks: Fire Walk With Me feature in 1992.*

Rounding off this issue is a feature on up-and-coming young filmmaker William Friedkin, a look at some of the best movie brawls and fights, and an interview with veteran screen tough guy Edward G. Robinson, who airs his views on screen violence (“I guess it’s paradoxical to say that violence is entertaining, but it is practically impossible to create meaningful conflict without it”).

 Adam Film World Vol. 5, No. 10 (April 1976)

By the mid 1970s, Adam Film World had evolved significantly from the format and character of its earlier issues. While the emphasis was still squarely on providing photo-heavy coverage of the latest adult films (with the visuals becoming increasingly more graphic to reflect the hardcore films by now saturating the market), the magazine was including much more in-depth and interesting articles. This is certainly in evidence with this issue, which contains features on snuff films (‘Are Snuff Films For Real?’ by Dirk Hammond) and a look at the emerging home video format, and the exciting potential this holds for fans of sex cinema (‘A New Frontier — Porno Films At Home’ by Charles D. Anderson).

Hammond’s snuff piece perpetuates many of the (false) myths that have circulated about the subject, but stands out as an early attempt to link the genre to the exploding murder rate, increased emergence of serial killers, and the pushing of screen sex and violence boundaries.

The idea of a snuff film could be interpreted as man’s latest step towards complete alienation from himself and his environment. Displaced death, the kind seen in snuff films, reduces the audience to the most perverse sensibilities. Entertainment becomes not a diversion for civilization, but rather

* Ron Garcia also directed other unique sexploitation features like The Toy Box (aka The Orgy Box, 1971) and Inside Amy (aka Swingers Massacre, 1975). He now works as an in-demand cinematographer for TV shows like Gilmore Girls and the new Hawaii Five-0. In 1989 photographed Michael Mann’s tele-movie L.A. Takedown, which was eventually reworked by Mann into his epic 1995 crime film Heat.

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a destruction of those elements which hold civilization together. Men kill in order that other men, with the insulation of wealth and power, may get their perverted rocks off. The snuff film becomes the private colosseum for anybody with enough bucks to afford it; and the “stars” of the porn films become the Christians.

By this time in the magazine’s life, two interesting names had joined the Adam Film World staff: William Rostler — whose own films were featured in the earlier issues — was writing a regular series called ‘All-Time Favourite Porno Film Hits’, featuring capsule reviews of not only hardcore sex films, but also marginal erotica titles like Jean Rollin’s Lips of Blood (1975) and Three Nuts In Search Of A Bolt (1964 nonsense starring Mamie Van Doren), while Titus Moody — an actor in low budget films like Ray Dennis Steckler’s Rat Pfink A Boo Boo — is listed in the index as a contributing editor. Moody would go on to spend the remaining years of his life behind the camera as photographer of many adult films and videos.

Films covered in this issue include Tomasina Kel y (featured on the cover), The Wife, Tongue, Nude Séance and the UK sex comedy Confessions of A Pop Performer (starring Robin Askwith).

 Adam Film World Vol. 6, No. 7 (October 1977)

“Exclusive! Scenes from FARRAH FAWCETT’s First X-Rated Movie!”

screams the cover of this issue, signalling a fascination for celebrity flesh which would reach fruition in the mid 1980s, with the publication of the hugely popular Celebrity Skin and Celebrity Sleuth magazines. In actual fact, the coverage of Farrah here is merely a piece on her (clothed) role in the 1970 atrocity Myra Breckinridge. However, it no doubt had its desired effect on people excited by the prospect of the then-hot Charlie’s Angels starlet appearing in skin flicks. Doubtless this issue would have been a top seller, finding its way into the hands of many readers who were picking up the magazine for the first time.

Much more interesting than the Farrah hype is a four page photo layout from Walerian Borozyck’s controversial The Beast (which features

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very little text about the film other than
the promise that “It goes about as far as
any serious filmmaker has yet gone in
depicting animal sex between human
and animals”), and the cover article on
the obscure American sex film Over-
come! , which stars American Indian

Jesse Chacan — a former Mr. Nude

USA as a Manson-esque guru to a cult
of young hippie girls who he keeps in
line with ample doses of drugs and sex.

The girls eventually retaliate against
their guru, who ends up having his cock
chopped off by a man in a cheap skull
mask. Directed by Joseph Bardo under
the pseudonym of Lisa Barr, Overcome!

provides a good example of the lasting
impact and influence of the Manson
killings on all forms of popular culture.

Other adult films covered here in-
clude Portrait of Seduction starring Vicky

Lyon, and Gerard Damiano’s fantasy
laced Odyssey. There’s also an interview
with the gorgeous Lesllie Bovee (who
starred with John Holmes in the film
noir spoof Eruption) and a pretty amusing (and obviously faked) article called

‘I’m a stunt man in porn flicks’ by Nick C.

(as told to Gary G. Fields), a supposed
look at the life of a ‘stunt cock’, employed
for the use of close-ups should the lead
male become a little camera shy, or the
producers be needing a more impressive
cum shot.

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iNtervieW With KevAN JeNseN

Kevan Jensen is the son of the late Lee Jensen, an in-house writer — and sometimes editor — for Adam Film World during its glory years of the late sixties.

hip poCKet sleAZe : How did your father become involved in

Adam Film World ? What was his occupation prior to that?

KEVAN JENSEN: My uncle worked at Mankind magazine in the late sixties which was published by the same company as Adam Film World. I believe my father started submitting stories through that intro to Adam Film World, then later became editor.

What years did your father work at Adam Film World ? I have some is-
sues of Adam Film World Quarterly from the late 1960s with his name
on them, but he seems to have disappeared from the magazine by the mid

1970s.

KEVAN JENSEN: I’m not exactly sure but perhaps from 1968
through late 1972 or 1973.

How old were you during this time? What are your memories of your fa-
ther’s job? Were you aware that he was working for an ‘adult’ magazine?

KEVAN JENSEN: I was born in 1958 so I was at puberty while he was working at Adam Film World. Finding magazines hidden in file cabinets and the attic was always thrilling. My older stepbrother had a good pile of Adam Film World’s in his room that my friends and I would leaf through. Funny, but even a movie like What’s Up Pussycat? was racy then.

My father was the fastest typist I have yet encountered and I would often fall asleep to the hum of his electric typewriter in the next room.

He was an audiophile and in fact before working at Adam Film World he used to install high end sound systems for actors and other Hollywood types. He had a friendship with Lenny Bruce when I was very young,

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whom he met while installing a hi-fi system at his pad. In any case my father used to go out on interviews for Adam Film World with a small reel to reel (later supplanted by a dictionary-sized cassette recorder).

He would record interviews and then transcribe them late at night. He would also conduct phone interviews with a little suction cup coil pick-up attaching the phone to his tape machines. He also took some racy photos of actresses in the ‘blue’ world which he would develop and print at home in our bathroom.

How did your father’s job affect your family life? Was there any stigma or
shame because he worked for an adult magazine? Was your dad notorious
amongst your own friends?

KEVAN JENSEN: I was aware that he was working in something dark.

My mother never talked about his work and was actually quite prudish.

My family was extra strict and my older stepsister suffered terribly under the repressive Latin side of my mother, who was raised Catholic in Costa Rica. My mother would have been happier under the Inquisition than living in the California of the late sixties, I think! My friends could not believe my luck.

Tell me a little about your father’s life during the 1950s. I understand
he was a card carrying communist, and had a large circle of Hollywood
friends who were also leftists.

KEVAN JENSEN: I’m not too familiar with this time in his life, but he was friends with a group of writers and others including cinematographer Haskell Wexler. There was a huge group of leftists in Hollywood who were ‘left’ out after the HUAC [House Committee on Un-American Activities] inquisitions of the early fifties. Many found work again in the industry but others were forced to find other employment. I think there was a huge stigma that my father carried regarding his political beliefs. He was extremely radical and had a huge pile of forbidden radical journals like Masses and Mainstream, published by the radical labour movement. These were frequently in the same secret pile as the Adam

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Film World s! He worked as a studio photographer and as I mentioned a hi-fi system installer among other trades. He was pursuing a doctorate in comparative literature at UCLA in the early sixties. He got his masters but the pressures of a large family (six kids) forced him to find work. He kind of exchanged one forbidden world for another!

Do you think your father was happy at Adam ? Was it just another job to
him, or did he genuinely enjoy the work?

KEVAN JENSEN: I think my father got a kick out of working at Adam Film World, but he was much prouder of making some cash! I remember he took me aside once, I must have been thirteen or fourteen and he showed me $1,000 in hundreds (a fortune to my family then) and said “this is what keeps the household going”. It was his proudest moment in front of me. I only went to his office a couple of times… it was

‘out of bounds’ I think… but he did show me the stories he wrote. He was especially proud of the Blue Coast Bums series.

Did your father ever keep any of the materials from his Adam days, like
photos, stockpiles of the magazine, etc.?

KEVAN JENSEN: I asked my mother recently what happened to that stuff. She claims that my father eventually tossed all of it when the family relocated to the suburbs of NYC. I think she tossed most of it herself.

Your father also contributed many articles for Adam using a variety of
pseudonyms. I understand this eventually led to his dismissal, when the
editor discovered he had been unwittingly paying for stories written by
one of his staff. What effect did this have on your father and the family?

KEVAN JENSEN: He wrote under a variety of names but the only one I recall is Robert Bruno. The whole culture of Adam Film World was pseudonymic: even the current owner of 8060 Wilshire , the former publisher of Adam Film World, calls himself Bentley Morris , a confabulation of two English auto brands with hilarious class connotations.

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An earlier publisher found out he was double dealing the magazine, in effect buying stories from himself, and fired him. It was devastating to the family and we ended up on welfare for a few years. He never really recovered from losing that job and perhaps felt that he couldn’t use his experience working within the ‘blue’ genre to gain other employment.

Did your father do any work for other adult magazines, as far as you’re
aware?

KEVAN JENSEN: Not that I remember, but it is possible that he submitted stories elsewhere.

How — if at all — do you think your father’s work at Adam influenced
your own career as an artist and filmmaker? Did he encourage artistic
development, seeing as your two sisters also display a good deal of creativ-
ity in their chosen fields?

KEVAN JENSEN: I feel that my father sacrificed himself for his family.

My sisters and brothers and I had amazing access to musical instruments and instruction, microscopes and telescopes, dance lessons, art supplies, a swimming pool and other goodies that would have been impossible without the money he earned at Adam Film World. The success of my siblings would have been impossible without his efforts. I won’t speak for them, but I will say that his involvement in pornography definitely gave me a glimpse of what I now identify mythologically as Aphrodite’s realm.

American culture is extremely puritan and eroticism was only present during my youth in the shadowy realms my father explored while at Adam Film World. My life in creative culture cannot be separated from what I glimpsed in those forbidden journals. I was a proud son at the time he worked at Adam and I remain proud of his work. I see him as part of a dark side of a counterculture that lost its way when it lost its eroticism. Let me put it another way: My first girlfriend in junior high was the daughter of a guy that turned out to be a high ranking CIA official. He had a cover working for NFL Films — the wholesome American sport. She now works for the CIA herself after an illustrious education.

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I would much rather have my father the pornographer than bear the shame of a father who was complicit in the real obscenities of sixties America. My father died humbly and that son of a bitch was buried with military honours! Yet if you ask me, the work of the erotic explorers of the sixties like my pop was ultimately more productive for American culture than the dirty tricks of American politicos.

the imitAtors

The success of Adam Film World naturally spawned a host of imitators, both in the US as well as the UK and Europe. Although its early issues were never really equalled or surpassed, many of these Adam Film World knock-offs are memorable for their tacky layouts, eclectic styles or choice of contents, and a sense of naughty innocence which the passage of time has rendered quite charming.

Cinema blue

One of the last of the great UK produced sex film magazines of the 1970s, Cinema Blue (‘Incorporating Cinema X’) was a lush, high quality publication, and certainly a lot more daring in the explicitness of its photos than similar British magazines from earlier in the decade, such as exciting cinema and x-films (both reviewed elsewhere in this chapter).

Edited by Tony Crowley and published bi-monthly by the Leices-ter based Petbridge Ltd., a close look at Vol. 1, No. 9 of Cinema Blue (published October 1977) gives a pretty good overview of the magazine’s style and content.

One of the first things to hit you in this issue is the two-page piece on Dennis Hopper’s infamous mess The Last Movie, which the drug-addled star directed in Peru in 1971, aided by a cast that included fifties B-starlet Julia Adams, Peter Fonda, Russ Tamblyn, Stella Garcia, Dean Stockwell, Sam Fuller, Kris Kristofferson, John Phillip Law and singer/
choreographer Toni Basil. The article includes an excerpt from an inter-

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view Hopper gave to Game magazine, in which the star admitted to having on-screen sex during a waterfall scene with Stella Garcia:

“You see me kissing her breasts but you don’t see me actually inserting… I did want to leave the insert ‘cut’ in, because… I didn’t see anything ugly in it, you know… But yes, we did fuck. And I didn’t expect to! Because I said, we’d just go like children, like we did in Easy Rider with the gals — like children. The waterfall was freezing, man. But suddenly, I touched the girl — and she was wet. And so, bang, you know.”

Elsewhere in this issue, we get a colour photo layout on the John Holmes French-lensed film Sex O’Clock U.S.A., and coverage of some of the latest sex flicks, including David Sullivan’s Come Play With Me starring Mary Millington (photos show star Derek Aylward grabbing his crotch while cuddling the naked Millington, as well as a candid shot of Tommy Godfrey — best known for his roles in UK sitcoms like Love Thy Neighbour and Mind Your Language — having fun with a half naked Suzy Mandell between takes).

Other films covered are the horror/porn hybrid Spermula, Rape Me Gently (featuring a young John Leslie), Vanessa (a German play on the Emmanuel e films) and Private Pleasures. There are also interviews with the late Swedish painter/director Jens-Jorgen Thorsen (who filmed a great, mind-bending adaptation of Henry Miller’s Quiet Days In Clichy in 1970) and Danish Blue filmmaker Werner Hedman (which includes only a small amount of text but many colour photos from several of his In the Sign of… films, including In the Sign of Gemini, In the Sign of the Virgin and In the Sign of Taurus).

Cinema Blue contains a disclaimer stating that it is in no way connected with the Cinema Blue or Cinema X movie house chains in the UK.

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daring Films And books

While Daring Films and Books may
not live up to the lofty standards set
by adam film world (elsewhere this
chapter), it still succeeds on its own
slumming merits, focusing as it does on
some of the more bizarre and twisted
sexploitation films (with particular em-
phasis given over to the ‘roughie’ genre

— films that gleefully combine sex with
sadism and brutality).

Published by New Link Publica-
tions (whose headquarters were at 6311

Yucca Street in Hollywood — the same
street Ed Wood spent the last misera-
ble months of his life), Daring Films and

Books was produced on thick, glossy
stock, with colour covers and black and
white interiors (save for the colour ‘Dar-
ing Scenes of the Month’ centre spread).

One great aspect of the magazine is the

‘Daring Book Review’ section, in which
some of the latest adult paperbacks are
given the once-over by an anonymous
reviewer (most of the articles in the
magazine are uncredited, even the edi-
tor’s name never seems to be mentioned,
and even the readers’ letters offer only
initials). Since the magazine also sold
via mail order most of the titles covered
in their book review section, it’s a good
bet that Daring Films and Books was
either affiliated, or working in tandem
with, some of the adult book publishers.

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Most of the articles
and reviews contained in
this title were very light
on text, with many sim-
ply repeating the blurb
and synopsis contained
in a film’s press books.

New Link Publications
also published the simi-
larly formatted wildest
films and torrid film
reviews (elsewhere this
chapter).

 Daring Films and Books Vol. 1, No. 4 (Jul-Aug 1966) The highlights of this issue are the features on The Twisted Sex (an incredible twelve pages of photos from this 1966 film looking at sexual corruption, supposedly based on the actual files of “eminent psychiatrists”!), Lust For the Sun (a 1961 British nudist camp film, directed by Werner King and widely regarded as one of the best examples of the genre), Five Sinners (a 1960 west German art-house film with exploitation overtones) and The Wild World of Batwoman (a mind-numbing 1966 parody from Jerry Warren, also known as She was a Hippie Vampire).

Also featured in this issue is a look back at the 1934 camp classic Sex Maniac (aka Maniac), and a colour centrefold featuring two stills from the 1966 David Friedman sexploitationer A Smel of Honey, A Swal ow of Brine. Titles covered in the book review section include Queer Al ey by Amy Irwin, The Sex Racket by Burk Steele, The Sex Rebel by Jerry Nolan (not, I assume, the late drummer from the New York Dolls!) and The Nymph and the Virgin by Hal Kantor.

 Daring Films and Books Vol. 1, No. 5 (Sep-Oct 1966) The best issue of this magazine that I’ve so far managed to come across

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has a gaudy cover featuring a still from the
ultra-obscure Rapist and the Roommates (ac-
cording to the article on the film, this was only
the working title). Other great photo layouts
this issue cover Hot Nights on the Campus (a

Tony Orlando sex drama from 1966 starring

Gigi Darlene), One Shocking Moment (an ear-
ly feature from schlockmeister Ted V. Mikels,
best known for films like The Astro Zombies,

The Corpse Grinders and The Dol Squad), Satan’s Mistress (“Beautiful girls were his revenge!”), and a centrefold from 1966’s Mondo Freudo (a typically faked look at sexual practices around the globe, directed by Lee Frost — the back cover of this issue announces the upcoming publication of a special magazine devoted entirely to the film).

There’s also a six page retrospective of Russ Meyer’s 1961 film Eve and the Handyman, along with paperback reviews for Gay Boy Returns by Paul Dickson, Innocence and Passion by Ben Anderson, A Slight Case of Perversion by John Starke, Gay Peeper by Hal Kantor and Wild Nympho by Matt Ronson.

 Daring Films and Books Vol. 2, No. 1 (Jul-Aug-Sep 1966) The 1964 obscure roughie Whip’s Women is our cover feature for this issue, with the film given a generous fourteen page photo layout inside.

Elsewhere, we get an exclusive preview of David Friedman’s carnival horror/sex film She Freak, a look at London in the Raw (another mondo-styled exposé from 1964), scenes from a Turkish slave market lifted from Mondo Bizarro, and a centrefold featuring two nice colour plates from Whip’s Women and Surburbia Confidential.

The paperback reviews this time all centre around sexual education, and feature such titles as Sexual Feeling in Married Men and Women by G. Lombard Kelly, MD (President of the Medical College of Georgia), The Sexual Psychopath by Wade Hampton, PhD, Female Masturbation

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(another G. Lombard Kelly title) and Bizarre Sex Acts and Unusual Behaviour by Bob Michaels. Of nymphomaniacs, Michaels has this to say: They are called nymphomaniacs or nymphos, satyrs or Don Juans — and they have one thing in common: they live for sex the way a junkie lives for his next fix.

They are insatiable, obsessed with a need to perform the act of sex — in all its strangest variations — over and over again.

exciting Cinema

Published in the early seventies by Pennine Publications (102 Parkway, London), Exciting Cinema was an English magazine devoted almost entirely to adult films of all genres, including sexploitation, nudies, violent action, roughies and horror. Printed on tough, semi-gloss stock, the prose and visual presentation of Exciting Cinema certainly reflected its country of origin, despite the fact that many of the films featured within its pages came from outside the UK.

I first came across Exciting Cinema in 1994, while I was scrounging around a Club X adult bookshop in Melbourne. Finding nothing of interest on this particular occasion, I decided on a whim to ask the wary young vendor if he happened to have any old paperbacks stored out the back. Not too surprisingly, he answered no, but was quick to add that he had a stack of old magazines stashed away which I might be interested in. He explained that some old guy had recently dropped off his perch, and the son whom had inherited his house had discovered boxes of old sex magazines up in the attic, which he had brought into the shop and offloaded in one hit. Most of the magazines were hardcore titles of the Rodox variety, but there were some softcore titles which the vendor felt weren’t sellable.

More to make the guy happy than anything else, I agreed to have a flip through the magazines, and when he dumped the pile on the counter, my initial doubts were confirmed. It consisted mainly of early to mid seventies British skin rags like Mayfair, Escort and other low-rent titles I had

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little to no interest in. Having worked
through half the pile, I was on the verge
of giving up when I saw it staring up at
me: Exciting Cinema, Vol. 2, No. 6, fea-
turing a full cover colour still from Harry

Novak’s 1975 hillbilly sex flick The Pig

Keeper’s Daughter! Fighting hard to con-
ceal my excitement, I hurriedly flicked
through the remainder of the pile. There
were about twelve issues of the magazine
in all, which, after forewarning me that
they were non-returnable, the vendor
let me take off his hands for the princely
sum of five bucks for the lot! I’m sure I
heard him mutter the word ‘sucker’ un-
der his breath as I trundled off with the
stack of magazines tucked under my arm,
feeling as though I’d just knocked off the
crown jewels.

The earliest issue of Exciting Cinema

I’ve been able to dig up (Vol. 1, No. 8)

runs sixty-eight pages, with a cover price
of forty pence (US $1.25). This was the

‘Cannes Special’, featuring a report from
the 1971 festival. Of greater interest to
me, though, was it’s coverage of exploita-
tion fare like Joe Sarno’s Inga and Ralph

(aka The Seduction of Inga) , Erika, Cream and several others, all amply illustrated
with gorgeous black and white and col-
our plates. A highlight is the two page
feature on the gorgeous Christina Lind-
berg (Swedish star of the controversial

1974 film Thril er: A Cruel Picture aka

They Cal Her One Eye). Slightly more

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mainstream American films such as THX 1138 and Jack Nicholson’s Drive, He Said are also featured, as well as an interview with Swedish filmmaker Gunner Hogland ( As the Naked Wind from the Sea, Do You Believe in Swedish Sin?). In his brief editorial, Wil Castleton writes: We have some interesting letters for you this month, but would appreciate if you would send us more, as long as they deal with the avant garde cinema or censorship or relevant matter. We would be delighted to send a free copy of Exciting Cinema hot off the presses to all correspondents whose letters are published.

This seems to indicate a genuine concern by the editorial staff regarding the cutting and/or outright banning in England of many of the films which the magazine highlighted.

To launch its second volume, Exciting Cinema chose to highlight a topic that has now made it a much sought after item amongst horror film collectors. Subtitled ‘A Feast of Horror’, this issue was devoted entirely to the films of Hammer, with particular emphasis on their Karnstein lesbian vampire trilogy ( The Vampire Lovers, Lust for a Vampire and Twins of Evil) which were so popular at the time. Naturally, lots of nude photos of Ingrid Pitt, Yutte Stensgaard, Madelaine Smith and the Collinson twins were included.

The Vol. 2, No. 2 issue of Exciting Cinema is also worth seeking out, featuring as it does a major cover article on Kubrick’s A Clockwork Orange. The ten-page piece on the film includes a two-page colour spread, highlighting quotes from a number of international reviews, all hailing the film as a masterpiece. Other films covered in this issue include the minor cult title The Night Evelyn Came Out of the Grave, Below the Belt (another Harry Novak production, featuring Uschi Digart), The Naked Countess, and a Mike Nichols interview. This issue also reproduces part of an article from the February 6, 1972, edition of the Sunday People, which condemned Exciting Cinema (and similar publications) for not only the kind of movies that it chose to cover, but the advertising it carried as well:

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Exciting Cinema, for example, advertises a “fantastic offer” of two posters from the United States in full colour at 75p each. One shows a man and woman in the intercourse position with the caption “Make Love Not War”.

The other shows a woman with each of her enormous breasts resting on a dinner plate with knife and fork alongside. The caption reads: “Think Big.”

One of the regular features of Exciting Cinema were the photo layouts featuring budding young female models and actresses. Some of the girls featured include Susan Shaw ( Clinic Xclusive) and Ann Michele (who appeared in Pete Walker’s House of Whipcord, Virgin Witch and several other schlocky titles).

By the time Vol. 2, No. 4 had hit the musty shelves behind (or under) the counter, hard times had obviously started to hit Exciting Cinema.

Jo Wheelhouse took over as editor, and the page count had dropped by sixteen, although the cover price actually rose to fifty pence. It was also the first issue to appear in over four months, and was devoted to British sex films and horror films, including Sex and the Other Woman, Clinic Exclusive, Commuter Husbands, Love Box and the Pete Walker films The Flesh and Blood Show and The Four Dimensions of Greta.

Although colour was still being used, Exciting Cinema would soon introduce several pages of lower grade pulp to help minimise costs. Vol. 2, No. 6 featured ’Tis Pity She’s a Whore, Freedom for Love, Jennifer O’Neil, The Black Bel y of the Tarantula (including a profile of its star, Barbara Bouchet) and a colour centrefold from The Pig Keeper’s Daughter.

The last issue of Exciting Cinema which I’ve managed to hunt down to date is Vol. 2, No. 8, featuring The Sex Connection, Eroticon, Several times a Day, The Mutations, Burt Reynolds, and interviews with Sylvia Miles (Andy Warhol’s Heat) and Madelaine Smith ( The Vampire Lovers, Theatre of Blood, Live and Let Die). There’s also a great seven-page layout on the hugely underrated 1972 blaxploitation/crime film Across 110th Street.

How long Exciting Cinema lasted I’m not sure, as information on the magazine and the people behind it are scant. Although it tried to reflect some art-house leanings (possibly as a way to avoid the censor), flipping through any issue of the magazine gives a clear indication of the reader-

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ship it was squarely aimed at. Many of the film reviews favour titillating photos over text, and mail order advertisements abound for Super-8 sex loops ( Vibrations of Pleasure, Teacher’s Pets, The Yes Girls), paperbacks ( Oral Sex Techniques, Love Swedish Style, Lesbian Spankers, Whips Incorporated) and other magazines published by Pennine ( Satin Flash, Nylon Surprise).

torrid Film reviews

Torrid Film Reviews was published by the same company responsible for
daring films and books (New Link Publications; see elsewhere), and the two titles shared pretty much the same layout, content and writing style (although Torrid devoted itself strictly to film coverage). Seeing as both titles were bi-monthly, it’s possible that New Link may have introduced this new title as a way to have a new adult film publication on the stands each month, rather than simply increasing Daring to a monthly title (which would have resulted in each issue having a shorter shelf life, and decreasing its sales potential — the longer an issue is displayed on the stands, the greater the chance of it being sold).

 Torrid Film Reviews Vol. 1, No. 4 (Apr-May-Jun 1967) This is the only issue of Torrid Film Reviews that I’ve ever come across, but it’s certainly a cracker, with my favourite feature being a five-page pic-torial on the Harry Novak monster-nudie classic Kiss Me Quick (1964): Kiss Me Quick is a broad takeoff (with plenty of broads taking it off ) of half a dozen recent Hollywood horror, science fiction and avant garde comedy epix.

The cover feature this issue is the A.C. Stephen’s (aka Stephen Apostolof ) 1966 black and white sexploitation drama Suburbia Confidential, which was co-written with Ed Wood, Jr. The coverage of the film is certainly substantial (eighteen pages, including a behind-the-scenes feature, plus a colour centrefold of a scene from the film). The great behind-the-

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scenes feature blanks out the faces of
the crew members applying make-up
to the actresses’ naked bodies — I guess
they were scared mum would find out
what they were doing for a living!

Other adult films covered in this
issue include The Beautiful, the Bloody
and the Bare (1964), Katu (aka How I Lived As Eve, an obscure mix of the
sex and mondo genres from 1961), Hot

Money Girl (1959) and The Beast of

Yucca Flats (a ludicrously inept mon-
ster film mess from 1961, produced
by Anthony Cardoza and starring Tor

Johnson. I guess the opening sequence
of a topless woman being murdered in
her bathroom is what classified it as a
sex film). There’s also a special four page

‘Nudie Cutie’ photo feature (with stills
from several different films, including

A Smel of Honey, A Swal ow of Brine,

The Twisted Sex and Days and Nights of a Nymphomaniac) and a nude photo
layout of Michelle Lee, a perky blonde
with Gidget-type looks who is labelled
as ‘Torrid Film Reviews Candidate For Future Stardom’ (a regular feature of
the magazine).

More mainstream fare is covered as
well, with the likes of Dr. Goldfoot and
the Bikini Machine, Who’s Afraid of Vir-
ginia Woolf and the Dean Martin/Matt

Helm spy adventure Murderers’ Row.

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X-Films

Another UK publication, X-Films was
produced in an almost identical format
to exciting cinema (see elsewhere),
although it was in nowhere near the
same league as that classic magazine.

Edited by Roger Russell, X-Films was
printed on thick glossy stock (with
many pages in colour), and published by

Litho Reproductions in Nottingham (it
was distributed by Roydock Books Ltd.

out of London).

I was lucky enough to stumble across
my copies of X-Films at a sale stall which
was set up outside Melbourne’s State

Film Theatre in the late 1990s. The Aus-
tralian Film Institute was relocating, and
trying to lighten its load of old publica-
tions from its archives. Apart from the
small pile of X-Films which I discovered
at one end of the table (while the typi-
cally snobby Cinemateque crowd waded
through the more ‘serious’ magazines
like Cinema Papers and Film Comment), I also managed to pick up copies of

Donald Farmer’s infamous early 1980s
fanzine The Splatter Times, as well as
some very early (late 1960s) issues of

Gary Svhela’s long-running Gore Crea-
tures (aka Midnight Marquee), all for a measly fifty cents a pop!

Some of the films covered in the
issues of X-Films I have include: Pat

Rawlings’ Good Neighbours (“a typical

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308
low budget film made in someone’s own home”), The Gilded Cage, Sex Is My Game and Bob Chinn’s The Liberated Woman, starring John Holmes alongside Sandy Carey and Sandy Dempsey, two of the more popular adult film starlets from the early to mid 1970s:

Just as we males will never know exactly what it is to feel an erection inside and the woman will never experience the joy of pumping ejaculate into hot yielding flesh so we are frustrated by the movie. We comprehend its message but can never fully understand it, know the reason why sharing sexual moments can be as exciting as experiencing them.

One of the best issues of X-Films to track down is Vol. 3, No. 3 (no publication date listed). This is a special issue devoted to British sex films, and contains heavy photo coverage of 1972’s The Love Box (a racy look at the world of contact magazines, and the frustrated people who advertise in them), Emile Rohman’s Cal Girl, and the incestuous laden Sisters In Love (which managed to garner a release by labelling itself as a “sex education movie, based on the family unit”). There’s also a small two-page feature on covergirl Susan Shaw (which features some genuinely beautiful colour shots of the model-actress), and — breaking away from the issue’s UK coverage — interviews with Euro sex stars Susan Stonheim and Harriet Bergström. Bergström talks about her work in films with the notorious bestiality porn star Bodil Janssen.

ROGER RUSSELL: You used to know Bodil before she got onto the farm animals trip. Now she’s in a mental home.

HARRIET BERGSTRÖM: Bodil is a real freak. She could let ten guys go through her and not feel a thing. Put her with a pig or a dog, and she’s in ecstasy. Of course, those farmyard films had no soundtrack, which is probably just as well. She’d be lying there underneath some wretched animal saying

“Oh, my darling, my love, never leave me…” A real freak! None of us were too surprised when she cracked-up.

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CLASSIC SMUT & FILM rAGS
sex For sale

Without doubt, one of the most inter-
esting and enjoyable aspects of these
old adult film publications is studying
the plethora of advertisements which
fill their pages. In an era when sex shops
were still a place many people were em-
barrassed to be seen in, and the mass in-
filtration of home video was still a good
decade away, readers had to rely on the
advertisements in these magazines to
provide them with their requisite quota
of adult entertainment (or ‘wanking ma-
terial’, if one is to be blunt).

8mm
the dirtY little

Film gAuge

The best ads in these magazines
are generally the ones which hawk 8mm
home movies. The American magazines
like adam film world (see elsewhere),
in particular, were usually infested with
them, mostly small block ads which took
up the back pages, each one trying to
outdo the other in sensationalism and
titillation, all in an effort to squeeze the
almighty buck from the reader’s wallet.

Most of the businesses that sold

8mm films through magazines were
based in or around Hollywood. With the
cheap availability of film and cameras, it

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310
seemed as if anyone with a few willing participants and a P.O. box could turn a profit by producing short 8mm films (also known as ‘loops’, due to the way they would continuously play in sex shop peepshow booths).

For this reason, and because of the sheer volume of loops produced during this period, trying to track down any concrete information on the people behind them would seem a nigh-on impossible task (made even harder by the fact that many loops would have been simply resold many times over under different titles). Certainly, it has been reported that some low budget schlock filmmakers were known to churn out loops as a way of either surviving (Ed Wood, Jr.) or raising their funds to finance their own projects (Ray Dennis Steckler).

Mail order loops were made to appeal to a wide audience with a multitude of sexual tastes and fetishes. Flicking through any early issue of Adam Film World, one comes upon ads announcing films featuring ne-gro girls, Spanish women, Mexican senõritas, free-loving hippie chicks, fighting girls and more. The Action Publishing company even took the tack of advertising their films as ‘Psychological Studies’ on the subjects of bondage, wrestling, boxing, spanking, female domination, leather and lesbianism.

Amongst the most popular (and most sought after by collectors) loops were those produced in New York’s Times Square (when it was still a seedy and dangerous place to be) by the RDF company. Specialising in intense domination and humiliation, RDF loops featured only brief moments of hardcore sex, focusing instead on the whipping and torture of ‘abducted’ young women. According to Bill Landis, editor of the fanzine Sleazoid Express, RDF loops were:

…produced by a compulsive, white haired old man who obsessively produced his own pornography. He’d hire directors (like Carter Stevens), choose the girls, and tell the male performers to hit them as hard as they could.

‘Loopland’ by Bill Landis and Michelle Clifford,

Alpha Blue Archives 2000 Catalogue, pg. 10

For those readers who were unlucky enough not to own a projector, many of these advertisers also sold small, hand-held viewers through

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CLASSIC SMUT & FILM rAGS
which the loops could be
threaded and watched

(many companies gave
them away free to cus-
tomers who ordered two
or more films at once).

These cheap plastic view-
ers, which usually required
a battery to light up the
globe behind the view-
finder, were a real pain to
thread, and gave off a static,
less than fluid picture. They
also pretty much defeated
the purpose of these films,
as it took two hands to op-
erate them properly (one
to hold the viewer up to
your eye, the other to crank
the handle). This problem
was eventually rectified
with the introduction of a
more expensive, motorised
viewer.

There’s a very strange
vibe these films give off
when watching them today,
especially if they are viewed
the way they were meant
to — projected onto a dark
bedroom wall, the picture
jumping intermittently as the sound of celluloid passing over sprockets fills the air (loops were rarely filmed in sound). They provide a unique glimpse into the erotic past, something that seemed infinitely more real and dangerous than the assembly line porn industry of today, and watch-

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312
ing on as they cast ghostly electric shadows, one has to wonder where these unsung pioneers of XXX are in the new millennium. From the safety of their middle class suburban homes, do they ever think back to their days of celluloid ‘stardom’, I wonder? Is it a dark secret which they keep from husbands and wives, sons and daughters? Or do they proudly boast of their past? How many would be aware that the films they made four decades ago are rapidly becoming sought-after collectors’ items (and how many more would be horrified and haunted by this fact)?

Note: Refer to appendix b for a partial listing of 8mm stag shorts and loops.

photo sets

& the souNds oF seX

Another popular product that was hawked in the pages
of adult film mags were the photo sets, which usually comprised of a small stack of Polaroid sized photos of a particular model, often performing a simulated striptease routine. Some photo sets emphasised a particular theme or kink (i.e. big busts, black suspenders, girl-girl wrestling, etc.). In an attempt to make a connection with the buyer, photo sets would often be accompanied by a hand-written letter which claimed to be from the featured model, thanking you for the purchase and hoping that you ‘enjoy’ the photographs.*

Like the 8mm loops, the majority of photo sets produced were taken inside a house or apartment, making them cheap to produce, and the use of a Polaroid or Instamatic camera negated the need for costly (and risky) developing. Since many photo sets cost about the same (or even more) than the loops, it would seem that their popularity was based not on financial resources but more on the preference of the person ordering

* There’s a great scene in the 1976 Dirty Harry sequel The Enforcer, where Clint Eastwood is chasing a criminal through a San Francisco massage parlour, and stops dead in his tracks when he bursts into a room and finds a group of elderly ladies sitting around a table, handwriting duplicates of a ‘saucy’ letter that’s being projected onto a wall, then finishing the letters off with a lipstick imprint. The disgusted look on Eastwood’s face is priceless!

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CLASSIC SMUT & FILM rAGS
them (Polaroids were also much easier to hide, and could be enjoyed almost anywhere, without a cumbersome projector or viewer).

The audio market was another niche catered to by the pornographers of the day, and again the back pages of publications like Adam Film World provided the perfect space for advertising. Most audio sex products consisted of cheap cassettes, onto which a woman relating a favourite sex fantasy or story was recorded. Once again, it was the widespread availability of cheap tape recorders which enabled many lounge room entrepreneurs to grab an easy slice of the pie. Some cassettes, however, did try to add a bit of polish, with the inclusion of background music, a cast of voices reading from a proper — if completely uninspir-ing — script, and colour packaging with which to dress their mini-epics up. These cassettes, which can still be occasionally spotted for sale in sex shops and adult magazines, provided the perfect soundtrack for the silent 8mm loops, and can be seen as a forerunner of the phone sex industry which exploded in the mid eighties (they had a particular influence on the companies who offered up pre-recorded phone sex, rather than live girls).

Only rarely did vinyl erotica surface. When it did, it was mostly in the form of limited soundtrack LPs to films such as Deep Throat, The Devil in Miss Jones, The Minx and the Emmanuel e movies (even the Italian Emmanuel e knock-offs starring Laura Gemser had soundtrack LPs issued from them, which are very desirable today). The Deep Throat soundtrack has a particularly interesting history to it. Initially, it was produced in 1972 as a limited pressing by the film’s production company, copies of which were given away free to patrons of the film, most likely to those who were seeing the film in some of the more prominent adult cinemas on the west coast. This was issued in a plain white sleeve with a sticker bearing the title and a drawing of Linda Lovelace in a nurse’s uniform.

No track listing, writing credits or band details were contained on the sleeve or label. It wasn’t until 1980 that the Sandy Hook label produced a commercial pressing of the soundtrack.

One exception to the above is the obscure LP The Lustful Sexlife of a Perverted Nympho Housewife. Pressed in the mid 1970s by a company called Audio Stag, the record contained the supposed narrated confes-

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sions of your typical horny housewife (“She craved sex twenty-four hours a day, and took it every way, with anyone — grocery boys, sales-men, bartenders, even bananas and carrots!”).

sexy sounds
a selected vinyl discography

 Dr. Murray Banks Speaks on the Drama of Sex (Viva MB 104, narrated story, UK, 1969)

 The Minx (Amsterdam AMS 12007, soundtrack, US, 1970)

 Deep Throat (DT1, Soundtrack, US, 1972) Original free souvenir pressing.

 The Devil in Miss Jones (Janus JLS 3059, Soundtrack, US, 1973)

 Last Tango in Paris (United Artists UAS 29440, Soundtrack, UK, 1973) Composed by Gato Barbieri.

 Emmanuel e (Warner Brothers K 56084, Soundtrack, UK, 1974)

 Tongue (Chocolate Cities CCS 1000, Soundtrack, US, 1975) Soundtrack LP to 1973 blaxploitation porn starring Al Poe as an African American with a nine inch tongue.

 Emmanuel e 2 (Warner Brothers K 56231, soundtrack, UK, 1976)

 Ribald Classics (AO Records, Australia, mid-1970s) Compilation of bawdy songs with titles like Pub With No Dyke, Bang Away Lulu, Do Your Bal s Hang Low? and others. Four known volumes were issued.

 The Lustful Sexlife of a Perverted Nympho Housewife (Audio Stag A 1001, narrated story, US, mid 1970s)

 Emmanuel e in America (Beat LPF 038, soundtrack, Italy, 1977) Joe D’Amato’s notorious hardcore porn with snuff film overtones.

 Deep Throat (Sandy Hook S.H. 2036, soundtrack, US, 1980) First commercial pressing.

Adult Audio Cassettes
a brief listing of known titles

Al cassettes are of US origin. No production dates known

 Beauty in Leather

 Bound for Pleasure (B&D)

 Every Man’s Fantasy

 Hot Summer Days

 Mistress of Pain (B&D)

 Naughty Little Girls

 Submissive Young Girls

 Young but not Innocent

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iNtervieW With Chris eCKhoFF

New York based Chris Eckhoff is one of America’s foremost authorities on adult paperbacks, having amassed both an incredible personal col ection of titles, but also an amazing inventory of paperbacks which he offers for sale, mostly at very reasonable prices, especial y considering their high grade condition (most of the books which Eckhoff sells are unread warehouse stock and publishers’ remainders*).

hip poCKet sleAZe: Chris, how did you first get turned on to
adult paperbacks? What was it about them that initially appealed to you?

CHRIS ECKHOFF: The cover art first attracted me to adult paperbacks, then I read some and found them equal to anything else written around the same time.

I have been an artist all my life. However, in 1969 I discovered the movie camera and the ‘single frame’ as a way to control image on film. At around that same time, friends introduced me to the supernatural horror tales of H.P. Lovecraft. I had always loved ghost stories and the weird tale, and Lovecraft was quite a jolt to the old imagination. The same person who introduced me to Lovecraft (Mike Kuchar) also resurrected pre-code horror comics for me (when I was a child, they were forbidden).

* Chris Eckhoff usually issues selling lists which are specialised according to publisher, themes, authors, cover artists, etc., so specify your interests when you send him a couple of US dollars for a sample list c/o 98 Pierrepont Street, Brooklyn, NY 11201, USA.

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H.P. Lovecraft led me to authentic backgrounds, and my artistic senses craved graphic images of the supernatural. Lovecraft led me to study New York City history, and my cravings for images to many comic books. In the early 1970s, I became a book scout — I would buy and sell books on the history of New York City or weird tales, and slowly but surely wound up in the book biz. My goal in accumulating pre-code horror comics was to make a film of the covers — to animate them — and I finished that in 1980. The book business, however, took over my life.

(By the way, I don’t make copies of my films, nor do I lend them out. The only way I show them is at open screenings where you have to show your film — if you don’t make film, I don’t show you mine. In the American avant garde film world I use a pseudonym which I prefer not to divulge).

While scouting for New York City history or weird fiction, I ran across many paperbacks and at some point began to collect vintage titles, also with a film in mind for the covers, but I have not yet begun that one.

I was reading many horror paperbacks at that time, as well. Once in a while I would find some softcore adult paperbacks in regular book stores

— the first one I ever got was Sin On Wheels by Don Elliot.

One of my regular pit stops for books put out Ward, Stanton and Eneg [Bilbrew] titles for fifty cents each. I got friendly with the manager, and he gave me special deals and access to the storage basement and sub-basement. I wound up buying thousands of paperbacks there, and began to compile lists to sell or trade with my correspondents. I began to read American editions of Olympia Press novels, and before I knew it I was hooked on the ‘quality’ of the porn. I then started to read some of the softcore titles, which by 1980 I had also begun to collect by the serial numbers. Originally I wanted it all, but I learned about the history of porno publishing and came up with a cut off date of 1974, which later got moved back to 1972. From 1967 to 1972 there’s an easy 20–30,000
titles, many of which are very experimental, and, as could be expected, once in a while there is a great literary masterpiece.

Is it primarily the adult books that you remained interested in, or do you
still collect other genres like crime fiction, juvenile delinquency etc.?

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CHRIS ECKHOFF: I collect al paperbacks, and have an easy 100,000-plus in my collection, and about half that again in sale stock.

Who do you rate amongst you personal favourite adult authors, artists
and publishers? Have you had a chance to meet or talk to any of them?

CHRIS ECKHOFF: My favourite softcore author is George H. Smith, who wrote for Newsstand Library and Novel Books (he is not the science fiction author of the same name). My favourite cover artist is Eric Stanton, and Novel Books my favourite publisher. In the hardcore field, I am partial to the works of Ray Kainon and the books published by Olympia Press.

Apart from the books themselves, what other related material have you
obtained over the years? Do you have any original cover art, manuscripts,
book contracts, etc.?

CHRIS ECKHOFF: The only other things I have kept are the files of correspondence between author Jack Moskowitz and his publisher Manor Books, which Moskowitz gave me a while back. The small amount of the cover art I’ve had has been sold. I do collect review slips in the books

— I like to get copies of books which were ‘file’ copies from the publishers.

When did you do the bulk of your research into adult paperback authors
and publishers? How hard was it tracking down information or people
who were involved in their publication?

CHRIS ECKHOFF: My research into the adult paperbacks has been mostly through the books themselves — I’ve only met a few authors. I’ve been to the distributors’ warehouses, and am a member of a small group of ‘scholars’ called ‘Pornissians’, which gets together very irregularly over lunch or dinner to discuss mostly First Amendment issues (freedom of the press/speech). We have had many guest speakers, all connected in one way or another with the porn industry, though most have been book publishers.

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When did you first start to deal in adult paperbacks? Was it initially a
way to sell off extra copies of books that you had obtained?

CHRIS ECKHOFF: By the early 1980s, I was selling off my dupes, but I was always buying many adult paperbacks specifically to re-sell, because I found out quickly that there was a market for them. However, since most of my income then came from book scouting (buying books to sell to other book dealers), I did the same with the adult books and found a strong demand for almost any fetish-type book — I did great with spanking and whip titles.

Where do the bulk of your sales come from — steady customers, book
conventions, etc.? Any plans to set up a website in the near future?

CHRIS ECKHOFF: Over the years I’ve built up a large mailing list for all kinds of paperbacks — mystery, science fiction, horror, western

— anything in paper, but also hardcore (which provides seventy per cent of my income) and softcore (less than ten per cent). I have several core groups of customers who always buy.

I’m not sure about a website in the future. I also still scout modern first edition hardcovers, and network with several top of the line dealers.

Sometimes on one book I can make as much money as I do in half a year selling paperbacks. Eventually, I will sell everything but adults only paperbacks over the web — paperbacks sell poorly at regular book conventions, generally, but I do the New York City paperback show here and it can be very good for sales.

Without giving away any secrets, where does the majority of your stock
come from? You seem to have a virtual warehouse full of unread adult pa-
perbacks; were these acquired from the publishers or from other sources?

CHRIS ECKHOFF: As previously mentioned, twenty years ago I knew both soft and hardcore paperbacks were where I wanted to go for future business. There were many available around New York at that time — warehouses, store basements and 42nd Street. I also bought up

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all the stock from my competitors when they would let me.

You’ve written several articles on adult books for publications like paperback parade , and I notice you get thanked as a valuable source of
information in books like strange sisters . Given your knowledge of the
subject, have you any plans to write your own book on adult paperbacks?

CHRIS ECKHOFF: For years, I’ve been saying that I wanted to write a history of the adult paperback in the US, but all I have actually done is accumulate a bibliography. My colleague, C.J. Scheiner, and I plan to someday make that bibliography available — although at the moment, having access to that info gives both of us an edge on the market.

I’ve been asked to do a price guide on adult paperbacks, but the truth is I don’t want to. It would cut into my business too deeply — also, there is never enough time to get all my ‘bookwork’ done. I do still make film (totally unremunerable — the way I want to keep it) and between the two I am quite happy, but have no extra time to devote to projects that don’t bring in money.

iNtervieW With miriAm liNNA

Like Chris Eckhoff, Miriam Linna is also a New York based aficionado of vintage trashy paperbacks, and much more. The original drummer for the psychobil y music combo the Cramps, Linna currently drums for the A-Bones, and along with her partner (and fel ow A-Bones member) Bil y Mil er, runs Norton Records, one of the most important independent labels in the US, specialising in the re-issuing and distribution of great, long lost rock’n’rol platters (they have pressed compilations of material from Ron Haydock (see the smut peddlers ) and Iggy Pop’s first band, the Iguanas, as wel as re-issuing several of Rudy Ray Moore’s notorious XXX 1970s party records). Norton were also the publisher of Kicks , an incredibly wel researched and much missed rock’n’rol magazine.

Apart from contributing many articles on vintage paperbacks, to publications such as Highball and Toxic Horror, Miriam Linna has also published

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two digest zines on the subject. Bad Seed , published in the mid 1980s, focused on classic and obscure JD titles, while Smut Peddler , two issues of which were published in the early 1990s, concentrated on pre-1965 adult books. Presently, she is busy working on The Bad Seed Bible , a journey through vintage JD culture.

hip poCKet sleAZe: How did you first become exposed to adult
paperbacks? What was it about them which you found so alluring?

MIRIAM LINNA: I began seriously hoarding— okay, collecting, if you must— paperbacks when I first came to New York in 1976 and began a ten year stint working at the fabulous Strand Bookstore on 12th and Broadway, a large shop whose fame is used books at reasonable prices.

Nowadays, you can get just about anything at the Strand. It’s a fantastic shop. Anyway, for almost my entire decade long sojourn there, paperbacks were always relegated to the twenty-five cent carts, which were wheeled out to the street every morning. I would go through the carts before they landed on the streets, looking for old rock’n’roll magazines and books which would come in used every now and then. Right away, I started noticing the scads of old paperbacks that got loaded onto the carts as well, amazing stuff that dated back to the forties and fifties, with insane cover art and screaming by-lines. I was instantly hooked and so with my employee discount was able to buy eight paperbacks for a buck.

I really knew nothing about paperbacks when I started bringing stacks of them home, but I learned quickly. I centred on rock’n’roll paperbacks ( Rock Me, Baby! ), any kind of crime ( Smart Guy), city themes ( Chicago Confidential), New York/Brooklyn themes ( City Across The River, Gangs of New York), and especially teen crime ( Juvies, Rumble, Wanton Boys) and African American themes ( Nigger Heaven, Home To Harlem, The Street).

Adult titles rarely, if ever, came across the table at the Strand, I’m supposing because the buyers did not have a market for that sort of material.

Occasionally, a low budget adult title like Skid Row Sinners or Sin Slum would make it onto the tables and I would snap it up as a peripheral addition to my lowbrow library. One day a regular Strand customer saw a stack of gang related paperbacks on my desk and engaged me in conver-

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sation. He embarrassed the life out of
me by excitedly announcing — in full
range of fellow employees, custom-
ers, a couple of visiting out of town
librarians, and my boss — “Do you
have Teenage Lesbian Sluts on Wheels

(or some similarly tawdry title!)?”

That was, of course, Chris Eckhoff,
who was to become my dealer of
choice, a gentleman who dealt ex-
clusively with adult paperbacks and
who could put his hands on just
about any title. He had no problem
scouring the last of the 42nd Street
adult bookshops, and spent all of
his time locating sleazy titles.

When you first began to amass your collection of adult titles, were they
easy to obtain? At the time, were they still available dirt cheap at adult
bookstores, or were there already other collectors who were starting to
seek them out?

MIRIAM LINNA: For me, adult titles were not easy to find. I did not go into adult bookstores after a couple of unsavoury encounters with their clientele (nowadays I’m hard as nails, but as a kid collector, I was nowhere near as bold.) I started buying occasionally from Chris when I could, but his prices were not two-for-a-quarter like the in-store deal at my place of employment.

When did you first begin to actively research the history of adult paper-
backs? Did you find it a frustrating process?

MIRIAM LINNA: I had a couple of big breaks with adult paperbacks.

I had actively collected magazines (same stuff, starting with detective, confessions and rock’n’roll) well before I caught the book bug, and

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three major vintage mag finds in the early eighties redefined my search for paperbacks. One was a huge haul out of the basement of a Brooklyn bookstore— primarily crime magazines from the thirties and forties but with a lot of exploitation mags and a few paperbacks. Another was the opportunity to be one of the first on the block to pick and choose from a massive warehouse magazine find purchased and subsequently sold by friends Alan Betrock ( New York Rocker magazine) and Chris Capece (Little Ricky Records).

The third was the purchase of an insane collection of brown paper wrapper adult magazines out of Newark, New Jersey. One day some years ago, my future husband Billy Miller and friend Michael Weldon ( Psychotronic) ran into a guy coming out of See Hear, a great little East Village book store specialising in music books and magazines. The guy had approached Billy and Mike and asked if they were interested in any

‘titty magazines’. Naturally Billy was on the phone to me within a couple of moments. He described that this guy’s eighty year old landlord had died and all his ‘titty magazines’ and ‘kinky books’ were getting dumped on the street and that for a price he’d lead them to the goldmine. The only way to get to the stuff was on a bus. “Go,” I said, and the three were off to what was left of the Newark ghetto.

We ended up with a phenomenal amount of magazines, paperbacks, and thousands of photo negs of girls in lingerie — the usual stash of a lifelong sleazeball. The find that put me over the top was cleaning out an adult bookstore in Baltimore. All of the books were straight out of the box, mint condition fifties and sixties adult titles from every publisher under the sun. It was a dream come true.

What is your cut off date for adult titles that you collect? Is there any par-
ticular reason why you don’t seek out books published after this period?

MIRIAM LINNA: I’m a nut for parameters. At first I had 1959 as a cut off for everything. Then I begrudgingly moved that to 1962 and wouldn’t budge. That crept to 1966 which is still where I unofficially draw the line, although I’ll go beyond it with black stuff particularly.

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One of the great things I like about Smut Peddler is that it actually gets
into the text of adult paperbacks, rather than basing its appeal and ap-
preciation purely on the cover artists…

MIRIAM LINNA: The cover artists are low on my personal totem pole with adult paperbacks. Publishers come first, then authors, then cover artists.

Your admiration for Ron Haydock is well documented…

MIRIAM LINNA: Ron Haydock, to me, is an icon. He was so ahead of his time. He wrote adult paperbacks, he made fantastic rock’n’roll records, he was a fanzine publisher, he edited monster mags, and he wrote and acted in Ray Dennis Steckler’s best films. His writing combines all of the elements of coolness — seamlessly, because he wrote from personal experience, padded out with fantasy. His imagination was limitless.

One of the articles I found most interesting in smut peddler was your
piece on hardcover adult books, primarily from the 1950s. Given that
most adult paperback collectors simply dismiss any hardcover titles, what
is it about them which you find interesting? How does the art and writing
differ from the softcover titles, if at all?

MIRIAM LINNA: I lucked out with that hardcover find. Hardcovers were a bad idea for adult titles right from the start. The main idea with disposable, portable paperbacks was that they were easily concealable.

Why on earth would someone want a hardcover book with a dust jacket called Fast Girl? Well, okay, you and I would, but back in the early fifties there weren’t many households that would boast a shelf of such tawdry titles. I rarely, if ever, see hardcover adult stuff any more. I feel fortunate that those books turned up when they did, as I certainly would not be hip to their existence otherwise. They are amazing, with no difference content-wise against digest or paperback versions. Pretty racy stuff, especially the fifties adult fodder. Honestly, I find it’s sleazier in its own way than the flat out raunchier sixties titles.

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324

Aside from the books themselves, do you
also seek out the original cover art? If so,
have you had much success in locating any?

MIRIAM LINNA: I have the oil paint-
ing for Reformatory Girls and several pen
and inks. I have seen the original oil for

Zip Gun Angels.

Can you share with us the story of that
amazing collection of paperbacks and
vintage men’s magazines which you re-
cently acquired?

MIRIAM LINNA: The biggest boost
to our in-house paperback library came
in 2002, when an amazing private col-
lection of some 5,000 paperbacks came
home to Nortonville to roost — single
copies spanning 1940–1965 which
had been stored in a perfectly cold dry,
windowless basement (behind pad-
locked doors!).

The books were in absolutely flaw-
less, day-of-purchase condition, never
cracked open, and were shelved two
rows deep in alphabetical order by
publisher, Ace to Zenith — every

Beacon, every Monarch, every Gold

Medal, every Lion — including each
and every Jim Thompson (including the ever elusive Studio Pocket title Sins of the Fathers, written as James Thompson), Willeford, etc. — over 5,000 books, in the mintest condition I have ever witnessed. It was definitely the high point of my collecting life.

325

COLLECTOrS

Unbeknownst to me, it also included over 5,000 men’s magazines from the same era, these extending into the 1970s. Every Adam, Bachelor, Rogue, Cavalier, Knave, Knight… you name it, as new, fresh from the printer. Every Adam Film World, one shots by the score, a box of insane early gay stuff ( Muscles a-Go-Go!) and a whole box of John Holmes mags! With the paperbacks were over 500 mint digests — Carnival, Intimate, Leisure Library, Avon Monthly Book, all the Diverseys, and my two holy grails: Hot Chocolate and Harlem Model (Bronze one and two). Unreal!

Aside from smut peddler , I believe you are currently preparing your
own book on adult paperbacks. Can you tell me a little about the project?

MIRIAM LINNA: My project is The Bad Seed Bible; it’s on JD books and related pop culture stuff like mags, flicks, true crime figures, etc.

What about bad seed ? Any chance of that publication being resurrected
in the future?

MIRIAM LINNA: I have reprinted the original issues and hope to include some of the articles in The Bad Seed Bible.

How, if at all, do you think your affection for vintage smut books influenc-
es your work as a musician, from your stint with the Cramps until now?

MIRIAM LINNA: Interesting question. To me, the books are a reflection of life as we prefer it, just like rock’n’roll. The realm of adult paperbacks is just like the world of great small label unknown 45s. The coolest deal is when the label and the artist are unknown and there’s work to be done unravelling the mystery. All we have to go on is the sound of the record and the often sparse information on the label. Same with the books, often unknown (or little known) publisher, author a pseudo…

you can appreciate the fact that these rock’n’rollers, these label miesters, and these writers and publishers, were do-it-yourself-ers with a whole lot of get-up-and-go-go.

326

APPEnDIX

AppeNdiX A
notable us publishers & their titles

This Appendix lists a large number of adult paperbacks published by some of the more notable companies in the USA. Entries are arranged alphabetical y by publisher, and contain serial number, title, author and year of publication. Where known, cover artist is listed in brackets.

Abbreviations

ND

No Date listed on book

PC

Photo Cover

WC

Word Cover (no cover art or photos)

AFTER HOURS

Unless noted, all cover illustrations for After Hours titles were drawn by Eric Stanton

 AH-101 Twist Me, Kiss Me. Peter Wil ow. 1964.

 AH-102 Suburban Nymph. Myron Kosloff. 1964.

 AH-103 Peeping John. Richard Al en. 1964.

 AH-104 Hot Lips. Robert Justin. 1964.

 AH-105 Queen of Evil. Myron Kosloff. 1964.

 AH-106 Rent Party. John Parker. 1964.

 AH-107 Sinful Sexpot. Laurence Foster. 1964.

 AH-108 Three’s a Crowd. Bud Conway. 1964.

 AH-109 Twice as Gay. Nan Keene. 1964

 AH-110 Vixen’s Delight. Ivan Tarpoff. 1965.

327

APPEnDIX

 AH-111 Odd Man Out. Tony Fletcher. 1964.

 AH-112 Vice Chamber. Bud Conway. 1965.

 AH-113 Strange Fruit. Richard Al en. 1965.

 AH-114 Prowler. Barry Grover. 1965.

 AH-115 Pleasure Bound. Ron Horton. 1965.

 AH-116 Vixen’s Pageant. Jon Parker. 1965.

 AH-117 3 Way Split. Peter Wil ow. 1965.

 AH-118 Miss Behave. Barry Grover. 1965.

 AH-119 Gay Reunion. Bud Conway. 1965.

 AH-120 Talent Scout. Richard Donalds. 1965.

 AH-121 Cycle Sinner. Bud Conway. 1965.

 AH-122 Lesbian Slaves. Viola Loring. 1965. (Gene Bilbrew)

 AH-123 Switch Hitters. Laurence Fulton. 1965.

 AH-124 Night Riders. Arnold Dixon. 1965. (Gene Bilbrew)

 AH-125 Bal and Chain. Bud Conway. 1965.

 AH-126 Partner’s Choice. Perry Hol oway. 1965.

 AH-127 Paradise Isle. Bud Conway. 1965.

 AH-128 Pay the Devil. Peter Wil ow. 1966.

 AH-129 Joy Ride. Jon Parker. 1966.

 AH-130 Matinee Girls. Dorian Cole. 1966.

 AH-131 Madame Butch. Edward Marshal . 1966.

 AH-132 Private Island. Dorian Cole. 1966.

 AH-133 Down Payment. Edward Marshal . 1966.

 AH-134 Lonely Hearts. Bud Conway. 1966.

 AH-135 S.S. Mardigras. Yvette Delon. 1966.

 AH-136 Happy at Last. Cass Woodruff. 1966. (Gene Bilbrew)

 AH-137 No Vacancy. Winston Reynolds. 1966. (Gene Bilbrew)

 AH-138 The Invaders. Anthony Dean. 1966. (Gene Bilbrew)

 AH-139 Mixed Up. Carol Benning. 1966.

 AH-140 Fashion Show. Anthony Dean. 1966. (Gene Bilbrew)

 AH-141 Check Room. Morton Gray. 1966.

 AH-142 Side Street. Arlene Duval. 1966. (Bil Ward)

 AH-143 Bad Girl. Gerald Werner. 1966.

 AH-144 Stand In. Paul Prentiss. 1966.

 AH-145 Not So Funny. Charlene White. 1966.

 AH-146 Lady Doctor. Jack Spencer. 1966. (Bil Ward)

 AH-147 Lady Cabbie. Viola Loring. 1966. (Gene Bilbrew)

 AH-148 Quick Change. Edward Carlisle. 1966.

 AH-149 The Jet Set. Maria Dubois. 1966. (Gene Bilbrew)

 AH-150 Intrigue. Joel Fabian. 1966. (Gene Bilbrew)

 AH-151 Private Pose. Bob Nelson. 1967. (Bil Alexander)

 AH-152 Name Your Pleasure. Anthony Dean. 1967.

 AH-153 Strange Mood. Ruth Delon. 1967. (Bil Ward)

 AH-154 Sob Sister. Babette Hunter. 1967. (Gene Bilbrew)

 AH-155 Weekend Swappers. Helen Delon. 1967.

HIP POCKET SLEAZE

328

 AH-156 Bath House Peeper. Owen Patterson. 1967. (Bil Alexander)

 AH-157 Lady Boss. Shwana de Nel e. 1967.

 AH-158 Reunion. Cass Woodruff. 1967. (Bil Alexander)

 AH-159 Rejected. Glenn Al ison. 1967. (Bil Alexander)

 AH-160 Nature’s Gifts. Norma Hughes. 1967. (Bil Alexander)

 AH-161 Out of Action. Patrice Caval. 1967. (Bil Ward)

 AH-162 Strange Twist. Jon Parker. 1967.

 AH-163 No Limits. David Caval. 1967. (Bil Alexander)

 AH-164 Gay Cargo. Raymond Harte. 1967. (Bil Alexander)

 AH-165 Flash Back. Fred Darwin. 1967.

BIZARRE BOOK SERIES

No authors or dates known — mid 1970s.

All titles heavily illustrated

 BB-05 The Sadists and the Hostages

 BB-06 Confessions of a Black Don Juan

 BB-07 Spanking Society, Ltd.

 BB-08 The Variety Seekers

 BB-09 Victims of the Vil age Wantons

 BB-10 Captives of the Leather Lash

 BB-11 The Wife Spankers

 BB-12 The Masked Spankers

 BB-13 Candy’s Summer of Pain

 BB-14 The Conquest of Lida

 BB-15 Spanking Stepmother

 BB-16 Bondage Heiress

 BB-17 Corrupted Virgins

 BB-18 The Torture Club

 BB-19 Spank With Me, Henry

 BB-20 Slaves of the Bitch Goddess

 BB-21 Sisters of Domination, Gary Fenger.

 BB-22 The Flailing of Laurel

 BB-23 I, A Man-Hater

 BB-24 Slave Captives of the Black Chateau

BLACK STAIRS SERIES

No authors or dates known — mid 1970s

 BSS-149 Four for Incest

 BSS-150 Hot Broads

 BSS-151 Sexy Sister

 BSS-152 Naked in April

 BSS-153 The House Dick

329

APPEnDIX

 BSS-154 Cramming It In

 BSS-155 Backstage Sex

 BSS-156 The Passion Painter

 BSS-157 House of Depravity

 BSS-158 Satan, My Love

 BSS-159 The Sex-Brokers

 BSS-160 Lie Down in Sin

 BSS-161 A Handyman and His Tool

 BSS-162 An Accident of Passion

 BSS-163 The Love Tribe

 BSS-164 Castle of Sin, Ira Ross.

 BSS-165 Coming on Hard

 BSS-166 Carnal Adventure

CHEVRON

Unless otherwise noted, all cover illustrations for Chevron titles were drawn by Gene Bilbrew

 105 Lover. Douglas R. Wingate. 1967.

 106 Sex Avengers. John Dennis. 1967. (Elaine)

 107 Too Good to be True. Russ Trainer. 1967.

 108 Miss Kinsey’s Report. Ray Train. 1967.

 109 Demon Mona. Jake Edwards. 1967.

 110 Sorority Snob. Lana Preston. 1967.

 111 Lisa’s Lovers. Doug Windham. 1967. (Elaine)

 112 Topless Waitress. Hugo Paul. 1967.

 114 The Making of Veronica. Russ Trainer. 1967.

 115 Three on a Match. Budd Masters. 1967.

 116 Prowling Wives. Linda Martin. 1967.

 117 Tower of Desire. Reggie Carr. 1967. (Elaine)

 118 Initiation Fee. Morgan Latham. 1967.

 119 Brief Contract. Lana Preston. 1967.

 120 Senior Prom. Craig Douglas. 1967. (Elaine)

 121 Lust Candidate. Russel Trainer. 1967. (Elaine)

 122 One-Man Orgy. Jack Woods. 1967. (Elaine)

 123 Winning Woman. Dennis Fredericks. 1967. (Elaine)

 124 Cycle Fury. Reggie Carr. 1967. (Elaine)

 125 Young Stuf . Neil Lampton. 1967. (Elaine)

 126 Double Your Pleasure. Craig Douglas. 1967.

 127 The Other Side of the Tracks. John Daniels. 1967. (Elaine)

 128 Blue Plate Special. Russ Trainer. 1967.

HIP POCKET SLEAZE

330

CRESCENT

 101 Color Swap. Lana Preston. 1966.

 102 Kenny Crane’s Wife. Darrin Winston. 1966. (Gene Bilbrew)

 103 I’m For Hire. Ben Stone. 1966. (Elaine)

 104 The Nylon Net. Matt Harding. 1966. (Elaine)

 105 Rich Man’s World. Russ Trainer. 1966.

 106 Never Too Young. Don King. 1966. (Elaine)

 107 The Hungry Ones. Craig Douglas. 1966. (Elaine) DR. GUENTER KLOW LIBRARY SELECTION

Published by Eros Goldstripe

 GK-1 The Eager Victims. Dr. Guenter Klow. 1970. (Gene Bilbrew)

 GK-2 Paths to Lesbos. Dr. Guenter Klow. 1970. (Gene Bilbrew)

 GK-3 Unknown.

 GK-4 Share My Spouse. Dr. Guenter Klow. 1971. (Gene Bilbrew)

 GK-5 From Boredom to Bedroom. Dr. Guenter Klow. 1971. (Gene Bilbrew)

 GK-6 Sandra. Dr. Gerda Mundinger. 1971. (Gene Bilbrew)

 GK-7 Teach Me Lust.

 GK-8 The Rich Bitch. 1971. (Gene Bilbrew)

 GK-9 Trained Youth. Dr. Guenter Klow. 1971. (Gene Bilbrew)

 GK-10 Donna. Dr. Gerda Mundinger. 1971. (Gene Bilbrew)

 GK-11 Seduce, I Must. Dr. Guenter Klow. 1971. (Gene Bilbrew)

 GK-12 Tim. Dr. Gerda Mundinger. 1971. (Gene Bilbrew)

 GK-13 Wanting Women. Dr. Guenter Klow. 1971.

 GK-14 Spankers Anonymous. 1971.

 GK-15 Doctor of Depravity. Chastity Bel . 1971.

 GK-16 Wages of Sin. 1971.

 GK-17 Pamela’s Passionate Paddling. Jack Warren. 1971.

 GK-18 Sue and Stu and Sex. Jose Lengua. 1971.

 GK-19 Incest. 1971.

 GK-20 The Sex Explorers. Dr. Gerda Mundinger. 1971.

 GK-21 Hugo’s Girls. Jose Lengua. 1971.

 GK-22 Bottoms Are Tops. 1971.

 GK-23 Hairbrush Harem. Jack Warren. 1971.

 GK-24 The Easy Makes. Dr. Guenter Klow. 1971.

 GK-25 The Humiliation of Diane Wilson. Lana Preston. 1971.

 GK-26 Women’s Passion Prison. Jack Warren. 1971.

 GK-27 Two Into Many. Jose Lengua. 1971.

 GK-28 Erotic Dawn. Juanita Lengua. 1971.

 GK-29 Love Thy Niece. Jose Lengua. 1972. (Bil Ward)

 GK-30 Keep it in the Family. Jose Lengua. 1972. (Bil Ward)

331

APPEnDIX

 GK-31 Naughty Nun. Jose Lengua. 1972. (Bil Ward)

 GK-32 Teach Me, Mummy. Jose Lengua. 1972. (Bil Ward)

 GK-33 Spank Me, Father. Jose Lengua. 1972. (Bil Ward)

 GK-34 Other Sex Acts. 1972. (Bil Ward)

 GK-35 A Man-Trap Pussy. Arnold Porter. 1972. (Bil Ward)

 GK-36 Fetishism and the Sadomasochist. Dr. Walter Eberhart. 1972.

(Bil Ward)

 GK-37 The Family that Plays Together. Jose Lengua. 1972. (Bill Ward)

 GK-38 I Love Black Power. Dr. Guenter Klow. 1972. (Bil Ward)

 GK-39 Confessions of a Swapper. Donald Clement. 1972. (Bill Ward)

 GK-40 Beyond Intercourse. Dr. Guenter Klow. 1972. (Bil Ward)

 GK-41 Four Can Play As Wel As Three. David Sherman. 1972. (Bill Ward)

 GK-42 Parent Figures Who Seduce. Dr. Guenter Klow. 1972. (Bill Ward)

 GK-43 The Real Thing. Bob Jamison. 1972. (Bil Ward)

 GK-44 Five Housewives. Dr. Guenter Klow. 1972. (Bil Ward)

 GK-45 Madison Avenue Sin Game. 1972.

 GK-46 Teenage Sadism. Dean Copeland, PhD 1972. (Bil Ward)

 GK-47 Skin Flick Star. Dennis Sanders. 1972. (Bil Ward)

 GK-48 Orgy Jail For Girls. Dennis Sanders. 1972. (Bil Ward)

 GK-49 The Sex Victims. 1972.

 GK-50 Lessons in Seduction. Dr. Guenter Klow. 1972. (Bil Ward)

 GK-51 Teenage Stud Service. Grant Richland. 1972. (Bil Ward)

 GK-52 Orgy Jails For Girls, Volume 2. Dennis Sanders. 1972. (Bill Ward)

 GK-53 Questing Couples. Dr. Guenter Klow. 1972.

 GK-54 Seducers of Teens. Dr. Guenter Klow. 1972.

 GK-55 Come Lie On My Table. 1972.

 GK-56 The Erotic Attraction of the Dominating Female. 1972.

 GK-57 Passions of a Satyr. Frank Doyle. 1972.

 GK-58 Sex: In Living Black and White. Dr. Guenter Klow. 1972.

 GK-59 Mother Lovin’ Daughter. Dennis Sanders. 1972.

 GK-60 Wives at Play. 1972.

 GK-61 Incest For Three. 1972.

 GK-62 Sex and the Career Woman. Dr. Guenter Klow. 1972.

 GK-63 Mary On the Make. Peter Al en. 1972.

 GK-64 Four Women Who Dominate Boys. 1972.

 GK-65 Mother’s Daughter Lust. 1972.

 GK-66 The Other Acts. Dr. Guenter Klow. 1972. (Bil Ward)

 GK-67 The Carnal Greek. 1972.

 GK-68 Corporal Punishment. Dr. Guenter Klow. 1972. (Bil Ward)

 GK-69 Squeezer’s Palace. Jack Fritz. 1972. (Bil Ward)

HIP POCKET SLEAZE

332

 GK-70 Make Mine Dif erent. Dr. Guenter Klow. 1972. (Bil Ward)

 GK-71 Vil age Nymph. Chuck Dancer. 1972. (Bil Ward)

 GK-72 Sex Under Sixteen. 1972. (Bil Ward)

 GK-73 Blue Movie Baby. Dean Wyatt. 1973. (Bil Ward)

 GK-74 Sexual Firsts. Dr. Guenter Klow. 1973. (Bil Ward)

 GK-75 Orphans of Lust. Arnie Porter. 1973. (Bil Ward)

 GK-76 Women On the Make. Dr. Guenter Klow. 1973. (Bil Ward)

 GK-77 Schoolroom Orgy. Jim Wylie. 1973. (Bil Ward)

 GK-78 They Teach Sex. Dr. Guenter Klow. 1973. (Bil Ward)

 GK-79 Lila Likes Them Young. 1973.

 GK-80 The Sex Bosses. Dr. Guenter Klow. 1973. (Bil Ward) FIRST NITER

Unless otherwise noted, all cover illustrations for First Niter titles were drawn by Eric Stanton

 FN-101 Strange Hungers. Richard Polk. 1963.

 FN-102 Running Wild. Myron Kosloff. 1963.

 FN-103 Swapping in Suburbia. Herb Mul er. 1963.

 FN-104 Tormented Virgin. Jon Parker. 1963.

 FN-105 Lesbos Jungle. Peter Wil ow. 1964.

 FN-106 Sin Strippers. Robert Justin. 1964. (Gene Bilbrew)

 FN-107 Camp for Sinners. Jon Parker. 1964.

 FN-108 Lust Ranch. Myron Kosloff. 1964.

 FN-109 Bizarre. Ivan Tarpoff. 1964.

 FN-110 Dial P for Pleasure. Myron Kosloff. 1964.

 FN-110 A Wicked and Depraved. Andrew Turner. 1965.

 FN-111 French Dressing. Pierre Duval. 1964. (Gene Bilbrew)

 FN-111A Cal Me Later. John Parker. 1964.

 FN-112 Sex Takes a Holiday. Howard Bond. 1964.

 FN-112 A Fruit Town. Monty Farrel . 1965.

 FN-113 Twisted. Richard Al en. 1965.

 FN-114 Little Gay Girls. Bud Conway. 1965.

 FN-115 Even Swap. Pat Conroy. 1965.

 FN-116 Sea Madame. Jon Parker. 1964.

 FN-217C Midnight Peeper. Richard Al en. 1965.

 FN-218 Tormented Bride. Myron Kosloff. 1965. (Gene Bilbrew)

 FN-219 No Man’s Land. Gary Sawyer. 1965.

 FN-220 Hole In One. Peter Wil ow. 1965.

 FN-221 Lesbos Beach. Monty Farrel . 1965.

 FN-222 Intruder. Anthony Dean. 1965.

 FN-223 Party Swappers. Bud Conway. 1965.

 FN-224 Sex Carnival. Jon Parker. 1965.

 FN-225 Desire and Discipline. Myron Kosloff. 1965.

333

APPEnDIX

 FN-226 Mask of Evil. Charlene White. 1965.

 FN-227 Subjected. Larry Dean. 1965.

 FN-228 Hitch Hikers. Peter Wil ow. 1966.

 FN-229 Slave Girl. Bud Conway. 1966. (Gene Bilbrew)

 FN-230 Ranch Boss. Bruce Corwin. 1966.

 FN-231 Discipline Hour. Edward Marshal . 1966. (Gene Bilbrew)

 FN-231 A New Bride. Glenn Al ison. 1966.

 FN-232 Castaways. Peter Wil ow. 1966. (Gene Bilbrew)

 FN-233 Blueprints For Sin. Peter Wil ow. 1966.

 FN-234 Star Stripper. Bob Winston. 1966. (Bil Ward)

 FN-235 Play Bal . Jo Morrow. 1966. (Gene Bilbrew)

 FN-236 Free Admission. Jon Parker. 1966.

 FN-237 Over Anxious. El en Dennis. 1966.

 FN-238 Al The Way. Jay Wynn. 1966. (Gene Bilbrew)

 FN-239 Captured. Lisa Braun. 1966. (Gene Bilbrew)

 FN-240 Door To Door. Fred Landon. 1966. (Bil Ward)

 FN-241 Of and Gone. Doreen Paige. 1966. (Gene Bilbrew)

 FN-242 House Cal . Peter Wil ow. 1966.

 FN-243 Set Up. Myron Kosloff. 1967.

 FN-244 Nature Trail. Sean Dennis. 1967.

 FN-245 Feeling No Pain. Paula Sherwood. 1967.

 FN-246 Money To Burn. John Carter. 1967.

 FN-247 Swamp Spree. Carol Hylan. 1967.

 FN-248 Penthouse Maids. Paul Preston. 1967.

 FN-249 The Say Sound. Duane Davis. 1967. (Bil Alexander)

 FN-250 Wild And Winsome. Ruth Delon. 1967. (Bil Alexander)

 FN-251 Half-Stoned. Owen Patterson. 1967. (Gene Bilbrew)

 FN-252 One Too Many. Jack Fletcher. 1967.

 FN-253 The Long Night. Jon Parker. 1967.

 FN-254 Shakedown. Marcia Peters. 1967. (Bil Ward)

 FN-255 Avalanche of Lust. Bob Nelson. 1967.

 FN-256 Top and Bottom. Anthony Dean. 1967.

 FN-257 Deluxe Treatment. Nel Shaw. 1967. (Gene Bilbrew)

 FN-258 Guest List. Myron Kosloff. 1967.

 FN-259 Miss Mate. Bud Conway. 1967. (Bil Ward)

 FN-260 Houseboy. Max Swain. 1967. (Bil Alexander) MERCURY

Unless otherwise noted, all cover illustrations for Mercury titles were drawn by Gene Bilbrew.

 101 Sex Hospital. Ken Gardner. ND.

 102 Tennis Anyone? Morgan Lathem. ND.

 103 Judith Triumphant. Lana Preston. ND.

HIP POCKET SLEAZE

334

 104 Return of a Cheat. Reggie Carr. 1966. (Elaine)

 105 Passion’s Playboy. Dennis Fredericks. 1966.

 107 The Sex Persuaders. Russ Trainer. 1966. (Elaine)

 108 Bedroom Road. Lana Preston. 1966.

 109 Clif ’s Party. Claude Rankin. 1966.

 110 Young Passions. James Harvey. 1966. (Elaine)

 111 Naked Talent. James W. Sykes. 1966. (Elaine) NIGHTSTAND

 NB-1501 Love Addict. Don El iot. 1959.

 NB-1502 Lust Club. John McCormick. 1959.

 NB-1503 Sex Gang. Paul Merchant (aka Harlan El ison). 1959.

 NB-1504 Gang Girl. Don El iot. 1959.

 NB-1505 Campus Tramp. Andrew Shaw. 1959. (W.H. McCauley)

 NB-1506 Carnival of Lust. J.X. Wil iams. 1959. (W.H. McCauley)

 NB-1507 The Wild Night. Don Hol iday. 1960. (W.H. McCauley)

 NB-1508 Summertime Af air. Don El iot. 1960. (W.H. McCauley)

 NB-1509 Party Girl. Don El iot. 1960. (W.H. McCauley)

 NB-1510 Born For Sin. Al James. 1960. (W.H. McCauley)

 NB-1511 The Adulterers. Andrew Shaw. 1960. (W.H. McCauley)

 NB-1512 Naked Hol iday. Don El iot. 1960. (W.H. McCauley)

 NB-1513 No Longer a Virgin. John Dexter. 1960. (W.H. McCauley)

 NB-1514 Sin Girls. Marlene Longman. 1960. (W.H. McCauley)

 NB-1515 Passion School. Don Hol iday (aka J.X. Wil iams). 1960.

(W.H. McCauley)

 NB-1516 Sin On Wheels. Don Hol iday. 1960.

 NB-1517 High School Sex Club. Andrew Shaw. 1960.

 NB-1518 Sin Motel. Don Hol iday. 1960.

 NB-1519 Miami Cal Girl. John Dexter. 1960.

 NB-1520 The Sin-Damned. Andrew Shaw. 1960. (W.H. McCauley)

 NB-1521 Passion Trap. Don El iot. 1960.

 NB-1522 The Girls Upstairs. Don Hol iday. 1960.

 NB-1523 Lesbian Love. Marlene Longman. 1960.

 NB-1524 Sex Jungle. Don El iot. 1960.

 NB-1525 The Lustful Ones. Clyde Al ison. 1960.

 NB-1526 The Wife-Swappers. Andrew Shaw. 1960.

 NB-1527 Sex Model. Al James. 1960.

 NB-1528 The Lecher. Don El iot. 1960.

 NB-1529 The Flesh Peddlers. Don El iot. 1960.

 NB-1530 Stripper! John Dexter. 1960.

 NB-1531 Sexpot! Andrew Shaw. 1960.

 NB-1532 Stud. Don Hol iday. 1960.

 NB-1533 Passion Shack. Don Hol iday. 1960.

335

APPEnDIX

 NB-1534 Col ege for Sinners. Andrew Shaw. 1960.

 NB-1535 Sex Cat. Tony Calvano. 1960.

 NB-1536 Lust Girl. John Dexter. 1960.

 NB-1537 Mistress of Sin. Don El iot. 1960.

 NB-1538 Sex Bomb. Al James. 1961.

 NB-1539 The Sound of Lust. Tony Calvano. 1961.

 NB-1540 Bachelor Apartment. Don Hol iday. 1961.

 NB-1541 Tramp. Andrew Shaw. 1961.

 NB-1542 Wild Divorcee. Don El iot. 1961.

 NB-1543 The Twisted Ones. Andrew Shaw. 1961.

 NB-1544 Lust Goddess. Don El iot. 1961.

NITEY NITE

All Nitey Nite covers were drawn by Gene Bilbrew

 NN-100 The Love Cult. Myron Kosloff. 1963.

 NN-101 The Virgin’s Bead. Jean le Mans (aka Myron Kosloff). 1963.

 NN-102 The Sexual Animal. Jean Bromyde. 1963.

 NN-103 The Bosses Delight. Charles Dela Plante (aka Myron Kosloff). 1963.

PATCH POCKETS

Greenleaf Classics

 The Teaser Next Door. Al en Whitten. 1975.

 Door to Door Teaser. James Barton. 1976.

 The Starlet’s Sucking Lips. Jason Cannon. 1976.

 Their Wild Vacation. L.J. Murphy. 1976.

 Weekend Orgy. Jason Cannon. 1976.

 The Wife Next Door. Janet McCoy. 1976.

 Wife on the Loose. Janet McCoy. 1976.

 Auntie with the Hots. John Kel erman. 1977.

 Housewife in Heat. Heather Brown. 1977.

 The Naughty Night Clerk. Don Baker. 1977.

 Secretary on the Make. J.T. Watson. 1977.

 The Secretary’s Hot Pants. Randy Howard. 1977.

 Swap Mates. Jason Cannon. 1977.

 Turned on by Peeping. Jason Cannon. 1977.

 Waitress in Torment. M.J. Jacobs. 1977.

 Wife on the Prowl. Ron Taylor. 1977.

 Hot Pants Stepdaughter. John Kel erman. 1978.

 Hot Wife Next Door. J.T. Watson. 1978.

 Tempting Little Sister. J.T. Watson. 1978.

 Hot to Trot Secretary. Laura Winters. 1982.

HIP POCKET SLEAZE

336

 Naughty Hot Salesgirl. Laura Winters. 1982.

 Naughty Night Nurse. Ray Mil s. 1982.

 Sucking Private Nurse. Laura Quincy. 1982.

 Video Voyeur. Don Scott. 1982.

 Neighbourhood Orgy. John Friday. 1982.

 Hot to Trot Sitter. Laura Quincy. 1983.

 Two Daughters, Too Horny. Nick Eastwood. 1983.

 The Best Bal ing Daughter. J.T. Watson. 1984.

 Naughty Families. Don Scott. 1984.

 What a Hot Mouth Wife! Richard Shaw. 1984.

 Bal ing Hot Nieces. Don Scott. 1985.

 Blow, Granddaughter, Blow. Don Scott. 1985.

 Blow Hard Wife. Donna Al en. 1985.

 Daughter’s Hot New Family. Kathy Harris. 1985.

 Horny Holy Rol er Family. Curt Aldrich. 1985.

 Horny Schoolgirl Daughters. Harry Stevens. 1985.

 Loving Sucking Widow. Bil Randolph. 1985.

 Sisters Hot to Trot. George Tipton. 1985.

 Three Horny Sisters. Don Scott. 1985.

 Ummm! Mom’s a Hot One. Kevin Sel ers. 1985.

 Auntie’s a Hot Sucker. Michael Corbett. 1986.

 Eating Out Family Style. David Crane. 1986.

 Into Sister, Into Incest. Harry Stevens. 1986.

 Mom, Son, Daddy, Daughter. David Crane. 1986.

 Two Cousins Turned On. Ron Taylor. 1986.

 What Hot Mothers! Tom Al ison. 1986.

 Wil ing Hot Daughter. Sal y Simpson. 1986.

 The Family’s Hot Summer. Jason Bonds. 1987.

 The Housewife and Others. Randy Turner. 1987.

 The Making of a Shopgirl. Nathan Silvers. 1987.

 She Cried Uncle! David Crane. 1987.

 Those Neighbors Next Door. David Crane. 1987.

 Of Mothers and Others. Donna Al en. 1987.

 Of Neighbors and Others. Nick Eastwood. 1987.

 Pretty Hot in Pink. Nick Eastwood. 1987.

 The Way a Wife Lusts. Donna Al en. 1987.

 Diary of a Hot Housewife. Bil Randolph. 1988.

 Duties of a Motel Maid. Nick Eastwood. 1988.

 Never Leave Your Wife Alone. Nick Eastwood. 1988.

 Nights with the Neighbours. David Crane. 1988.

 Nothing Like a Married Woman. Andy Gorman. 1988.

 Serviced by the Salesgirls. Benjamin Royce. 1988.

 Story of a Peeping Housewife. Oliver Grant. 1988.

337

APPEnDIX

PEC

All of the G numbered series of PEC paperbacks were of a smaller, digest sized format than their regular titles.

Considering their dates, the G series books were published simultaneously in 1966 along with their regular N series titles.

 G-1100 My Son, My Lover. Anonymous. 1966.

 G-1102 Psycho Sin. Julie Rowe. 1966.

 G-1103 Satan was a Lesbian. Fred Haley. 1966.

 G-1104 Lezlie. Anita Wright. 1966.

 G-1105 Roman Orgy. Lucius Caius Augustus. 1966.

 N-110 Cal Girl. Joan Reyes. 1965.

 N-111 Strange Honeymoon. Ray Wilde. 1965.

 N-112 Lesbian Triangle. Adam Coulter. 1965.

 N-113 Unnatural Desires. Vin Saxon (Ron Haydock). 1965.

 N-114 Twisted Passions. Fred Haley. 1965.

 N-116 Vice-Vender. Jeff Hart. 1965.

 N-117 Telephone Lover. Adam Coulter. 1965.

 N-118 Sex Symbol. Jack Love. 1965.

 N-119 Brutal Lust. Dave King. 1965.

 N-120 Black Heat. Fred Haley. 1966.

 N-121 Gay Three-Way. Ed Culver. 1966.

 N-122 Ringside Sex. Ray Wilde. 1966.

 N-123 Odd-On Sex. Jeff Hart. 1966.

 N-124 Sex Service. Dave King. 1966.

 N-125 Queer Trap. Joan Reyes. 1966.

 N-130 Flip-Side Lover. Jay Horn (Ron Haydock). 1966.

 N-135 Sex-A-Reenos. Vin Saxon (Ron Haydock). 1966.

 N-152 Farm Dol s. Red Young. 1967.

 HES-102 Like Father, Like Son. Dennis Drew. 1967.

SATAN PRESS

All Satan Press covers were drawn by Gene Bilbrew

 101 Queer Daddy. Helene Morgan. 1965.

 102 Passion Psycho. Jack Kahler. 1965.

 103 Denied. Russ Trainer. 1965.

 104 The Seeker. Russ Trainer. 1965.

 105 Teacher’s Pet. James Harvey. 1965.

 106 Cel uloid Sex Bomb. John Roxbury. 1965.

 107 Black Water Nymph. Helene Morgan. 1965.

 108 His Brother Love. Russ Trainer. 1965.

 109 Passion Sauce. Jack Kahler. 1965.

 110 The Experimenters. Juliette Rowel . 1965.

HIP POCKET SLEAZE

338

 111 Just For Kicks. Donna Powel . 1965.

 112 Sex Chal enge. Russ Trainer. 1965.

 113 The Sex Trap. Wolf Larkin. 1965.

 114 Everybody Wins. Jack Vast. 1965.

 115 30 Day Orgy. Donald Powel . 1965.

 116 Whatever Wanda Wants. Dan Brook. 1965.

 117 Surf Broad. Ray Train. 1965.

 118 The Flesh Worshippers. Jack Woods. 1965.

 119 Blood Orgy. Helene Morgan. 1966.

 120 After School. Donna Powel . 1965.

 121 Lust Behind Bars. Russ Trainer. 1966.

 122 Sexpionage. Jack Woods. 1966.

 123 Fetish Farm. Ken Gardner. 1966.

 124 Black Is For Bliss. Lana Preston. 1966.

 125 Co-ed for Hire. Bud Masters. 1966.

 126 School for Nymphos. Don King. 1966.

SOFTCOVER LIBRARY

 B-1033 Lovemaster. John Carver.

 B-1037 The Needle. Sloane M. Britain.

 B-1038 Girl in a Go-Go Cage. Richard Orth.

 B-1043 The Hot Blood of Youth. Stacey Clubb.

 B-1044 Lo, the Poor Stripper. Dee Winters.

 B-1054 The Rites of Lust. Ray Bixby.

 B-1055 The Wife and the Wanton. John Carver.

 B-1056 The Pack. Brian Black.

 B-1057 Split-Level Love. Carlton Gibbs.

 B-1059 The Sucker. Orrie Hitt.

 B-1060 Pick-Up. Charles Wil eford.

 B-1061 Shayne. J. B. Thompson.

 B-1062 Liz. Frank Kane.

 B-1063 Naked from a Wel . Mark Daniels.

 B-1064 Games Girls Play. Stel a Kirby.

 B-1066 French Girl in Town. Mark Daniels.

 B-1068 The Sex Rebels. Christopher Storm.

 B-1069 Mother, Daughter and Lover. G.G. Fickling.

 B-1070 The Beach Women. Steve Blake.

 B-1071 The Murky Underground. Sylvia Sharon.

 B-1072 Sex Turned On. Richard E. Geis.

 B-1073 The Love Pack. Lambert Macy.

 B-1074 Bait. Louis Lorraine.

 B-1075 The Schemer. Tom Lockwood.

 B-1077 Nurses Wild. Florence Stonebecker.

339

APPEnDIX

 B-1078 Summer Hotel. Orrie Hitt.

 B-1080 The Lusting Wife. Ted Lyons.

 B-1081 Lust is a Woman. Charles Wil eford.

 B-1082 The Woman He Wanted. Daoma Winston.

 B-1084 The Sex Probers. Joseph M. Smythe.

 B-1085 The Woman Waster. Richard Orth.

 B-1086 The Private Pleasures of Mary Linton. Wil iam Arthur.

 B-1087 Floating Bedroom. Vic Grant.

 B-1088 Adultery Unlimited. Stacey Clubb.

 B-1089 The Teenie Boppers of Cool Street. Brian Black.

 B-1090 Savage Lover. Sheldon Lord.

 B-1092 Crash-Pad Chick. Brian Black.

 B-1093 The Babysitter. Paul Clay.

 B-1094 The Women He Used. J.H. Pauley.

 B-1095 The Sex Deal. Jay B. Storm.

 B-1096 The Exploited. Nathan Burke.

 B-1097 Always Another Bed. Dean McCoy.

 B-1098 Many Men for Rosetta. Karol Thomas.

 B-1099 One Hot Winter. Dixie Chapel .

 B-1100 I’m No Good. George Savage.

 B-1101 The Exhibitionist. Lil ian Preston.

 B-1102 Backwoods Virgin. Delmas W. Abbott.

 B-1103 Six-Way Swap. George Anderson.

 B-1104 The Bed. Mona Wilhonen.

 B-1105 Promiscuous Wife. Andrea Loren.

 B-1106 Commuter County. John Roderick.

 B-1107 Sex on the Odd Side. Lois MacDonald.

 B-1108 Suburban Sin. Orrie Hitt.

 B-1109 Part-Time Cal Girl. Lil ian Preston.

 B-1110 Chris. Randy Salem.

 B-1111 Thirteen Adulterers Anonymous. Jack Warren.

 B-1112 Sexual Twilight. Anne Herbert.

 B-1114 Alcoholic Woman. Ruth M. Walsh.

 B-1115 The Peeper. Orrie Hitt.

 B-1116 Sex Goddess. Martin Ryerson.

 B-1117 Diary of a Non-Virgin. Martha Kent.

 B-1118 The Cheat. Orrie Hitt.

 B-1119 No Job for a Virgin. Jock Kil ane.

 B-1120 Doctors and Wives. F. Castle.

 B-1121 Turned-On Wife. Colin Johns.

 B-1122 Gang-Up. Orrie Hitt.

 B-1123 Young Lust. Stacey Clubb.

 B-1124 The Love Trap. Hil ary Hilton.

 B-1125 The Insatiables. Robert Hodley.

 B-1126 The Lesbian. Jerry Le Baron.

HIP POCKET SLEAZE

340

 B-1127 Shared Lover. Arthur Adlon.

 B-1128 The Lusting Three. Arthur Adlon.

 B-1129 Gloria. Bob Hal eck.

 B-1130 Obsessed. Ann Erb.

 B-1131 I, Prostitute. Diane Carter.

 B-1132 The Sex Rebel ion of Marva Kent. Dean McCoy.

 B-1133 The Adultery Game. Wolf Wal ace.

 B-1134 The Lust Hunters. Glenda Wil iams.

 B-1135 The Overnighters. Brian Black.

 B-1136 The Pad Upstairs. Richard Orth.

 B-1137 Sex Savages. Jonathan S. Concord

 B-1142 Sex With Every Room. Ray Stinnet.

 S-75101 Private School. James Clark Priest.

 S-75102 Resort Girls. Charles X. Wolffe.

 S-75103 The Lash. John B. Thompson.

 S-75104 The Photograph. Tom Tierney.

 S-75105 Group Sex. Dean McCoy.

 S-75106 Women’s Ward. Orrie Hitt.

 S-75107 Unnatural Wife. Jay Carr.

 S-75108 Summer camp. Anne Herbert.

 S-75109 The Tease. George McNeil .

 S-75110 Undercover Sex. Brian Black.

 S-75111 Girls’ School. Jay Vincent.

 S-75112 Young Wife. Fern Burke.

 S-75113 The Great Husband Swap. Arthur Adlon.

 S-75114 Virgin at the Window. Mimi Chambord.

 S-75115 Amoral Wife. Eric Lee.

 S-75116 The Drug. Mark Daniels.

 S-75117 Cheating Wife. Dean McCoy. (PC)

 S-75118 The Third Sex. Artemis Smith.

 S-75119 Sex in the Shadows. Randy Salem.

 S-75120 Cal -Girl Wives. Alex Carter.

 S-75121 S as in Sex. Tom Harland.

 S-75123 Male Virgin. John B. Thompson.

 S-75128 Dirt Farm. Orrie Hitt.

 S-75135 The Beach Set. Fern Burke.

 S-75170 Nina. Brian Black.

 S-95159 Trap of Lesbos. Stacey Clubb.

 S-95175 Traded Wives. Alex Carter.

 S-95204 The Saturday Night Club. Stacey Clubb.

 S-95234 The Exploited. Nathan Burke.

 S-95265 Undress Rehearsal. John Carver.

 S-95272 Whose Man? Phil Hiner.

 S-95279 The Wife and the Wanton. John Carver. (Reprint of B-1055)

 S-95287 Weekend Widows. Carlton Gibbs.

341

APPEnDIX

SOHO LIBRARY PRESS

No authors or dates known (except noted) — mid 1970s

 SLP-237 The Corruption of Carl

 SLP-238 Sex in the Outer City

 SLP-239 Diary of Lust

 SLP-240 Padre’s Awakening

 SLP-241 Amy’s Wanderlust

 SLP-242 Family Af air

 SLP-243 Try Me, I’m Darlene

 SLP-244 The Sex Cure

 SLP-245 Verbina: A Chronicle of Lust

 SLP-246 Spankers’ Holiday

 SLP-247 More Love to Come

 SLP-248 To Teach Betty Lust

 SLP-249 Sex Captive

 SLP-250 The Sensuous Godfather, Volume I

 SLP-251 Lewd Frenzy

 SLP-252 The Sensuous Godfather, Volume I . Tony Ricco.

 SLP-253 Carnal Intrigue

 SLP-254 The Sensuous Godfather, Volume I I

TEEN-AGE LIBRARY SERIES

Published by Eros Goldstripe

 TAL-01 Torrid Teens in the Torture House. 1972.

 TAL-02 Tender Young Bottoms. 1972.

 TAL-03 Boy Loving Housekeeper. 1972.

 TAL-04 Lustful Widows. Dr. John Masters. 1972. (Bil Ward)

 TAL-05 Spank Me To Heaven. Roger Shaft. 1972. (Bil Ward)

 TAL-06 Sixteen and Eager. Roger Shaft. 1972. (Bil Ward)

 TAL-07 Uncle’s Captive Girl. 1972.

 TAL-08 The Teenage Spankers. Roger Shaft. 1972. (Bil Ward)

 TAL-09 Teenage Sexual Behaviour. 1972.

 TAL-10 Torrid Teen Twins. 1972.

 TAL-11 Uncle’s Spanked Sweetheart. 1972.

 TAL-12 Teenage Spank-O-Mania. 1972. (Bil Ward)

 TAL-13 High-School Hooker. Harley DeFoe. 1972.

 TAL-14 Boarding School Baby. Walter H. Vincents. 1972.

 TAL-15 Sexual Mores of the Teenage Subculture. Dr. John Masters.

1972.

 TAL-16 Lesson in Lust. 1972.

 TAL-17 Summer Camp Sinners. Roger Shaft. 1972.

 TAL-18 The Teenage Sexual Revolution. Dr. John Masters. 1972.

HIP POCKET SLEAZE

342

 TAL-19 Brotherly Love. 1972.

 TAL-20 Sexual Instincts of Adolescents. 1972.

UNIQUE

 UB-100 On The Farm. Peter Wil ow. 1966. (Eric Stanton)

 UB-101 One Step Up. Bud Conway. 1966. (Gene Bilbrew)

 UB-102 Party Talk. Monty Farrel . 1966. (Eric Stanton)

 UB-103 Trio. Anthony Dean. 1966. (Gene Bilbrew)

 UB-104 Making Merry. Edward Marshal . 1966. (Eric Stanton)

 UB-105 Hypnotize. Dorian Dole. 1966. (Gene Bilbrew)

 UB-106 Forced Entry. Joseph Carter. 1966. (Bil Alexander)

 UB-107 Caught. Linda Turner. 1966. (Bil Alexander)

 UB-108 Tight Fit. Ken Gardner. 1966. (Bil Ward)

 UB-109 Summer Artist. Jayne Judson. 1966. (Bil Ward)

 UB-110 The Punishment Complex. Reed Gilmore. 1966. (WC)

 UB-111 Second Fiddle. Jon Parker. 1967. (Bil Alexander)

 UB-112 Be My Guest. Karen Cole. 1967. (Bil Alexander)

 UB-113 Worth trying. Paula Sherwood. 1966. (Gene Bilbrew)

 UB-114 Two for Two. Myron Kosloff. 1967. (Bil Alexander)

 UB-115 Just Once. Lois DuClos. 1967. (Bil Ward)

 UB-116 Something Extra. Jon Parker. 1967. (Eric Stanton)

 UB-117 Untamed. Joseph Carter. 1967. (Eric Stanton)

 UB-118 Two Ways. Ruth Lambert. 1967. (Bil Alexander)

 UB-119 Never Again. Irma Mul er. 1967. (Eric Stanton)

 UB-120 Maid To Please. Eve Delon. 1967. (Bil Ward)

 UB-121 In and Out. Glenn Al ison. 1967. (Bil Ward)

 UB-122 Big Score. Nel Shaw. 1967. (Bil Ward)

 UB-123 Pen Pals. Jerome Martin. 1967. (Bil Alexander)

 UB-124 Ship Master. Arnold Dixon. (Gene Bilbrew)

 UB-125 Private Estate. Fred Thorne. 1967. (Bil Alexander)

 UB-126 Stranger In Town. Raoul D’Orgue. 1967. (Bil Alexander)

 UB-127 Crafty Dames. Ruth Lamber. 1967. (Bil Ward)

 UB-128 Frustration. Mona Marlowe. 1967. (Bil Ward)

 UB-129 Loving Couples. Patrice Caval. 1967. (Bil Alexander)

 UB-130 Strange Relatives. Arnold Dixon. 1967. (Gene Bilbrew)

 UB-131 Satan’s Desires. Toni Carver. 1967. (Bil Alexander)

 UB-132 Obey The Rules. Shawna de Nel e. 1967. (Bil Ward)

 UB-133 He’s Mine. Jack Vance. 1967. (Bil Alexander)

 UB-134 A Study of Group Sex In Wife Swapping. Wayne Black.

1967.

 UB-135 Impulsive Bi-Sexuality. Clinton Rogers. 1967.

 UB-136 Al At Once. Leda Starr. 1967. (Bil Alexander)

 UB-137 Office Swappers. Pat Caval. 1967. (Gene Bilbrew)

343

APPEnDIX

 UB-138 Hol ywood Madness. Bil Marshal . 1967. (Bil Ward)

 UB-139 Caught in the Act. Raymond Harte. 1967. (Eric Stanton)

 UB-140 Extra Duty. Peter Wil ows. 1967. (Bil Ward)

 UB-141 The Upper Hand. Eve Marlowe. 1967. (Eric Stanton)

 UB-142 Unknown.

 UB-143 Unknown.

 UB-144 Bartered Mates. Thomas K. Makagon. 1967. (Bil Alexander)

 UB-145 No Escape. George Post. 1967. (Bil Alexander)

 UB-146 Only For love. Mark King. 1967. (Eric Stanton)

 UB-147 Hampered. Albert White. 1967. (Bil Alexander)

 UB-148 Cry of Obedience. Gloria Powers. 1967. (Eric Stanton)

 UB-149 The Strap Trap. Byron Hal . 1967. (Bil Alexander)

 UB-150 The Eyes of Mortification. Gerald Price. 1967.

 UB-151 The Bizarre Lovemakers. Bruce Rogers. 1967.

 UB-152 Dominatrix. Myron Kosloff. 1968. (Eric Stanton)

 UB-153 Wrong Jail. Monty Farrel. 1968. (Eric Stanton)

 UB-154 Lessons In Eros. Jon Parker. 1968. (Eric Stanton)

 UB-155 Lady Butler. Robert Nelson. 1968. (Eric Stanton)

 UB-156 Whippersnapper. Bud Conway. 1968. (Eric Stanton)

 UB-157 Disciplinary Action. Shawna de Nel e. 1968. (Eric Stanton)

 UB-158 The Slave Compulsion. Jack Carter. 1968.

 UB-159 Hippie Sex. Dale Gordon. 1968. (WC)

 UB-160 Unknown.

 UB-161 Unknown.

 UB-162 Unknown.

 UB-163 Unknown.

 UB-164 Female Avengers. Woody Craft. 1968. (WC)

 UB-165 Trained Slave. Marc de Sati. 1968. (WC)

 UB-166 Strapped For Time. Shawna de Nel e. 1968. (WC)

 UB-167 Discipline Island. Myron Kosloff. 1968. (WC)

 UB-168 Just Plain Wild. Jack Sommers. 1969. (PC)

 UB-169 Seasoned Sexpot. Joe B. Short. 1969. (PC)

 UB-170 Stern Discipline. Roger Welk. 1969. (PC)

 UB-171 Repentant Partners. Marsha Satton. 1969. (PC) VALLEY CIRCLE BOOKS

Early 1970s

 VC-101 Animal Ordeal

 VC-102 Young Girl Seducers

 VC-103 Sexual Extremes

 VC-104 The Peeping Syndrome

 VC-105 Selected Studies of Sexual Perversion

 VC-106 The Sex Freaks

HIP POCKET SLEAZE

344

 VC-107 The Little Girl Lovers

 VC-108 The Swingers

 VC-109 The Anal Urge

 VC-110 Sadomasochism

 VC-111 Human-Animal Sexual Relations

 VC-112 Patterns of Incest

 VC-113 Incest

 VC-114 Prostitution: An In-Depth Discussion of Love for Sale

 VC-115 The Bestial Compulsion

 VC-116 Black Incest

 VC-117 The Compulsive Lover

 VC-118 The Animal Lovers

 VC-119 The Oral Love Syndrome

 VC-120 Teenage Hookers

 VC-121 Nymphomania Lust and the Working Girl

 VC-122 Teenage Rape

 VC-123 The Youth Lovers

 VC-124 Patterns of Wife Swapping

 VC-125 Incidents of Bestiality

 VC-126 Incestuous Seduction

 VC-127 Incidents of: Oral Genital Love

 VC-128 Women Who Seduce Young Boys

 VC-129 Sex With Children

 VC-130 Incidents of: Anal Sex

 VC-131 A Study of Wife Swapping

 VC-132 Patterns of: Oral Sex

 VC-133 Patterns of: Incestual Behaviour. Joel Richards.

 VC-134 Troilism: Three Way Sex. Roger S. Browne.

 VC-135 The Orgy Syndrome. Arthur Ecuardo.

 VC-136 Sex Between Older Men and Young Girls

 VC-137 Women Who Prefer Mate Swapping. James Wilburn.

 VC-138 Women Who Prefer Men

 VC-139 Sex Between Students and Teachers

 VC-140 Women Who Desire Dogs

 VC-144 Human-Animal Sex. Jennifer Stevens. 1971

WEE HOURS

 WH-501 What Floor Please? Anthony Dean. 1966 (Bil Alexander)

 WH-502 Flight Hostess. George Baker. 1966. (Bil Alexander)

 WH-503 Light Up. Jon Parker. 1966. (Bil Alexander)

 WH-504 Play Or Pay. Myron Kosloff. 1966. (Bil Alexander)

 WH-506 Double Up. Peter Wil ow. 1966. (Bil Alexander)

 WH-507 Subdued. Bud Conway. 1966. (Bil Alexander)

345

APPEnDIX

 WH-508 Season For Three. Glenn Al ison. 166. (Bil Alexander)

 WH-509 The Married Set. Jerome Martin. 1967. (Bil Ward)

 WH-510 Spy Hunt. Myron Kosloff. 1967. (Gene Bilbrew)

 WH-511 Just Friends. Peter Wil ow. 1967. (Bil Ward)

 WH-512 Dealer’s Luck. John Parker. 1967. (Gene Bilbrew)

 WH-513 For Sale. Bud Conway. 1967. (Eric Stanton)

 WH-514 Fair Choice. Linda Turner. 1967. (Bil Alexander)

 WH-515 A Study of Wife Swapping. Reed Gilmore. 1967.

 WH-516 Screen Test. Anthony Dean. 1966. (Gene Bilbrew)

 WH-517 Pick-Up. Jon Parker. 1967. (Bil Ward)

 WH-518 Easy Living. John Carter. 1967. (Bil Alexander)

 WH-519 Quick Moves. Glenn Al ison. 1966. (Gene Bilbrew)

 WH-520 Perpetual Motion. Walter Norman. 1966. (Gene Bilbrew)

 WH-521 Lady Peeper. Doris Drake. 1967. (Gene Bilbrew)

 WH-522 Odd Neighbours. Peter Wil ow. 1967. (Bil Ward)

 WH-523 Fast Job. Myron Kosloff. 1967. (Bil Alexander)

 WH-524 Society Madness. Bil Marshal . 1967. (Bil Ward)

 WH-525 Extra Touch. Raymond Harte. 1967. (Eric Stanton)

 WH-526 Backstage Trio. Al yn Davis. 1967. (Bil Alexander)

 WH-527 Showpiece. Woody Craft. 1967. (Eric Stanton)

 WH-528 Maid Service. Dominique Masur. 1967. (Bil Alexander)

 WH-529 Friendly Visitor. Sylivia Higgers. 1967. (Eric Stanton)

 WH-530 Mother In Law. Peter Wil ow. 1967. (Bil Ward)

 WH-531 Rooftop Peeper. Thomas K. Makagon. 1967. (Bil Ward)

 WH-532 Double Or Nothing. Glenn Al ison. 1967. (Gene Bilbrew)

 WH-533 Tyrannical: A Study of Female Domination. Paul Thornton.

1967.

 WH-534 The Sado-Masochistic Compulsion. Albert Reissner. 1967.

 WH-535 Manhandled. Pat Conroy. 1967. (Bil Alexander)

 WH-536 My Niece. Woody Craft. 1967. (Bil Alexander)

 WH-537 Smarty Pant. Shawna de Nel e. 1967. (Eric Stanton)

 WH-538 Games Girls Play. Robert Nelson. 1967. (Bil Alexander)

 WH-539 Private Pol . Arnold Dixon. 1967. (Eric Stanton)

 WH-540 Rubdown. Paula Sherwood. 1967. (Bil Ward)

 WH-541 Female Perversions. Albert Reissner. 1965.

 WH-542 People Who Peep. Reed Gilmore. 1967.

 WH-543 Tears and Humiliation. Shawna de Nel e. 1967. (Bill Alexander)

 WH-544 Reserved For Three. Pat Barrows. 1967. (Bil Alexander)

 WH-545 Inside Job. Jon Parker. 1967. (Bil Ward)

 WH-546 Man At Work. Eve Turner. 1967. (Gene Bilbrew)

 WH-547 One Way Trip. Nina Sands. 1967. (Bil Alexander)

 WH-548 Female Tyrant. Myron Kosloff. 1967. (Eric Stanton)

 WH-549 Bondage Clubs, U.S.A. Robert Nelson. 1967.

 WH-550 The Female Aggressor. Lou Condor. 1967.

HIP POCKET SLEAZE

346

 WH-551 Gay Resistance. James Michaels. 1967. (Gene Bilbrew)

 WH-552 Proper Respect. Peter Wil ow. 1967. (Eric Stanton)

 WH-553 Confinement. Shawna de Nel e. 1967. (Bil Alexander)

 WH-554 She Stud. Joseph Carter. 1967. (Gene Bilbrew)

 WH-555 Lady Director. Max Arnold. 1967. (Bil Alexander)

 WH-556 Lovers Lane. Jay Brook. 1967. (Bil Alexander)

 WH-557 Incest: Forbidden Family Relationships. Lou Condon. 1967.

 WH-558 Compulsive Homosexuality. Byron Thorpe. 1967.

 WH-559 His Brother’s Girl. Arthur Fletcher. 1968. (WC)

 WH-560 Madison Avenue Madness. Bil Marshal . 1968. (WC)

 WH-561 Roped Rendezvous. Myron Kosloff. 1968. (WC)

 WH-562 Forced To Please. Woody Craft. 1968. (WC)

 WH-563 Male Nymph. R. R. Rogers. 1968. (WC)

 WH-564 Enforced Respect. Peter Wil ow. 1968. (WC)

 WH-565 Men Are My Victims. Irene Browel . 1968. (Eric Stanton —
b&w)

 WH-566 A Passion For Cruelty. Myrna Laferty. 1968. (Eric Stanton —
b&w)

 WH-567 Temple of Terror. Evelyn Astin. 1968. (WC)

 WH-568 Brazen Empress. Don Bel ow. 1968. (Eric Stanton — b&w)

 WH-569 Night Shift. Pat Anthony. 1968. (Eric Stanton — b&w)

 WH-570 Prison Prey. Shawna de Nel e. 1968. (Eric Stanton — b&w)

 WH-571 Man Maulers. Peter Wil ow. 1968. (Eric Stanton — b&w)

 WH-572 Unwil ing To Swap. Pat Barrows. 1968. (Eric Stanton —
b&w)

WHAT YOU ALWAYS WANTED TO KNOW ABOUT…

BUT WERE AFRAID TO ASK

No authors or dates known — mid 1970s. All part of a photo-illustrated series of studies.

 GPD-11 Switch Hitters

 GPD-12 Bi-Sexual Nymphomaniacs

 GPD-13 Anal Eroticism

 GPD-14 The Teenage Sexual Underground

 GPD-15 The Oral Kick

 GPD-16 The Sexual Revolution

 GPD-17 Sexual Orgies

 GPD-18 Sex-Watchers

 GPD-19 Teeny-Swappers

 GPD-20 The Sexual Progressives

 GPD-21 Weird Sex Practices around the World

 GPD-22 Nymphomania

 GPD-23 Tri-Sexuals

 GPD-24 Female Exhibitionists

347

APPEnDIX

 GPD-25 Porno Movies

 GPD-26 Porno Shops

 GPD-27 Pleasure and Pain

 GPD-28 Sodomy and Perversion

 GPD-29 Adolescent Sex

 GPD-30 The Shadow World of the Fetishist

 GPD-31 Oralism and Pain

 GPD-32 Women Who Seduce Boys

 GPD-33 Sexual Fantasies

 GPD-34 Sex in Witchcraft

 GPD-35 Interracial Sex

 GPD-36 Bondage, Spanking and Sex

HIP POCKET SLEAZE

348

AppeNdiX b

Corinth paperback manuscript guidelines

(circa 1965)

CORINTH PUBLICATIONS

5839 Mission George Road

San Diego,

California 92021

MANUSCRIPT REQUIREMENTS

48,000 to 52,000 words.

Average twelve chapters per manuscript. Copy must be typewritten, double-spaced, on one side of 8½ x 11 paper only.

Strong emphasis on plot development and story idea above al else, with a house taboo on excess verbiage of any sort. The romantic interest must be an integral part of the characterization and story progression; it must be strong, meaningful and real.

We read sample chapter and outline on new material only, and are not interested in examining any existing manuscripts. Report is within two weeks, and payment is on acceptance with rate dependant upon frequency of acceptance.

Purchase is al -rights, outright.

We are NOT interested in any material containing “vulgarisms” or normal y taboo words.

Corinth assumes no responsibility whatsoever for unsolicited manuscripts not previously examined in chapter and outline form.

349

APPEnDIX

AppeNdiX C

8mm stag shorts & loops
a partial listing

Just like adult paperbacks, trying to compile a definitive listing of al 8mm stag films which were sold through magazines would be a frustrating and never-ending endeavour. With that in mind, I have compiled this brief listing of titles as an introductory guide to the films distributed via these means.

Unless otherwise noted, al titles listed are from the United States, i.e.

they were produced and distributed in America, if not actual y filmed there. American companies would often import foreign-lensed products and simply repackage them. Because most were filmed without sound, and took place indoors, determining exact shooting locations can be obviously difficult.

Where available, I have listed information such as serial number, distribution company, etc. ‘BA’ indicates films that came with colour box art (those not listed as such often came in simple, generic white cardboard boxes). Films are listed alphabetical y by title (except in the cases of series’ like Diamond Col ection and Swedish Erotica). All titles are in colour and shot without sound unless otherwise noted.

 AC-DC (100’ & 200’, b&w)

 After School Orgy (200’)

 Al Night Sucker (50’)

 Anal Dwarf (200’) This semi-legendary short features the late Louis de Jesus — best known as the midget star of Joel M. Reed’s notorious horror/exploitation sickie Blood Sucking Freaks (1977) —
having sex with a rather statuesque brunette. De Jesus appeared in a number of hardcore films and loops during the late 1970s and early eighties.

 Anonymous (100’ & 200’, b&w)

 Babydol Lust (200’)

 Baby Face (200’)

 The Babysitter (100’)

 Barnyard Babes (100’, bestiality)

 Bal et Class (No. 5, 200’) BA

HIP POCKET SLEAZE

350

 The Bathroom (200’)

 Beach Orgy

 Betty Boobs (100’, animated)

 Big Bouncing Boobs (100’)

 Big Dick the Teaser (100’, animated)

 Bigger Is Better (200’)

 Black Shaft (100’)

 Bobbysox Sex (200’)

 Bound Bitch (200’)

 Candy and Dick (200’, Candy Samples)

 Candy and Two Girls (200’, Candy Samples)

 Candy and her Dildos (200’, Candy Samples)

 Candy Man

 Captured Agent

 Carol (200’)

 Cheerleaders (100’)

 Cherry Rape (200’)

 Cherry Tarts (200’)

 Classroom Orgy (200’)

 Cock Crazy (200’)

 Co-ed Climax (200’)

 Cream Licker (100’)

 Cult of Sadists

 Cum Club (200’)

 Daddy Did Me

 Danish Films No. 17: Maiden Head Job (200’)

 Danish Films No. 18: Bal s of Fire (200’)

 Danish Films No. 19: Erection to Eternal Lust (200’)

 Danish Films No. 20: Ream Me Dry (200‘)

 Daughter’s Stud (100’)

 Deep Throat Sister (100’)

 Diamond Col ection No. 5: Farmer’s Daughter (400’) BA

 Diamond Col ection No. 14: 60’s Girls — Olive Oil (200’) BA

 Diamond Col ection No. 101: Big Tit Buckaroo (200’) BA

 Electric Persuasion

 Equal to Mommy

 The Erotic World of Seka Presents ‘Anal Ecstasy’ (SK-501, stars Seka and Michael Morrison, 200’) BA Released in silent and sound versions.

 Farm Fun (200’, bestiality)

 Finger Frenzy (100’)

 First Love (100’ & 200’, b&w)

 First Time Orgy (200’)

 First Time Sex (100’)

 Forced Muf Diver (200’)

351

APPEnDIX

 Forced to Suck (100’)

 Girls Behind Bars

 Glove Love Foursome

 Golden Orgasm (200’)

 Golden Showers (200’)

 Greek Girls (100’)

 Her Loving Dogs (50’, b&w). Not a bestiality film, despite its title.

Rather, an innocent 1950s stag reel of a woman undressing while her two canines watch on in amusement.

 Horny Farmgirl (200’)

 Joe Paloozer (100’, animated)

 Kidnapped For Torture

 Leather Bound Slave

 Leather Lover (200’)

 Loving Sister (100’)

 Lynn and Jef (50’)

 The Manipulators (100’ & 200’)

 Masturbating Class (200’)

 Masturbating Mama (200’)

 Meat Beaters (100’)

 The Molester

 Mother and Son

 Muf Divers (100’)

 Nasty Nurses (200’)

 Nympho Babysitter (200’)

 Office Orgy (200’)

 The Office Party (200’)

 Oh My Desire (50’, b&w)

 One Girl — I Man (King Size Films No. 101, 200’, made by Pat Jones) BA

 Open Mouth (100’)

 Oral Climax (200’)

 Oral Orgy (200’)

 Orphan Fanny (100’, animated)

 Our Gang Bang (100’, animated)

 Overly Hung (200’)

 Pajama Party (200’)

 The Party (50’)

 Peggy’s Prison Punishment

 Perverted Orgy (100’)

 Prince Violent (100’, animated)

 P. T. (100’ & 200’, b&w)

 Pussy’s Best Friend (200’)

 The Ravishers (200’)

 Room 69 (100’)

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352

 Roots of Slavery

 Satisfied by Urine

 School Doctor (200’)

 School Suck-Of (100’)

 Sex and Violence (100’)

 Sex Farm Fantasies (200’, bestiality)

 Sex Obsession No. 112: Jungle Sex (200’) BA

 Shower Lust

 Sis is Ready

 Slave Climax (200’)

 Slaves in Bondage (200’)

 Slave in the Van

 Slave Training

 Spanker’s Delight (50’)

 Spanking and Sex (200’)

 Strange Relations (200’ & 50’)

 Suburban Housewife (50’)

 Sucking Orgy (100’)

 Sucking Sisters (100’)

 Sucking Trio (200’)

 Suck-Of School (200’)

 Sue and Rex (200’)

 Sunset Strip (No. 3, 200’) BA

 Super Cheeks Spread (100’)

 Swedish Erotica* No. 36: International Boutique

 Swedish Erotica No. 37: Orgy in Leather

 Swedish Erotica No. 38: Black Knight

 Swedish Erotica No. 39: The Jogger (John Holmes)

 Swedish Erotica No. 40: Whipped Cream Orgy

 Swedish Erotica No. 41: School Girls Delight

 Swedish Erotica No. 42: Enchanted Cottage

 Swedish Erotica No. 43: Geisha on the Ginza

 Swedish Erotica No. 44: The Architect (John Holmes)

 Swedish Erotica No. 45: Homework

 Swedish Erotica No. 46: B&W Lez

 Swedish Erotica No. 47: The Visitor (John Holmes)

 Swedish Erotica No. 48: The Workman

 Swedish Erotica No. 49: The Elevator

 Swedish Erotica No. 50: The Dreamer

 Swedish Erotica No. 51: Polynesian Princess (John Holmes)

 Swingers and Dane (100’)

* Swedish Erotica titles were usually packaged in high-quality, glossy colour gatefold boxes, came on 200’ reels, and were silent with subtitles.

353

APPEnDIX

 The Swingers (100’)

 Table of Torment

 Teacher Terror (200’)

 Teasing Tina (50’)

 Tender Pussy (200’)

 Terry and the Perverts (100’, animated)

 Tied and Raped (200’)

 Til y the Teaser (200’, animated)

 Toots and Jasper (100’, animated)

 Torture Show (200’)

 Tortured Teacher (200’)

 Ultimate Orgy (200’)

 Web of Chains

 Wet and Widest (100’)

 Wet Wives (200’)

 Whipped Teenagers

 White Thighs (100’)

 Wife Swapping Orgy (200’)

 Witch Sabbath

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sordid sourCes

8mm stag films

Online auction houses like eBay are the best source for picking up old 8mm films of al genres, including vintage adult loops. Although most of the hardcore titles are listed under the ‘Adult’ section on the American eBay site (ludicrously unavailable for access in any country where such material may not be permitted), many stil show up listed under the general 8mm category.

How much you can expect to pay wil vary, of course, depending on a variety of factors: age, condition and length of the film, inclusion (and condition) of an original picture box, and — perhaps most importantly — the presence of any significant adult performers (John Holmes, Linda Lovelace, Rene Bond, etc. wil almost always result in a hotly contested auction). Earlier, softcore loops, nudie reels and bur-lesque films are also popular items on eBay, particularly if they feature prominent names like Bettie Page, Blaze Starr, Michel e Angelo, etc.).

Local flea markets can also be a rewarding source, as can placing a cheap ad in the local paper. An entertaining case in point: In early 2002, I placed a free classified in the Australian newspaper Col-lectormania, seeking old “horror, science fiction, educational and adult 8mm films”. In the three months the ad was run, I only ended up receiving one solitary cal , from an elderly guy in his seventies who lived in the country. It turned out that he was the coach of a local Australian Rules Footbal team back in the early 1970s, and to raise funds the club would hold occasional stag film nights, with the films supplied by a local policeman, who had confiscated the reels during his rounds of sex shop raids! This old guy had had the films stored in his cupboard since 1975, having no idea what he should do with them until he spotted my ad. He ended up offering me the lot, along with his old projector on which he screened the films, for a paltry $120! It was a great lot, too — over thirty reels, many of them 400’, including some early John Holmes loops, a complete print of Deep Throat, and some very dodgy fetish loops which made me glad I never knew anyone from that old footbal team, if this was the type of stuff they enjoyed off the field!

355

APPEnDIX
adult paperbacks & magazines

BLACK ACE BOOKS A long-established and leading source for vintage American paperbacks, Black Ace hold regular mail auctions and issue periodical catalogues of their crime, adult and beat titles, among others. Send some International Reply Coupons for their latest catalogues to 1658 Griffith Park Blvd., Los Angeles, California 90026, USA. They also have a website at [w] www.blackace.net CHRIS ECKHOFF 98 Pierrepont Street, Brooklyn, NY 11201, USA (see collectors for further information).

MIRIAM LINNA Norton Records, Box 646 Cooper Station, New York, NY

10003, USA (see collectors for further information).

VINTAGE ADULT PAPERBACKS Another online source which deals primarily in 1970s hardcore paperback material. [w] www.vintageadult-paperbacks.com
visual

ALPHA BLUE ARCHIVES Alpha Blue specialise in supplying early hardcore films on DVD, with emphasis on the rougher titles which other, more mainstream, adult distributors would not touch with a barge-pole. Forced Entry, The Taming of Rebecca, Hardgore and The Devil’s Playground are just some of the titles offered by this label, who also sel compilations of 1970s roughie 8mm loops. The only downside is that their titles can be a bit pricey (especial y if ordering from outside the US), and the majority of their titles would not make it through customs, so be warned. However, they do have a great catalogue full of reviews, articles, vintage porn star interviews and more, which can be ordered for $10 from PO Box 16072 Oakland, CA 94610, USA. They also have a very cool website at [w] www.alphabluearchives.com/

SHOCKING VIDEOS Another good, reliable source for al manner of old (and more recent) sleaze and adult films. HC77 Box 111, Hinton,

HIP POCKET SLEAZE

356

WV 25951, USA or [w] www.revengeismydestiny.com

SOMETHING WEIRD One of the leading independent video labels in the US, Something Weird stock an eye-popping array of early XXX material from the 1960s and seventies, including compilations of 8mm peepshow loops. They also carry a number of Ed Wood’s sexploitation films. Their enormous Blue Book catalogues are an entertaining and essential guide through the murky sewer of hardcore history, and they are always digging up previously lost titles to add to their inventory. They can be contacted at PO Box 33664, Seattle, WA 98133, USA, or via the web at [w] www.somethingweird.com websites
www.annbannon.com
www.bookscans.com
www.gayontherange.com
www.goodgirlart.com
www.kayobooks.com
www.pulpinternational.com
www.strangesisters.com
www.vintagepaperbackcovers.com
www.vintagesleaze.com
www.vintagesleaze.blogspot.com

357

APPEnDIX

reCommeNded reAdiNg

ANTIQUE TRADER COLLECTABLE PAPERBACK PRICE GUIDE by Gary Lovisi (Krause Publications, 2008; ISBN 978-0896896345) AUSTRALIAN VINTAGE PAPERBACK GUIDE by Graeme Flanagan (Gryphon Books, 1994) Compiled by a leading authority on the subject, this is a handy reference work to (mostly) pre-1970 Australian paperback novels, with a large section devoted to the sleazy Horwitz titles (see paperback parade for contact information).

BOOKS IN ACTION: THE ARMED SERVICES EDITIONS by John Y. Cole (Library of Congress, 1984) An obscure and tough to find title, Books in Action presents an in-depth history of the origins and development of the Armed Services Editions.

THE MOVIE TIE-IN BOOK by Moe Wadle (Nostalgia Books, 1994; ISBN

0-9637978-0-8) A very useful and fairly thorough guide to movie tie-in paperbacks published in the United States between 1939–1980. Includes price guide and many cover reproductions.

NIGHTMARE OF ECSTASY by Rudolph Grey (Feral House, 1992; ISBN

0-922915-04-0) The definitive biography of Ed Wood, Jr., Nightmare of Ecstasy contains a detailed rundown of Wood’s known adult paperbacks. Some titles covered include a plot synopsis, critique and cover reproduction.

PAPERBACK FANATIC Formerly Paperback Dungeon, Paperback Fanatic is a digest size UK fanzine, edited and published by Justin Bomba. It traverses al points on the sleazy paperback compass, with Guy N. Smith’s horror novels, plantation exploitation paperbacks, the war novels of Sven Hassel, the resurrection of Frankenstein in 1970s paperbacks, interviews, and reviews of such titles as Blood Worm, Ogre, Rogue Angels and Sasquatch. [w] www.thepaperbackfanatic.com/

PAPERBACK PARADE Gary Lovisi, pulp author and owner of Gryphon Publications (another excel ent source for paperback titles), publish-es this bi-monthly digest zine aimed at the serious vintage paperback col ector. Each beefy issue (over fifty have been published to date) runs at around 100 pages, with colour covers, classified ads, and in-

HIP POCKET SLEAZE

358
formative articles on al aspects of paperback history, including frequent coverage of the adult and sleaze genres. Although devoted primarily to American titles, Paperback Parade has also run pieces on Australian paperbacks and NEL biker/skinhead titles, and is an invaluable reference source. Copies are $8 each from PO Box 280-209, Brooklyn, New York 11228-0209, USA, or you can order online at [w]

www.gryphonbooks.com

THE PAPERBACK PRICE GUIDE by Kevin Hancer (Overstreet, 1980) Although the prices are obviously far outdated (and even at the time of publication were apparently the cause of much conjecture), and with a cut off date of 1959 which eliminates most of the adult titles, this is stil a very useful and informative guide to American mass market paperbacks. The format and layout of the book is very similar to Overstreet’s comic book price guides, and features many cover reproductions (eight pages in colour). An updated edition was published in 1990 by Wal ace-Homestead.

PAPERBACKS AT AUCTION 1995 (Gorgon Books, 1995) Paperbacks at Auction 1995 compiles the results from hundreds of paperback auctions held between 1991–1994 inclusively, with over 16,000 entries listed in total. Al the key information including title, publisher, author, condition, etc. are included, and although some years old now, this book stil gives a useful indication as to what key paperback titles are bringing in the highest prices. Hopeful y an updated edition won’t be far off.

PULP FRICTION: UNCOVERING THE GOLDEN AGE OF GAY MALE PULPS
by Michael Bronski (St. Martin’s Griffin, 2003; ISBN 978-0312252670) QUEER PULP by Susan Stryker (Chronicle Books, 2001; ISBN 0-8118-3020-9) Queer Pulp is a nicely put together history and overview of vintage lesbian and homosexual paperbacks. The cover artwork is well represented — with dozens of great colour reproductions — while Susan Stryker also examines the development of the genres, and the co-relation between the books and society’s handling and acceptance of gays. Although the text becomes a little heavy handed at times, Queer Pulp is stil an important examination of its subject, and belongs in the library of al adult paperback col ectors.

359

APPEnDIX

SIN-A-RAMA: SLEAZE SEX PAPERBACKS OF THE SIXTIES by Brittany A.

Daley (Feral House, 2004; ISBN 978193259055)

SMUT PEDDLER Published by Miriam Linna from Norton records (see collectors), Smut Peddler was a groundbreaking fanzine devoted to pre-1965 adult paperbacks. Two digest sized issues were published between 1992–1993, each containing a wealth of information on various authors, publishers and individual titles, along with a mouth-watering selection of cover reproductions (many of which were offered for sale to readers). A third issue of Smut Peddler has been in the works for some time. Also worth tracking down are copies of Bad Seed, Linna’s earlier digest zine from the mid 1980s, devoted to 1950s juvenile delinquency paperbacks. www.nortonrecords.com STRANGE SISTERS by Jaye Zimet (Viking Studio, 1999; ISBN 0-14-028402-8) A lavishly produced trade paperback devoted to the cover art of lesbian paperbacks between 1949–1969. Although light on text (not the book‘s purpose), Strange Sisters is recommended for its dazzling array of ful colour paperback cover reproductions, with chapters devoted to such cover themes as ‘Positive Portraits’, ‘Women Alone’,

‘Dangerous Desires’, ‘Cleavage’ and of course, ‘Sleaze’. There’s also a very interesting and entertaining foreword by Ann Bannon (see the smut peddlers).

HIP POCKET SLEAZE

360

iNdeX
bold denotes publishing house or imprint.

Titles of films are followed by year of production.

144 Piccadil y 207

Adams, Julia 295

44

3rd Theme, The 15

A Day at the Beach 267

Al At Once (1977) 342

3 Way Split 327

Aday MacDonald, Dede see

Al At Sea 130

10:04 Sgt. Thorne 104
also Aday, Sanford 98, 99

Allen, Donna 336

30 Day Orgy 338

Interview 99–102

Allen, Peter 331

69 Barrow Street 38

Aday, Madge S. Paris 100

Allen, Richard 17, 198, 326,

Aday, Sanford 98

327, 332

Abarbanel, Albert 120

Bibliography 103–105

Al igator 159

Abbott, Delmas W. 339

Profile 98

Allison, Clyde 334

Abbott, Sheldon 104

Addams Family 260

Allison, Glenn 97, 328, 333,

Abduction, The 197

Adlon, Arthur 340

342, 345

Abolitionist, The 184

Adolescent Sex 347

Allison, Tom 336

A-Bones, the 319

Adult books 23

All star 17

Abortion Mil 56, 69

Adulterers, The 334

Al the Way 333

Aby, Jack 151

Adultery Game, The 340

Al the Way Down 283

Academy press 22

Adultery Unlimited 339

Al the Ways Homosexuals

A&C black 191

Adventures of Superman, The

Make Love 22

Accursed 193

7, 8

Alone with the Devil 256

AC-DC Lover 24

Aerosphere (periodical) 95

Alpha blue Archives 310

AC-DC Stud 18, 23

Afay, Sanford

Alter Ego see also Geis,

Ace 6, 10, 324

Biography 98

Richard E. 44, 45, 52

Acid Eaters, The 106

Affairs of Gloria, The 23

Alvin Purple (1973) 130, 156

Acid Eaters, The (1967) 106,

A Fruit Town 332

Always Another Bed 339

280

After hours 17, 93, 94, 114

A Man-Trap Pussy 331

Ack-Ack Amy (strip) 96

Bibliography 326–328

Amateur Night 53

Ackerman, Forrest J. 37, 56,

After School 338

Amazing Spider-Man, The 93

58, 62, 82, 227

Age of Innocence 103

Amazing Stories 6, 145

A Clockwork Orange (1971)

Agrama, Frank 232

Amber Dust 98, 103

199, 303

A Guy, Eight Girls 282

Ambushers, The (1967) 280

Across 110th Street 304

A Handyman and His Tool

Amicus film studio 184

Action publishing 310

329

Amoral Wife 340

Adam 40, 41, 325

Alcoholic Woman 339

Amsterdam 314

Adam and Two Eves 15

Aldrich, Ann 25, 27

Amy’s Wanderlust 341

A Dame in his Corner 54

Aldrich, Curt 336

An Accident of Passion 329

Adam Film World (periodical) A Lesson in Eros 94

Anal Cravings of Teenagers

278–295, 297, 309, 313,

Alexander, Bill 90, 327, 328,

129

325

333, 342, 343, 344, 345,

Anal Eroticism 346

Profile 278–279

346

Anal Husbands and their

Adam Film World Quarterly

Alexander see also Banis,

Deviant Wives 53
see also Adam Film World

Victor J. 22

Anal Urge, The 344

279, 280, 283, 284, 291

Alien (1979) 2

Anchor publications 108

Adams, John 127

Alien Critic, The (periodical)

Anderson, Alston 184

361

InDEX

Anderson, Ben 299

Army Sin Girls 107

Audio stag 313

Anderson, Charles D. 288

Arnold, Marmor 104

Augustus, Lucius Caius 119,

Anderson, George 339

Arnold, Maryanne 129

337

Anderson, Janet 103

Arnold, Max 346

Auntie’s a Hot Sucker 336

Andrews, John 65

Arno press 36

Auntie with the Hots 335

Andrews, Kathy 127

Arnott, Peter 194

Australian Vintage Paperback

Andromeda Strain, The (1971) Arrow 248, 249

Guide 178, 357

198

Art enterprises, inc. 114,

Australia’s Wicked Women

And Sudden Lust 69

122

158

Andy Warhol’s Heat 304

Arthur, Claire 19

Auto-Erotic Acts and Devices

A New Bride 333

Arthur, William 339

24

Angel Alone 199

Ase see Armed Services

Avalanche of Lust 333

Angelo, Michelle 354

Editions 7

Avallone, Michael 223, 224

Angels Chal enge 203

Askwith, Robin 231, 232, 289 Avalon, Frankie 123

Angels from Hel 203

A Slave for Beasts 128

Avenging Angel 199

Angels On My Mind 203

A Slight Case of Perversion 299 Avon monthly book 325

Angels (series) 203, 208, 209

A Smel of Honey, A Swal ow of Avon 6, 16, 21

Angel Unchained (1970) 205

Brine (1966) 298, 306

Award books 219

Anger, Kenneth 121

As the Naked Wind from the

A Wicked and Depraved 332

Angora press 85, 86

Sea 303

A Wife to Lend 104

A Nightmare On Elm Street

Astin, Evelyn 346

A Wild Yearning 128

(1984) 224

Astonishing Stories (periodical) Aylward, Derek 296

Animal Eden, The 128

39

Animal Girl 128

Astro Zombies, The (1968)

Babb, Kroger 136

Animal Lovers, The 133, 344

299

Babes and Big Wheels 108,

Animal Lust 75

A Study in the Motivation of

109

Animal Ordeal 343

Censorship, Sex and the

Baby! 320

Animal, The (1968) 106, 282

Movies, Book 1 85

Babysitter, The 339

Animal Urge, The 105

A Study in the Motivation of

Bachelor 135, 325

Ann-Margret 280

Censorship, Sex and the

Bachelor Apartment 335

Another Day 137

Movies, Book 2 85

Bachelor Husband 104

Another Man (1966) 137

A Study of Deviate Sexual

Bachelor In Suburbia 226

Another Peyton Place 175

Fantasies 24

Backstage Sex 329

Anthony, Pat 346

A Study of Fetishes and

Backstage Trio 345

Antique Trader Col ectable

Fantasies 85

Backwoods Virgin 339

Price Guide 357

A Study of Group Sex In Wife
badger 163

Ao records 314

Swapping 342

Bad Girl 327

A Passion For Cruelty 346

A Study of the Sons and

Bad Girls go to Hel (1965)

Ape Rape 63, 66, 70, 75

Daughters of Erotica 87

137

Apostolof, Stephen see also

A Study of Wife Swapping

Bad Seed Bible, The 320, 325

Stephen, A. C. 305

344, 345

Bad Seed (periodical) 320,

Appointment for Sin 19

A Teen-Ager’s First Car 273

359

Arabian Nights 284

Atkins, Susan 258, 259, 263,

Baen, Jim 45

Arbus, Diane 210

265, 266

Baer, Max 109

Arena, The 47

Atomic Age Opens, The 6

Bait 338

Arena Women, The 54

A Town in Heat 104

Baker, Brenda 103

Armed services editions 7,

Attack Force! No.3: Roman

Baker, Don 335

8–10

Holiday 182

Baker, George 344

Armory, Richard 19

Attack Force! (series) 182

Baker, Rick 228, 237

HIP POCKET SLEAZE

362

Bal and Chain 327

Beach Maverick 103, 105

Benning, Carol 327

Ballantine, Ian 6

Beach Set, The 108, 340

Bergman, Ingrid 30
ballantine 22, 238

Beach Stud 109

Bergström, Harriet 308

Bal ing Hot Nieces 336

Beach Women, The 338
berkley medallion 135, 221

Balmer, Edwin 8
beacon 12, 18, 51, 113, 124,
berkley 6, 38

Bambi 5

324

Best Bal ing Daughter, The 336

Bamboo Cage, The 164, 176,
beacon/softcover library

Bester, Alfred 146

180

53

Bestial Compulsion, The 344

Bamboo Guerril as 193
beagle books 235

Bestiality in Men and Women

Banis, Victor J. 21–25

Beast 184

133

Bibliography 22–25

Beast from 20000 Fathoms

Bestial Nymph 128

Profile 21–22

(1953) 225

Bestial Quest 128

Bannon, Ann 25–37, 359

Beast in Heat, The (1977) 286

Best of Man, The (series) 117,

Bibliography 26

Beast of Yucca Flats, The

118

Interview 27–37

(1961) 306

Betrock, Alan 322

Profile 25–26

Beast, The (1975) 289

Between the Two 103

Banson, Dodd V. see also

Beast Woman of Buchenwald

Beymer, Richard 284

Banis, Victor J. 22

177, 181

Beyond 239
bantam 6, 256, 264, 271, 273

Beatles, the 33, 64, 186, 265

Beyond Belief: Fact or Fiction

Barbarel a (1968) 282

Beatniks, The see also Like

(tv) 79

Barbieri, Gato 314

Crazy, Man 50, 51

Beyond Intercourse 331
barclay house 23, 53

Beat Nymph 53

Beyond the Realm 104

Bardo, Joseph 290
beat 314

Bigfoot, The Mysterious

Barefoot Blonde, The 104

Beauchamp, Loren see also

Monster see also Mysterious

Barger, Sonny 206

Silverberg, Robert 19

Monsters, The 274

Baron, Jerry Le 339

Beautiful, the Bloody and the

Big Score 97, 342

Barrington, Pat 106, 283

Bare, The 306

Big Sleep, The 8

Barr, Lisa see also Bardo,

Beauty Contest 104

Bike from Hell, The 202

Joseph 290

Beauty in Leather (audio) 314

Bikers, The 201

Barrow, Elbert 22

Bedelia, Bonnie 205

Bikie Birds 157

Barrows, Pat 345, 346

Bedroom Blacklist 54

Bikie Hel cats 157

Bartered Mates 343

Bedroom City 55

Bikie Rumble 156, 157

Barton, James 335

Bedroom Eyes 11

Bikie Slave 177, 181

Basil, Toni 295

Bedroom Road 334

Bilbrew, Gene 13, 89, 94, 96,

Bass, Lonny 104

Bed, The 339

110, 113, 123, 316, 327,

Bates, Alan 194

Beebo Brinker 16, 25, 26, 27,

329, 330, 332, 333, 335,

Bates, Marsha 103

28, 30, 31

337, 342, 345, 346

Bates, Norman see also Wood, bee-line 53, 76, 79

Bibliography 92

Jr. Ed 85

Before Stonewal (1984) 26, 36

Profile 89–92

Bath House Peeper 328

Bell, Chastity 330

Bil y 197

Batman (1966) 70

Belley, James H. 103

Bil y Jack (1971) 204

Bats Out of Hel 193

Bellow, Don 346

Binder, Jack 95

Batten, Theo 154
belmont 23

Bingham, Carson see also

Battle 163, 166
belmont tower 276

Cassidy, Bruce 225, 226

Bava, Mario 227

Below the Belt 303
birch lane press 43

Beacham, Stephanie 229

Be My Guest 342

Birds of Destruction 157

Beach Boys, the 123

Benedict, Lynn see also Banis,

Birds of Prey 177

Beach Bunnies, The (1976) 88

Victor J. 22

Bi-Sex 82

Beach House Captive 177

Bennett, William 103

Bi-Sexual Nymphomaniacs

363

InDEX

346

137

Boorman, John 230, 231

Bishop, George 270

Bloch, Robert 146, 250

Boorman, Linda see also

Bittaker, Lawrence 256

Block, Lawrence 16, 37–38

Lovelace, Linda 134

Bitter Love, The 19

Bibliography 38

Boozers, Babes and Big Wheels

Bixby, Ray 338

Blonde, The 55

108, 109

Bizarre (periodical) 332

Blood Feast (1963) 239, 240,

Borden, Hank 128
bizarre book series

242, 243

Born For Sin 334

Bibliography 328

Blood on Big Sandy 103

Born to be Gay 25

Bizarre Lovemakers, The 343

Blood Orgy 338

Born to Kil 255

Bizarre Sex Acts and Unusual

Blood Shack (1972) 71

Borozyck, Walerian 289

Behaviour 300

Blood Sucking Freaks (1977)

Bosco, Dominick 256

Black Bel y of the Tarantula,

349

Boss Lover 175

The (1971) 304

Blood Worm 357
boston society for the

Black, Brian 118, 338, 339,

Bloom, Bernie 81
diffusion of Knowledge

340

Blow, Granddaughter, Blow

5

Black Gestapo 286

336

Boston Strangler, The (1968)

Black Ghetto Teen 129

Blow Hard Wife 336

284

Black Gold 182, 184

Blow Hot, Blow Cold 53

Bottoms Are Tops 330

Blackhawk 95

Blow the Man Down 22

Bouchet, Barbara 304

Black Heat 337

Blue Book (periodical) 356
boudoir 60, 69

Black Incest 344

Blue Movie Baby 332

Bound for Pleasure (audio)

Black Is For Bliss 338

Blue Plate Special 329

315

Black Lace Drag see also Kil er Blueprints For Sin 333

Bound to Dominate 140
in Drag 81, 82, 84, 85,

Blue, Sheri see also Wood Jr.,

Bourke, Terry 158

86, 87

Ed 86

Bovee, Lesllie 290

Black Leather Barbarians 200

Blundell, Graeme 156

Box, The (tv) 161

Black Lover 184

Boarding School Baby 341

Boy Gets Car 273

Black Lust 184

Bodenhein, Maxwell 11

Boy Loving Housekeeper 341

Black Magic 157, 244

Boggs, Redd 69

Bradbury, Ray 37, 250

Black Mask 6

Bold Desires 104

Bradley, J. S. 127

Black Myth 82, 87

Bolin, Gary 122

Bradley, Marion Zimmer see

Black Night 103

Bomba, Justin 357
also Ives, Morgan 18

Black Prince 184

Bondage Clubs, U.S.A. 345

Brand of Shame 284

Black Queen 184

Bondage Heiress 328
brandon house 23, 42, 43,

Black, Robert 280

Bondage, Spanking and Sex

46, 47, 48, 50, 52, 53, 127

Black Slave 177

347
brandon 18

Black Slayer 184

Bond, Howard 332

Brandon, Ralph 103, 104
black star series

Bond, Rene 131, 132, 354

Brandon’s Boy 23

Bibliography 328–329

Bonds, Jason 336

Braun, Eva 168

Black’s Woman, The 177

Bondy see also Bilbrew, Gene

Braun, Lisa 333

Black Water Nymph 337

91

Brazen Empress 346

Black, Wayne 342

Bonfils, Robert 21, 56, 89,

Breaking of Cassie, The 128

Blair, Linda 231

107, 211

Breker, Ron 128

Blaisdell, Paul 70, 73

Bonfire of the Vanities (1990)

Brent, Lynton Wright 18

Blakes 7 (tv) 188

230
brentwood publishing 18

Blake, Steve 338

Bongo Bum 54

Bresee, Frank 57

Blankety Blanks (tv) 130

Bonnie and Clyde (1967) 280

Bride of Frankenstein, The

Blatty, William Peter 274

Books in Action: The Armed

221, 222

Blaze Starr Goes Nudist (1965)

Services Editions 357

Bride of the Headhunter 180

HIP POCKET SLEAZE

364

Brides of Fu Manchu, The

Butcher’s Mistress, The 175

Carlisle, Edward 327

(1966) 253

Butchers of Vilna 169, 174

Carnal Adventure 329

Brides of Terror 177, 181

Bye Bye Broadie 86, 87

Carnal Greek, The 331

Bridge at Arnhem, The 175

Carnal Intrigue 341

Brief Contract 109, 329

Caine, Carol 55

Carnal Trap, The 54

Brief Encounter 110

Cain, Melanie 186

Carnival of Lust 334
brighton books 54

Calamity Town 8

Carnival Piece 82, 87

Britain, Sloane M. 19, 338

Calin, Adam 20

Carnival 325

Britton, Ellis 20

Cal Girl 308, 337

Carol publishing group 43

Bromyde, Jean 92, 335

Cal -Girl Wives 340

Carpenter, John 223

Bronski, Michael 358

Cal Me Abigail 130

Carr, Jay 340

Bronze and the Wine, The 24

Cal Me Later 332

Carroll, Ann 104

Bronze Bomber, The (strip)

Cal Me Nympho 55

Carroll, Dick 27, 28, 34

90

Calvano, Tony 335

Carr, Reggie 329, 334

Brook, Dan 338

Cameo library 54

Carry On (film series) 139,

Brook, Jay 346

Camera Bait 104

195, 231

Brooklyn Mirror 92

Cameron, Col 160, 162, 163,

Carson, Stanley 18

Brotherly Love 342

166, 172, 173

Carter, Alex 340

Browell, Irene 346

Bibliography 178–181

Carter Brown (series ) 154

Browne, Roger S. 344

Profile 178

Carter, Diane 340

Brown, Frank 128

Campbell, Ramsey 222

Carter, Jack 343

Brown, Heather 335

Camp Blood 176

Carter, John 97, 333, 345

Bruce, Lenny 266, 291

Camp Cookbook, The 22

Carter, Joseph 342, 346

Brutal Lust 337

Camp for Sinners 332

Carver, John 338, 340

Buchard, Robert 276

Camp Guide to Astrology,

Carver, Toni 342

Buchenwald Hel 164, 176,

The 22

Cashman, John 215, 216

180

Camp Hel 176

Cassavetes, John 198

Bugliosi, Vincent 262, 264,

Camp of Terror 176, 180

Cassidy, Bruce 225

265

Campus Iniquities 104

Castaways 333

Bul etman 95

Campus Lust 56

Castle, F. 339

Bunyan, Pat 104

Campus Tramp 334

Castle of Sin 329

Burden of Guilt 105

Candid 12

Castle of Slaves 175

Burger, Knox 28

Candid reader 124, 218

Castleton, Wil 303

Buried Motive, The 226

Candy’s Summer of Pain 328

Castle, William 285

Burke, Fern 108, 340

Cannibal Holocaust (1980)

Catch Kandy 158

Burke, Nathan 339, 340

159

Cats, The 184

Burns, Bob 70

Cannon, Frank 104

Caught 342

Burns, Marilyn 265

Cannon, Jason 141, 335

Caught in the Act 94, 343

Burnt Lands, The 46

Capece, Chris 322

Cauldwell, David O. 133

Burroughs, Edgar Rice 8

Captain Marvel 59, 64, 95

Caval, David 328

Burroughs, William S. 9, 10,

Captive of the Lust Master 54

Cavalier (periodical) 325

207, 217

Captive’s Choice 177

Caval, Pat 342

Burton, Richard 230

Captives of the Leather Lash

Caval, Patrice 328, 342

Burton, Tim 81

328

Cave, Peter 200

Bushido 164, 165

Captive Women, The 176, 180

Biker bibliographies 201,

Businessman‘s Guide to

Captured 333

203

Advertising and Sales

Caracal 193

Caves of Iron 18

Promotion, The 243

Cardoza, Anthony 306

Celebrity Skin (periodical) 289

Butcher of Auschwitz 176, 180

Carey, Sandy 308

Celebrity Sleuth (periodical)

365

InDEX

289

Citadel press 135

Complete Linda Lovelace, The

Cel uloid Scandal, The 69, 74

City Across The River 320

135

Cel uloid Sex Bomb 337

City lights 207

Compulsive Homosexuality

Centaur series 128

City, The 196

346

Chacan, Jesse 290

Class Reunion (1972) 88

Compulsive Lover, The 344

Chained Women 174, 179

Clay, Paul 339

Concentration Camp Bestiality

Chains 80

Cleis press 31, 36

128

Chains of Bamboo 174, 179

Clement, Donald 331

Concord, Jonathan S. 340

Chambers, John 275

Clifford, Michelle 310

Condon, Lou 346

Chambers, Marilyn 131

Cliff’s Party 334

Condor, Lou 345

Chambord, Mimi 340

Clinic Exclusive 304

Confessions of a Black Don

Chances (tv) 130

Clinic Xclusive 304

Juan 328

Chandler, Raymond 8, 154

Close Encounters of the Third

Confessions of a Horny

Chane 184, 185

Kind (1977) 2

Housewife 131, 132

Chaney, Lon 227

Clubb, Stacey 338, 339, 340

Confessions of A Pop Performer

Changi Terror 174

Coastwatch Command 174,

(1975) 289

Chapell, Dixie 339

179

Confessions of a Swapper 331

Chaplain Ray 263, 264, 268

Cocktail Hostesses, The (1972) Confessions of (film series) 231

Chapman, Lee see also

88

Confinement 346

Zimmer Bradley, Marion

Co -ed for Hire 338

Confusion Incorporated 4

16

Cold Chisel 246

Connery, Sean 280

Chariots of the Gods 274

Cole, Dorian 327

Connoisseur 106

Charlett, R. 166

Cole, John Y. 357

Conquest of Lida, The 328

Charlie’s Angels (tv) 289

Cole, Karen 342

Conroy, Pat 332, 345

Charlton 225

Col ectormania (periodical)

Controversy in Review

Charteris, Hugo 248

354

(periodical) 45

Cheating Wife 340

Col ege for Sinners 335

Convict Women (1973) 132

Cheat, The 339

Color Him Gay 22

Conway, Bud 326, 327, 332,

Check Room 327

Color Me Blood Red (1965)

333, 342, 343, 344, 345

Cheeks are made for Spanking

239, 241, 242, 243

Cook, Billy 255

140

Color Swap 330

Cool Hand Luke (1967) 106,

Cherita 103

Colson, Frederick see also

115

Chevron 92, 109

Geis, Richard E. 53, 54

Copeland, Dean 331

Bibliography 329

Columbia 83, 85

Corbett, Michael 336

Chicago Confidential 320

Come a-Smokin’ 103

Corgi 212, 213, 245, 251

Child of Satan, Child of God

Come Into My Parlour 11

Corinne, Tee 31

258, 260, 263, 266

Come Lie On My Table 331

Corinth publications 12, 124,

Chinn, Bob 308

Come Play With Me (1977)

218, 348

Chocolate Cities 314

188, 296

Corman, Roger 198, 215

Chopper 200, 201

Come Ride the Wild Pink

Corporal Punishment 331

Chris 339

Horse 280

Corporation Strikes Back, The

Christie, Agatha 5

Coming on Hard 329

48

Chronicle books 358

Commandant, The 165, 166,

Corpse Grinders, The (1971)

Churchill, Charles 189

180

299

Cinema Blue (periodical)

Commando 166, 182

Corpse in the Picture Window,

295–296

Commando Raid 166

The 226

Cinema Papers 307

Commuter County 339

Corrupted Virgins 328

Cinema X (periodical) 295

Commuter Husbands 304

Corruption (1967) 236

Circle of Lust 103

Companion 18, 22

Corruption of Carl, The 341

HIP POCKET SLEAZE

366

Corrupt Women 19

224

233

Corwin, Bruce 333

Cup of Fury, The 273

Day, Max see also Cassidy,

Cosa Nostra 185, 186

Curtis, Richard 236, 237

Bruce 226

Cottage by the Sea, The 37

Curtis, Tony 284

Day of the Jackal, The 197

Coulter, Adam 337

Cushing, Peter 235, 236

Day of the Triffids, The 227

Counter-Spy 163

Cycle Fury 329

Days and Nights of a

Countess Dracula (1971) 235

Cycle Sinner 327

Nymphomaniac 306

Country Club Lesbian 18

Deadlier Than The Male 8

Country Cuzzins (1970) 132

Daddy’s Harlot 53

Deadly Eyes 196

Cousin Jess 105

Daily News (periodical) 92

Deadly Weapons (1973) 137

Crabs’ Moon 193
dale books 232

Dealer’s Luck 110, 345

Crabs on the Rampage 193

Daley, Brittany A. 359

Dean, Anthony 327, 332, 333,

Crabs (series) 191

D’Amato, Joe 314

342, 344, 345

Crabs: The Human Sacrifice

Damiano, Gerard 290

Dean, Larry 333

194

Dammann, Ernest 103

Death Camp 174, 179

Cracked (periodical) 96

Dancer, Chuck 332

Death Island 166, 177, 181

Craft, Woody 343, 345, 346

Dangerous Games, The 16

Death March 176, 180

Crafty Dames 342

Dangerous Plight of Princess

Death of a Transvestite 81,

Cramming It In 329

Elaine, The (strip) 91

84, 86

Cramps, the 319, 325

Daniels, John 329

Death of a Transvestite Hooker

Crandall, Reed 95

Daniels, Mark 338, 340

85

Crane, David 336

Daniels, Norman 184, 197,

Death’s Paradise 174, 179

Crash Club 271, 273

198

Death’s Wake 174

Crash-Pad Chick 339
dansk blue 54, 127, 128,
de Blasi, Virgilio 232

Cream (year unknown) 301

138

Deception 104

Cream Rinse (1976) 132

Danville, Eric 135

Decisive Years 103

Creation 207

Daring Films and Books

Dee, Dolores 103

Creature from the Black Lagoon

(periodical) 297–300, 305

Deen, Douglas 274

221

Darkest Night, The 236

Deep Inside (1968) 106

Creepy (periodical) 71, 195

Dark Holiday 103

Deep Throat 135

Crescent

Dark Quarters, The 103

Deep Throat (1971) 134, 135,

Bibliography 330

Dark, The 196

313, 314, 354

Cresse, Bob 283, 286

Dark World of Witches, The

Deep Throat (audio) 134

Crest 6

245

Deep Throat Papers, The 135

Crimes of Passion 157, 158

Darlene, Gigi 299

Deep West 8

Crimes Which Shocked

Darwin, Fred 328

Deerstalker 72

Australia 158

Dashwood, Sir Francis 189

Defiled by the Nazi Dogs 129

Crocodile 158, 159

Daughter’s Hot New Family

DeFoe, Harley 341

Crowell, Anthony 20

336
de Gaulle, Charles 14

Crowley, Aleister 244, 247,

Daughter’s Oral Fun 127
de Graff, Robert 5, 6

248

David, Donald 285
de Jesus, Louis 349

Crowley, Liz see also Block,

Davidson, Chris 18, 19
de Laurentiis, Dino 231, 232

Lawrence 38

Davidson, John 125
dell 6, 135, 270, 273

Crowley, Tony 295

Davidson, Walter 55

Delon, Eve 97, 342

Cry of Obedience 343

Davis, Allyn 345

Delon, Helen 327

Cult of the Bosom 245

Davis, Don 87

Delon, Ruth 327, 333

Cult, The (periodical) 44

Davis, Donald 283

Delon, Yvette 327

Culver, Ed 18, 337

Davis, Duane 333

Deluxe Treatment 333

Cunningham, Sean S. 223,

Dawn of the Dead 222, 223,

Demon Mona 329

367

InDEX

Dempsey, Sandy 308

Dirty Dozen, The (1967) 182

Dracula’s Daughter 221
de Nelle, Shawna 328, 342,

Dirty Harry (1971) 312

Dragnet (tv) 240

343, 345, 346

Disciplinary Action 343
dragon edition 18

Denied 337

Discipline Hour 333

Drag Trade 81, 88

DeNiro, Robert 109

Discipline Island 343

Drake, Doris 345

Dennis, Ellen 333

Discotheque Dol 54

Dr. Albert Ellis (series) 120

Dennis, John 329

Discourse Delivered Before the

Dreadstone, Carl 221

Dennis, Sandy 284

Boston Mechanics Institute

Dresner, Hal 21

Dennis, Sean 333

5

Drew, Dennis 20, 337

Dennis Wheatley: Library of

Disoriented Man, The 236

Dr. Goldfoot and the Bikini
the Occult ( series) 248

Ditko, Steve 93, 225

Machine (1965) 306

Denton, John 114
diverseys 325
dr. guenter Klow library
de Ortega Maxey, Wallace 98

Dixon, Arnold 327, 342, 345
selection 97

Depp, Johnny 81

Dobrin, Ronald 232

Bibliography 330–332

Dern, Bruce 198
dobson books 250

Drifter in Town 54
de Sati, Marc 343

Doctor of Depravity 330

Drive, He Said (1971) 303

Desire and Deceit 110

Doctors and Wives 339

Dr. Murray Banks Speaks on

Desire and Discipline 332
dodd 273
the Drama of Sex (audio)

Detective, The 284

Dodson, Sam 22, 23, 24

314

Devil Girls 86

Dodson, Victor see also Banis, Dropout Wife (1972) 88

Devil in Miss Jones, The (1973)

Victor J. 23, 24

Drugs 210

313, 314

Dole, Dorian 342

Drug, The 340

Devil Is Gay, The 53
dollar double 50

Drum 182

Devil on her Tail 54

Dol Squad, The (1973) 299

Dubois, Maria 327

Devil Rides Out, The (1968)

Domain 196

DuClos, Lois 342

244

Dominatrix 343

Duncan, Gellie 254

Devil’s Angels, The 198
dominion 55

Dusty Dyke 56

Devil’s Mistress, The 174, 179

Donalds, Richard 327

Duties of a Motel Maid 336

Devil’s Nun, The 129

Donkey Raped Virgin 128
dutton 273

Devil Soul 23

Donna 330

Duval, Arlene 327

Devil’s Playground, The (1975) Door To Door 333

Duval, Pierre 332

138, 355

Door to Door Teaser 335

Dworkin, Andrea 135

Devil’s Rider, The 201, 202

D’Orgue, Raoul 342

Devil’s Weed, The 136
dorrance 103

Each Won Two 103

Devil Worship in Britain 245,

Double Crossed Beds 104

Eager Victims, The 330

246

Double Or Nothing 345

Eastwood, Clint 312

Devon, Joseph 103, 104

Double Up 344

Eastwood, Nick 336

Dexter, John 334, 335

Double Your Pleasure 329

Easy 51, 55

Dial P for Pleasure 332

Douglas, Craig 329, 330

Easy Living 97, 345
diamond Collection 349

Douglas, Jr., Ray 19

Easy Makes, The 330

Diary of a Hot Housewife 336

Down Payment 327

Easyrider (periodical) 206

Diary of a Non-Virgin 339

Dow, R. A. 237

Easy Rider (1969) 206, 296

Diary of Lust 341

Doyle, Frank 331

Eating Out Family Style 336

Dick Tracy 62

Do You Believe in Swedish

Eberhart, Walter 331

Dickson, Paul 299

Sin? 303

Ebon, Martin 273, 274

Different Ways Of Doing It

Dracula 8, 248
eC Comics 192, 254

133

Dracula (1958) 235

Eckhoff, Chris 321, 355

Digart, Uschi 303

Dracula A.D. 1972 (1972)

Interview 315–319

Dirt Farm 340

244

Ecstasy Girl 11

HIP POCKET SLEAZE

368

Ecuardo, Arthur 344

Erection, The 19

Extra Touch 345

Edelson, Edward 227

Erika (1971) 301

Eye at the Window 54

Education of Hyman Kaplan,

Eros and Capricorn 38

Eyes of Mortification, The 343

The 8
eros goldstripe 85, 97, 330,
edusex press 85

341

Fabian 98, 100, 103

Edwards, Jake 329
eros publishing 131

Fabian, Joel 114, 327

Effective E-Mail Marketing

Erotic Attraction of the

Fair Choice 345

243

Dominating Female, The

Faithful, Marianne 204

Egan, Daniel 210

331

Fal en Sparrow, The 8

Einstein Legacy, The 46

Erotic Dawn 330

Fal of the Roman Empire 179

Eisner, Will 90, 91

Erotic Executives 74

Family Affair 341

Electric Underground 207

Eroticon (1971) 304

Family’s Hot Summer, The 336

Elliot, Don 316, 334, 335

Eruption (1977) 290

Family that Plays Together,

Elliot, Elton 45, 46

Escape from the Hel Camp

The 331

Elliot, Richard see also Elliot,

167

Family, The 260, 262

Elton and Geis, Richard

Escort (periodical) 300

Famous Monsters of Filmland

E. 46

Esposito, Craig 129

(periodical) 57, 62, 67, 70,

Ellis, Albert 120
essex house 46, 55

82, 221, 227, 235, 238

Ellis, Joan 19

Evans, Scott 116, 117

Fangoria (periodical) 221,

Ellison, Harlan 46, 107, 146,

Eve and the Handyman 299

222, 239

152, 334
evening reader 18

Fantaco 239, 241

Ellroy, James 68

Even Swap 332

Fantasia (periodical) 91

Ellson, R. N. 121
everest books 231

Fantastic Adventures
ember library 22, 23

Everett, Kathleen see also

(periodical) 6, 145

Emerald Bikini, The 104

Wood Jr., Ed 87

Fantastic Monsters of the Films

Emerson, Jill see also Block,

Everett, Kathy 87

(periodical) 70, 71, 73

Lawrence 16, 37, 38

Everybody’s Guide to Plate

FAPA (periodical) 44

Emery, Carol 18

Col ecting 243

Farewel Junction 78

Emmanuel e (audio) 314

Everybody Wins 338

Farm Dolls 112, 337

Emmanuel e 2 (audio) 314

Every Man’s Fantasy (audio)

Farmer, Donald 307

Emmanuel e ( film series) see

315

Farmer, Phil 46, 52
also Emmanuel e 296, 313

Eve’s Apple 111

Farrell, Monty 94, 332, 342

Emmanuel e in America

Evil Firm: The Rise and Fal of

Farrel, Monty 343

(audio) 314
the Brothers Kray, The 186

Fashion Show 327

Emotional Jungle 103

Exciting Cinema (periodical)

Fast Girl 323

Encyclopaedia of Sexual

295, 300–305, 307

Fast Job 345

Behaviour, The 120

Execution, The 175, 179

Fate (periodical) 145, 274

Endless Orgy, The 54

Executive Bed 105

Fawcett Comics 95

End of a Diplomat 111

Executive Lesbian 18

Fawcett Crest 218

Eneg see also Bilbrew, Gene

Exhibitionist, The 339

Fawcett, Farah 289

91, 316

Exorcism: Fact Not Fiction

Fawcett gold medal 46

Enforced Respect 346

273, 274

Fawcett 6, 45, 215

Enforcer, The (1976) 312

Exorcist, The (1973) 231, 273

FDR: A Memorial 6

Enough of Sorrow 38

Exotique 91

Fear That Creeps Like a Cat,

Entertainment Tonight (tv)

Experiment at Ravensbruck

The (radio) 57

230

176, 180

Feeling No Pain 333
epic 60, 69, 74

Experimenters, The 20, 337

Felsen, Henry Gregor 271,

Equus 231

Exploited, The 339, 340

272, 273

Erb, Ann 340

Extra Duty 343

Bibliography 273

369

InDEX

Female Aggressor, The 345

Fly Girl 112

Frank, Alan 235

Female Avengers 343

Flying Saucers (periodical)

Frankenstein 7, 8

Female Convict 15

145

Franklin, Benjamin 189

Female Exhibitionists 346

Flying Saucers Over Australia

Fraternity of Shame 113, 211

Female Masturbation 299

245

Frazetta, Frank 162

Female Perversions 345

Flynn, Errol 284

Freaks 187, 211

Female Tyrant 345

Fog, The 196

Freaks: We Who Are Not as

Fenger, Gary 328

Fonda, Jane 282

Others 189

Feral house 81, 357, 359

Fonda, Peter 198, 215, 295

Fredericks, Dennis 329, 334

Fetish Farm 338

Food of the Gods (1976) 237

Fredkove, Harry 14, 15

Fetishism and the

Foran, Tom 18

Free Admission 333

Sadomasochist 331

Forbidden Love (1992) 36

Freedom for Love 304

Fever Heat 273

Forbidden Romances (series)

Free Grass 284

Fickling, G. G. 338

128

Free Lovers 11

Fields, Gary G. 290

Forced Entry 85, 342, 355

Freeman, Ann 103, 104

Fifteen Bodies to the Morgue

Forced Incest 129

Freeman, Gillian 203, 204,

103

Forced To Please 346

217

Film Comment (periodical)

Ford, J. D. 18

French Assignment 182

307

Ford, Robert B. 104

French Dressing 332

First Niter 12, 93, 94, 113,

Foreman, Percy 42

French Girl in Town 338

118

Forgive Me, Father 129

French line 86

Bibliography 332–333

Forgiven: The Charles ‘Tex’

Friar Peck and his Tale 23

First Person, Third Sex 19

Watson Story (1993) 269

Friday, John 336

Fitz 74

For Love or Money 87

Friday the 13th (1980) 223,

Five Housewives 331

For Sale 345

224

Five Loose Women (1974) see

For Valour 179

Friday the 13th (tv) 224
also Fugitive Girls 88

For Whom the Bel Tolls 30

Friday the 13th, Part 3 (1982)

Five Sinners 298

Forsyth, Frederick 197

224

Flagel ation Club, The 174

Foster, John 103, 104

Friedkin, William 230, 288

Flailing of Laurel, The 328

Foster, Laurence 326

Friedman, David 106, 241,

Flaming Lust 109

Foundlings 36

243, 278, 279, 284, 286,

Flaming Suckers, The 23

Found Naked and Dead 186,

298, 299

Flaming Vengeance, The 129

187

Friendly Visitor 345

Flanagan, Graeme 178, 357

Four Can Play As Wel As

Fritz, Jack 331

Flash Back 328

Three 331

From Boredom to Bedroom

Flash Gordon 62

Four Dimensions of Greta, The

330

Fleischman, Stanley 42

(1972) 304

Frost, Robert Lee 282, 283,

Fleming, Ian 119

Four for Incest 328

286, 299

Flesh and Blood Show, The

Four Walls eight Windows

Fruit of the Loon 19

(1972) 304

82, 84, 85, 86

Frustration 97, 342

Flesh Peddlers, The 74, 334

Four Women Who Dominate

Fuck You: A Magazine of the

Flesh Worshippers, The 338

Boys 331

Arts (periodical) 261

Fletcher, Arthur 346

Fox, The 283

Fugitive Girls (1974) 88

Fletcher, Jack 333

Foy, Fred 57

Fuller, Samuel 207, 295

Fletcher, Tony 327

Frakes, Jonathan 79

Fulton, James 286

Flight Hostess 344

France 55, 69

Fulton, Laurence 327

Flip-Side Lover 74, 337

Frances, Stephen see also

Funicello, Annette 123

Floating Bedroom 339

Saxon, Peter 236

Fun With Daughter 127

Fluke 196

Francis, Ricki 161

HIP POCKET SLEAZE

370

Gable, Clark 283

Gemser, Laura 313

Godfather, The (1972) 185

Galaxina (1980) 228

Gentlemen of Leisure: A Day in Godfrey, Tommy 296

Galaxy (periodical) 45, 57
the Life of a Pimp 141

God of Lust 75

Gal ery (periodical) 135

Gentry, Curt 264

Go Down, Aaron 19

Game (periodical) 296

George, Eliot see also Freeman, God’s Prison Gang 263, 268, Games Girls Play 338, 345

Gillian 203

269

Gang Bang 175

Gerstein, Dick 78

Godzil a (1954) 225

Gang Girl 55, 334

Gerstein, Richard 78
gold medal 25, 26, 28, 29,

Gangs of New York 320

Gestapo 176, 180

30, 31, 32, 33, 34, 80, 215,

Gang-Up 339

Gestapo Atrocity 175, 179

136, 324

Gant, Norman 184, 185

Gestapo Camp 176
publisher 14

Garcia, Ron 287, 288

Gestapo Captive 176, 180

Gooch, Mary S. 103, 104

Garcia, Stella 295, 296

Gestapo Fugitive 177, 181

Goodbye My Lover 25

Gardner, Ava 109

Gestapo Prisoner 176, 180

Goodhart, William 231

Gardner, Gerald 247

Gestapo’s Last Orgy, The

Good Neighbours 307

Gardner, Ken 333, 338, 342

(1977) 286

Gordon, Bert I. 237

Gardner, Mariam see also

Get Smart (tv) 182

Gordon, Dale 343

Zimmer Bradley, Marion

Getting Into Deep Throat 135

Gordon, Stuart 202

16

Ghetto Whore 54

Gore Creatures see also

Gavin, Erica 136

Gibbs, Carlton 338, 340

Midnight Marquee

Gay Boy 109

Gilbert, Michael M. 79

(periodical) 307

Gay Boy Returns 299

Gilded Cage, The 308

Gorgo 225, 226

Gay Buddies 24

Giles, Raymond 195
gorgon 358

Gay Cargo 328

Gil igan’s Island (tv) 282

Gorman, Andy 336

Gay Detective, The 104

Gilman, Wilson G. 104

Gortner, Marjoe 237

Gay Dogs, The 22

Gilmore Girls 288

Gothic Gaye 22

Gaydreams 23

Gilmore, Reed 342, 345

Gould, Carlton 128

Gaye, Marvin 256

Gimlin, Robert 275

Gowland, Peter 146

Gay Haunt, The 24

Gimme Shelter (1971) 202

Graham, Carlotta 128

Gay Ones, The 103

Ginsberg, Allen 207, 216, 217 Grant, Oliver 336

Gay Peeper 299

Girl From H.A.R.D. — Perfect Grant, Vic 339

Gay Resistance 346

Assignment, The 187

Graves, Peter 274

Gay Reunion 327

Girl From H.A.R.D., The

Graves, Sabina 128

Gay Safe 22

( series) 188

Gray, James H. 141

Gay Scene, The 19

Girl in a Go-Go Cage 338

Gray, Morton 327

Gay Three-Way 337

Girl on a Motorcycle 204

Great Husband Swap, The 340

Gay Trap, The 25

Girl Raper 140

Great Monsters of the Movies

Gay Treason 24

Girls a Go Go 79

227, 228

Gay Underworld, The 88

Girls of Deep Throat, The 135

Great Radio Heroes, The 56,

Geeson, Judy 229

Girls’ School 340

66

Geis Letter, The (periodical)

Girls Upstairs, The 334

Green, Hank 110
see also Geis, Richard E.

Girlsvil e 55
greenleaf 21, 55, 60, 61, 69,

44, 45

Gladson, Leslie 184

127, 142, 143–153

Geis, Richard E. 39–56, 124,

Glen or Glenda? (1953) 83
greenleaf Classics see also

338

Gloria 340

Greenleaf 18, 23, 43, 48,

Bibliography 53–56

Glory Stompers, The (1968)

86, 126, 141, 335

Interview 39–52

198
greenleaf digests see also

Profile 39

Go Ask Alice 212, 213

Greenleaf 23

Geller, Uri 194

Go Ask Alice (1973) 213

Grey, Judson see also Harmon,

371

InDEX

Jim 69

Happy at Last 327

Heat (1995) 288

Grey, Rudolph 357

Happy Birthday to Me (1981) Heckelmann, Charles N. 226

Grier, Barbara 36

223

Hedman, Werner 296

Griffith, Andy 213

Happy Hooker, The 140

Hefner, Hugh 117, 134, 145,

Grizzly 193

Hara, Gil 115

147

Gronmark, Scott 184

Hard Game, The 188

Heironimus, Bob 275

Gronowicz, Anton 168

Hardgore (1974) 355

Hellbrant, Maurice 10

Group Sex 340

Harding Files ( series) 129

Hel Chicks 87

Grover, Barry 327

Harding, Matt 112, 330

Hel -Fire Club, The 189
gryphon 357

Harland, Tom 340

Hel ’s Angels 206

Guardian Angels 202, 203,

Harlem Model 325

Hel ’s Angels (periodical) 206

207, 208

Harlot Master, The 67, 68, 69

Hel ’s Island 175

Guenette, Frances 274

Harmon, Jim 56–70, 71,

Helter Skelter 262, 264, 265

Guenette, Robert 274, 275

74, 75

Hemming, James 213

Guest List 333

Bibliography 69

Herbert, Anne 339, 340

Gunn, James 8

Book Reviews 67

Herbert, James 184, 191,

Guy, Randy see also Geis,

Interview 57–67

195, 196

Richard E. 55

Profile 56

Bibliography 196
harper Collins 266

Hercules (strip)

Haining, Peter 245, 250

Harris, Frank G. 104

Here Comes Harry Reems! 135

Hairbrush Harem 330

Harris, John D. 210

Here is Your Hobby: Car

Haley, Fred 337

Harris, Kathy see also

Customising 273

Half-Stoned 113, 333

Andrews, Kathy 127, 336

Here We Go ’Round the

Hall, Angus 234

Harte, Raymond 94, 328,

Mulberry Bush (1968) 283

Hall, Byron 343

343, 345

He’s Mine 342

Halleck, Bob 340

Hart, Jeff 337

Hessler, Gordon 235

Hal oween (1978) 223, 224

Harvey, James 19, 121, 334,

Heyward, DuBose 8

Hall, Radclyffe 14

337

Heywood, Anne 284

Hall, Stuart 156

Harvey, Jim see also Harmon,

Hidden Flames 23

Bibliography 157

Jim 69

Higgers, Sylivia 345

Hall, Susan 141

Harvey, Linda 105

Highbal (periodical) 319

Hamill, Pete 135

Hasfield, Mark 130

High Pil ow 103

Hamilton, Greg 55

Hassel, Sven 357

High-School Hooker 341

Hamling, William L. 107,

Hastings, March 19

High School Sex Club 334

143, 144, 145, 146, 147,

Haunted 196

Highwater, Helen 18

148, 150, 152

Haunted (1995) 196

Hil bil y Nympho see also
hammer film studio 2, 225,

Hawai 214

Farewel Junction 78

227, 231, 234, 235, 244,

Hawai Five-0 (tv) 288

Hilton, Hillary 339

253, 303

Hawke, Simon 224

Hiner, Phil 340

Hammer House of Horror

Hawkins, Peter 194

Hines, Earl ‘Fatha’ 90

(periodical) 234
hawthorn 120

Hinman, Gary 258

Hammond, Dirk 288

Haycox, Ernest 8

Hippie Papers, The 213

Hampered 343

Haydock, Ron 20, 57, 62–66, Hippie Sex 343

Hampton, Stella 103

69, 70, 319, 323, 337

Hip Pocket Sleaze (periodical)

Hampton, Wade 299

Bibliography 74

3, 75, 89

Hancer, Kevin 358

Book Reviews 72–74

His Brother Love 20, 92, 337

Hands of the Ripper 235

Profile 70–72

His Brother’s Girl 346

Hangman, The 191

Hayes, Floyd 105

Hitch Hikers 333

Hanssen, Robert P. 266

Hayes, Reese 103, 104

Hitler, Adolf 14, 168, 257

HIP POCKET SLEAZE

372

Hitler’s Experiment 176, 180

Ron 71, 74, 337

House of Hel 175

Hitler’s Murder Master 179

Horny Holy Rol er Family 336

House of Pain and Pleasure,

Hitler’s Thugs 167, 172, 179

Horny Parts 140

The 285

Hitler’s Wife see also Hitler’s

Horny Schoolgirl Daughters

House of Pleasure 175

Woman 168

336

House of Whipcord (1974)

Hitler’s Woman 168

Horny Wild Daughter 55

304

Hitt, Orrie 80, 104, 338, 339, Horror Camp Escape 176, 180

Housewife and Others, The

340

Horror Camp, The 176, 180

336

Hodley, Robert 339

Horror Films 235

Housewife in Heat 335

Hoekstra, Raymond see

Horror of Dracula (1958) 235

Howard, Marcia 20

Chaplain Ray 263

Horror of Frankenstein, The

Howard, Randy 335

Hoffman, H. A. 119

(1970) 234

Howell, Mark 206

Hogarth, Burne 90

Horton, Ron 327

How I Lived As Eve see also

Hogland, Gunner 303

Horwitz, Peter see also

Katu 306

Hole In One 332
horwitz 154

How To Make A Dol 287

Holiday, Don 19
horwitz 154–181, 246, 247,

How to Sel Your Home in

Holiday Gay 22

357

California Without a Real

Hollander, Xavier 140

Biker paperbacks 157

Estate Agent 149

Holledge, James 157, 158,

Book Reviews 156–174

How to Write Porno for Fun

165, 167, 172, 179, 244,

Profile 154–155
and Profit 48

247

War paperbacks 162

Hoyle, Trevor 188

Holliday, Don see also

Hot Angel 104

Hoy, Mike 48

Dresner, Hal and Banis,

Hot Blood of Youth, Ther 338

Hubbard, Richard 219, 220

Victor J. 21, 22, 124, 334,

Hot Broads 328

Hudson Hawk (1991) 230

335

Hot Chocolate 325

Hughes, Dorothy B. 8

Hollidge, James 164

Hot Fun 82

Hughes, Norma 328

Holloway, Perry 327

Hot Incest Family 127

Hugo’s Girls 330

Hol ywood Babylon 109

Hot Kids and their Older

Human-Animal Sex 133, 344

Hol ywood Madness 97, 343

Lovers, The 54

Human-Animal Sexual

Hol ywood Rat Race 82, 84, 86 Hot Lips 94, 326

Relations 344

Holmes, Jackie 22

Hot Money Girl 306

Humiliation of Diane Wilson,

Holmes, John 290, 296, 308,

Hot Nights on the Campus 299

The 330

352, 354

Hot Pants Stepdaughter 335

Hunger for Humiliation 129

Home of the Gay 23

Hot Rod 271, 273

Hungry Ones, The 330

Home, Stewart 4, 207, 208

Hot Rod Gang (1958) 272

Hunted Woman, The 177

Home To Harlem 320

Hot Skin and Cold Cash 280

Hunter, Babette 327

Homo Farm 23

Hot Spur 283

Hunter, Joe 182

Homosexuality: Its Causes and

Hot Summer Days (audio)

Hunter, Wilkes 160

Cures 120

314

Hurlbutt, William 221

Homosexuality: Lesbians and

Hot to Trot Secretary 335

Hustler (periodical) 77

Gay Men in Society, History, Hot to Trot Sitter 336
hustler paperbacks 46
and Literature 36

Hot Wife For Hire 55

Hye, Celia 113

Honeymoon Hotel 55

Hot Wife Next Door 335

Hylan, Carol 333

Honor Thy Parent 53
hours 93

Hynes, Floyd 103

Hooker, Hugh 86

Houseboy 333

Hypnotize 342

Hopgood, Alan 156

House Cal 333

Hopkins, Jerry 213

House Dick, The 328

I Am a Lesbian 104

Hopper, Dennis 295

House of Depravity 329

I, A Man-Hater 328

Horn, Jay see also Haydock,

House of Fury 15

I Am a Woman 26, 30

373

InDEX

I Am Curious Yel ow 284

Inside Sports (periodical) 154

James, Hurford 235

Ibis 95

Interpretation of Dreams, The

James, Laurence 4, 202, 205

If This Is a Man 190

248

James, Phillip 239

Iguanas, the 319

Interracial Sex 347

James Sykes, W. 334

I Love Black Power 331

In the Sign of (film series) 296

Jamieson, Harvey see also

Ilsa: She Wolf of the SS (1975) In the Sign of Gemini 296

Harmon, Jim 67, 69

170, 286

In the Sign of Taurus 296

Jamison, Bob 331

I Made My Bed 113

In the Sign of the Virgin 296

Jan and Dean 123

Imagination (periodical) 146
intimate 122, 325

Janssen, Bodil 308

Imaginative Tales (periodical)

Intimate Diary of Linda

Janus 314

146

Lovelace, The 134, 135

Jason, Jerry 18

I’m For Hire 330

Into Sister, Into Incest 336

Jason Lives: Friday the 13th

I’m No Good 339

Intrigue 114, 327

(1986) 224
impact library 128

Intruder 332

Jason, N. V. see also Wood Jr.,

Imposed Rebel ion 104

Invaders, The 327

Ed 87

Impulsive Bi-Sexuality 342

Invitation, The 283

Jason, Stuart 184

In and Out 97, 342

Invitation to Ruin 283

(1975) 159, 193

In Bed We Lie 54

I Peddle Jazz 104

Jaybee 129
in books 116, 117

I, Prostitute 340

Jay, Victor see also Banis,

Incest 330, 344

Iron Col ar, The 177

Victor J. 24

Incest: Forbidden Family

Irwin, Amy 298

Jefferson Airplane 212

Relationships 346

I Sel Love 38

Jensen, Kevan 283

Incest for Rene 103

Ishtar (1987) 230

Interview 291–295

Incest For Three 331

Island Hel 177, 181

Jensen, Lee see also Jensen,

Incest Reunion 127

Isle of the Damned 16

Kevan 283, 291

Incestual Behaviour 133

Is Sex Necessary? 8

Jet Set, The 327

Incestuous Neighbours 127

I, The Jury 190

Johns, Colin 339

Incestuous Seduction 133, 344

It’s Al For Sale 287

John Slater: Stories of Women

In Chains to Hel 175, 179

It Takes One To Know One 86
in Bondage see also Slater,

Incidents of: Anal Sex 344

Ives, Morgan see also Zimmer

John 177

Incidents of Bestiality 133, 344

Bradley, Marion 16, 18

Johnson, Tor 306

Incidents of: Oral Genital Love I Want More (1970) see also Johnston, William 204

344

Sock It To Me with Flesh

Jones, Pat 351

Included Out 104

285

Jordan, Marsha 285

Incredible Melting Man, The

I Want To Sin 74

Journey to a Woman 26, 32

(1977) 190, 228

I Was A Chain Gang Love

Joy Camp 176, 180

Incredibly Strange Films 278

Slave 114

Joy Kil er 104

Inga and Ralph 301

I Was The Scandal Of Our

Joy Ride 327

In Heat (1967) 106

Town 129

Judith Triumphant 333

Initiation Fee 329

Judson, Jayne 342

Innocence and Passion 299

Jackson, Albina see also Geis,

Juicy Breasts and Fleshy Cheeks

Insatiables, The 339

Richard E. 43, 56

140

In Search of (film series) 274

Jackson, Faye 128

Jungle Atrocity 175, 179

Inseminoid (1981) 190, 229

Jackson, Jamie Smith 213

Jungle Captive 176, 180

Inside Amy 288

Jack the Stripper murders

Jungle Captives 173

Inside Job 345

186, 187

Jungle Hatred 168, 174

Inside Linda Lovelace 134,

Jacobs, M. J. 335

Jungle Slaves 175, 179

135

Jacobson, Buddy 186

Junkie 10

Insider, The 76, 241

James, Al 334, 335

Junkie Priest, The 210

HIP POCKET SLEAZE

374

Just For Kicks 20, 338

King Kong (1976) 231

Lady Peeper 345

Just Friends 345

King, Mark 343

Lady That Was A Man, The

Justin, Robert 94, 326, 332

Kings Cross Black Magic 160,

103

Just Once 342

246

Lady with a Whip 175

Just Plain Wild 343

King, Stephen 185, 195

Lady Wrestler 19

Juvies 320

King, Werner 298

Laferty, Myrna 346

Kinky Wet Girls 136

Lair 196

Kahler, Jack 337

Kinsey, Albert 10

Lake Placid (1999) 159

Kainon, Ray 317

Kinsey Report, The 10

Lamber, Ruth 342

Kalin, Victor 236

Kinsie, Paul M. 141

Lambert, Ruth 342

Kane, Frank 338

Kirby, Brian 46

LaMotta, Jake 109

Kantor, Hal 298, 299

Kirby, Rolf 106

Lampton, Neil 329

Kappy (Son of Kaptain) Vol.

Kirby, Stella 338
lancer 22, 38, 266

2 128

KISS meets the Phantom of the

Landis, Bill 310

Karla 104

Park (1978) 235

Landon, Fred 333

Karloff, Boris 221, 227

Kiss Me Quick! (1964) 305

Lang, Doug 187, 211

Kartalian, Buck 106

Klaw, Irving 90, 91, 92, 93

Larkin, Wolf 338

Kasabian, Linda 265

Kleinman, Larry 140

Lash, The 340

Katu 306

Klow, Guenter 330, 331, 332

Last Movie, The (1971) 295

Keene, Nan 17, 326

Knave (periodical) 325

Last Tango in Paris (audio)

Keep it in the Family 330

Knight (periodical) 325

314

Kellerman, John 335

Knight 278

Last Trip, The 202

Kelly, G. Lombard 299, 300

Knives of Desire 18

L.A. Takedown (1989) 288

Kemsy, Lou 61

Koch, Ilsa 172
late hour library 22, 24

Kennedy, John F. 255, 267,

Korty, Ken 213

Latham, Morgan 329

275

Kosloff, Myron 17, 326, 332,

Lathem, Morgan 333

Kennedy, Robert 267

333, 335, 342, 343, 344,

Laugh-In (tv) 219

Kennel Club 128

345, 346

Laughlin, Tom 204

Kenny Crane’s Wife 330

Krause 57, 357

Lavender Love Rumble 109

Kent, Jim 155, 161, 163, 168,

Kristofferson, Kris 295

LaVey, Anton 67, 254, 260

169, 170, 173, 179

Kubrick, Stanley 303

Law and Order (tv) 197

Bibliography 174–175

Kuchar, Mike 315

Law, John Phillip 295

Kent, Martha 339

Kuhn, William Harvey 63,

Lawrence, D. H. 283

Kent State: What Happened

67, 69, 70

Leary, Timothy 215, 217
and Why 213, 214

Kunzer, Sheila see also Geis,

Leather Boys, The 203, 204

Kerouac, Jack 9

Richard E. 53

Leave it to Beaver (tv) 17

Kevin, Peter 128

Lecher, The 334

Kicks (periodical) 319

LaBianca, Leno see also Tate,

Led Zeppelin 214

Killane, Jock 339

Sharon 269

Lee, Bradley 103

Kil er Crabs 191, 193

Ladies Home Journal

Lee Carter, Jesse 124

Kil er in Drag 81, 83, 84,

(periodical) 59

Lee, Christopher 234, 235,

85, 86

Lady Agatha see also Barrow,

253

Kil er Queens, The 18

Elbert 22

Lee, Eric 340

Kil ing of Sharon Tate, The

Lady Boss 328

Lee, Michelle 306

255, 265, 266

Lady Butler 343

Lee, William see also

King, Dave 337

Lady Cabbie 327

Burroughs, William S. 10

King, Don 19, 330, 338

Lady Chatterley’s Lover 16

Left Hand of Satan, The 104

King, Jr., Martin Luther 42

Lady Director 346

Leg Show (periodical) 134

King Kong (1933) 227, 231

Lady Doctor 327

Leiber, Fritz 250

375

InDEX

Leinwand, Gerald 210
library of Congress 357

Silverberg, Robert 19, 334
leisure library 325

Lieberman, Jeff 237

Long Night, The 333
leisure 22, 24, 211

Lie Down in Sin 329

Look (periodical) 254
le Mans, Jean see also Kosloff,

LIFE (periodical) 219, 254
loompanics 48

Myron 335

Life for Daniel (tv) 197

Lord, Sheldon see also Block,

Lemon Grove Kids Meet the

Light Up 344

Lawrence 38, 339

Monsters (1965) 64

Lignante, Bill 270

Loren, Andrea 339

Lengua, Jose 330, 331

Like Crazy, Man 42, 51, 56

Loring, Viola 327

Lengua, Juanita 330

Like Father, Like Son 20, 337

Lorraine, Louis 338

Lennon, Frank see also Wood

Lila Likes Them Young 332

Los Angeles Sentinel

Jr., Ed 87

Lily’s Secret 43

(periodical) 90

Lenska, Rula 231

Linda Lovelace — the Star of

Lo, the Poor Stripper 338

Leonard, Frank see also Wood

Deep Throat 135

Loughran, Peter 1, 277

Jr., Ed 87

Linda see A Guy, Eight Girls

Louis, Joe 90

Leon, Valerie 231

282

Lourie, Eugene 225

Lesbian in Black Lace 19

Lindberg, Christina 301

Love Addict 334

Lesbian in our Society, The 15

Linkletter, Art 270

Love Box, The (1972) 304,

Lesbian Love 19, 334

Linkletter, Eve 103

308

Lesbian Lure 43, 56

Linna, Miriam 355, 359

Love Cage, The 177

Lesbian Slaves 327

Interview 319–325

Love Camp 7 (1969) 286

Lesbian Spankers 305

Linson, D. R. 274

Love Captive, The 177

Lesbian Stripper 20, 74
lion 324

Love Clinic, The 115

Lesbian, The 339

Lips of Blood (1975) 289

Lovecraft, H. P. 315

Lesbian Triangle 337

Lisa’s Lovers 329

Love Cult, The 335

Lesbian Twins 105

L is for Lesbian 18

Love Dream 69

Lesbo Beach 20
litho reproductions 307

Love Expert, The 23

Lesbo on the Make 19

Little Gay Girls 332

Love For Little Boys 128

Lesbos Beach 332

Little Girl Lovers, The 344

Love In 116

Lesbos Hotel 17
little library press 86

Love-In 55

Lesbos Jungle 332

Little Shoppe of Horrors

Love Ins, The 219

Leslie, John 296

(periodical) 234

Love, Jack 337

Lesson in Lust 341

Little Women 37

Lovelace, Linda 131, 134, 135,

Lessons in Eros 343

Live and Let Die (1973) 304

136, 313, 354

Lessons in Seduction 331

Lively Commerce: Prostitution

Bibliography 135

Let Me Die a Woman 136,
in the United States, The

Lovemaster 338

137

141

Love Master 175

Let Me Die a Woman (1978)

Lively Lady, The 8

Love of the Dead, The 88

137
liverpool library 55

Love Pack, The 338

Levi, Primo 190
liverpool 128, 129

Love Princess 104

Lewd Frenzy 341

Liz 338

Lover 329

Lewis, Herschell Gordon

Lloyd, Robert 189

Love Rebel ion, The (1967)

221, 287

Lockwood, Tom 338

106

Interview 241–243
logos international 258

Love, Richard see also Armory,

Profile 239–241

Lolita 77

Richard 19

Lewis, Sam 20

London in the Raw (1965)

Lovers Lane 346

Lezlie 337

299

Love Slave 177

Lez on Wheels 18

Long December 103

Love Slave of Paris 177, 181

Liberated Woman, The 308

Long, Ed 131

Loves of a Psychiatrist 282
libertine books 138

Longman, Marlene see also

Love Stroke 116, 117

HIP POCKET SLEAZE

376

Love Swedish Style 305
macfadden 120, 277

Man, Myth and Magic

Love Thy Neighbour (tv) 296

MacKinnon, Catharine 135

(periodical) 248. 254

Love Thy Niece 330

Macy, Lambert 338

Mannix, Daniel P. 189

Love Toy, The 11

Madam Butch 17

Mann, Michael 288

Love Trap, The 339

Madame Butch 327

Mann, Randy see also Geis,

Love Tribe, The 54, 329

Madden, Russell 127

Richard E. 43

Loving Couples 342

MAD (periodical) 96, 154
manor books 135

Loving Sucking Widow 336

Madigan, Kip see also Aday,

Man’s Guide to Girls 117

Lovisi, Gary 39, 357

Sanford 101, 103

Manson, Charles 201, 220,

Lowther, George 7, 8

Madison Avenue Madness 346

244, 247, 255–270, 290

LSD Story, The 215

Madison Avenue Sin Game

Man Who Made Maniacs, The

Lucas, Mark 104

331

58, 67, 69

Lucas, M. J. see also Wishman, Mad Monk of the Mountain Man with Mad Eyes, The 194

Doris 136

177, 181

Many Men for Rosetta 339

Lucchesi, Adolfo 19

Mafioso 186

Maple, Eric 245

Lugosi, Bela 84, 221, 227

Mahon, Barry 280

Marijuana Papers, The 216,

Luros, Milton 41, 42, 43, 46

Maid Service 345

217

Luscious Lesbian 18

Maid to Please 97, 342

Marin, Lee 138

Lust Behind Bars 338

Mailer, Norman 261

Markman, Ronald 256, 257,

Lust Candidate 329

Makagon, Thomas K. 343,

258

Lust Club 334

345

Marlowe, Aston 128

Lust for a Vampire (1971) 2,

Make Every Kiss Count 111

Marlowe, Eve 343

235, 303

Make Mine Different 332

Marlowe, Mona 97, 342

Lust For the Sun (1961) 298

Making Merry 342

Marriage, The 27

Lustful Ones, The 334

Making of a Shopgirl, The 336

Marrick, Val 127

Lustful Sexlife of a Perverted

Making of Exorcist II: The

Married Set, The 345

Nympho Housewife, The

Heretic, The 230, 231

Marr, Manuel 129, 142

313, 314

Making of Veronica, The 329

Mars Attacks! 163

Lustful Turk, The (1968) 284

Male Mistress 53

Marshall, Bill 97, 343, 345,

Lustful Widows 341

Male Nymph 346

346

Lust Girl 335

Male Virgin 340

Marshall, Edward 17, 327,

Lust Goddess 335

Mama 201

333, 342

Lust Has No Bounds 104

Mama’s Diary 87

Martin, Dean 279, 306

Lust Hunters, The 340

Man (periodical) 117

Martin, Della 18

Lusting Three, The 340

Man At Work 345

Martin, Henry 104

Lusting Wife, The 339

Mandell, Suzy 296

Martin, Jerome 342, 345

Lust is a Woman 339

Mandingo 182

Martin, Linda 92, 329

Lust Lens Stripper 20

Man For Hire 53
marvel Comics 65, 71, 93

Lust Ranch 332

Man From C.A.M.P., The

Mary-Go-Round 86
lyle stuart books 135

21, 22

Maryjane 219

Lyons, Ted 339

Series 22

Mary On the Make 331

Lyon, Vicky 290

Manhandled 345

Masked Spankers, The 328

Maniac see also Sex Maniac

Mask of Evil 333

Macauley, Ken 179

(1934) 298

Mason, Connie 240

MacDonald, John D. 138

Manila Nightmare 176, 180

Mason, K. 128

MacDonald, Lois 339

Man Into Boy 23

Massacre In Hol ywood see also
macdonald 247

Man is a Sexual Being 103

Helter Skelter 265

Macdonnell, J. E. 154

Mankind (periodical) 291

Masses and Mainstream
macfadden-bartell 112

Man Maulers 346

(periodical) 292

377

InDEX

Master File, The 46

Miami Cal Girl 334

Money To Burn 333

Master of Pain 175

Michaels, Bob 300
monks secret library 129

Masters, Bud 338

Michaels, James 346

Monsters and Vampires 235

Masters, Budd 329

Michele, Ann 304

Monster Sex Tales (periodical)

Masters, John 341

Michener, James A. 213, 214

82

Masur, Dominique 345

Mick Norman, Mick see also

Monsters of the Movies

Matheson, Richard 238, 250

James, Laurence 4

(periodical) 57, 65, 71

Matinee Girls 327

Midnight 233

Montague, James 128

Maxey, Wallace de Ortega

Midnight (1981) 233

Moody, Titus 289

103

Midnight Marquee (periodical) Moonchild 248

Maxwell, Alexander 287

307

Moore, Jack 104

Mayfair (periodical) 300

Midnight Peeper 332

Moore, Lyall 155

McBride, Donna 36
midwood 12, 19, 42, 50, 51,

Moore, Roger 187

McCarthy, Joseph 32

75, 76, 121

Moore, Rudy Ray 319

McCauley, W. H. 334
midwood/tower books 55

Moreau, Emil see also Wood

McConnell, Brian 186

Mikels, Ted V. 299

Jr., Ed 88

McCormick, Donald 248

Miles, Sylvia 304

More Love to Come 341

McCormick, John 334

Military Comics 95

Morgan, Betty 128

McCoy, Dean 339, 340

Miller, Billy 319, 322

Morgan, Helene 20, 337, 338

McCoy, Janet 335

Miller, Frank S. 105

Morris, Bentley 293

McCurtin, Peter 185, 186

Miller, Henry 296

Morris, Phillip 275

McEwan, Marcia 180

Miller, Joyce 129

Morrison, Michael 350

McGinnis, Robert 26, 31

Miller, Larry 190, 229, 230

Morrow, Jo 333

McGrady, Mike 135

Millington, Mary 188, 296

Morse, Carlton E. 57
mcgraw-hill 243

Mills, Ray 336

Moskowitz, Jack 317

McIntosh, Georgia 103

Mind Your Language (tv) 296

Most Dangerous Game, The

McNeill, George 340

Minx, The (audio) 313, 314

(1932) 169

Meaker, Marijane 27, 28

Miss Behave 327

Motel Confidential (1969) 282

Mechanized Death (1961) 272 Mission to the Gods 182

Mother, Daughter and Lover
medco 24

Miss Kinsey’s Report 329

338

Megaro, Kathi 142

Miss Mate 333

Mother In Law 345

Memoirs of a Sword Swal ower Mistress of Pain 175

Mother Lovin’ Daughter 331

189

Mistress of Pain (audio) 314

Mother’s Daughter Lust 331

Men and their Boys 24

Mistress of Sin 335

Mother’s Hot Sucking 127

Men Are My Victims 346

Mixed Up 327

Mountbatten, Richard 128

Mener, Dorothy 103

Modern Love 96

Mouth Girl, The 54
mercury

Modern Witchcraft 247, 248

Mouth Girl, Vol. 2, The 54

Bibliography 333–334

Moffat, James 231, 232

Movie Tie-In Book, The 357
merit 75, 76, 77

Moffatt, James 187, 188

Mr. Scarlet 95

Merle, Harry 139

Molester Stepmother, The 138

Muller, Herb 332

Merrill, Mandy see also Wood Mom and Dad (1945) 136

Muller, Irma 342

Jr., Ed 87

Mom, Son, Daddy, Daughter

Mummy, The 221

Merwin, Jr., Sam 41, 52

336

Mundinger, Gerda 330

Messalina — Pagan Empress of Mom’s Rape Cure 127

Murder by Witchcraft 248

Rome 160
monarch 12, 38, 111, 163,

Murderers’ Row 306
metacom 57

225, 226, 255, 324

Murder in the Penthouse 186

Metraux, Alfred 248, 249

Mondo Bizarro (1966) 299

Murder Is So Easy 105

Metzger, Radley 284

Mondo Freudo (1966) 299

Murder of Roger Ackroyd,

Meyer, Russ 106, 136, 299

Mondo Topless (1966) 106

The 5

HIP POCKET SLEAZE

378

Murder’s for the Birds 105

Naughty Night Clerk, The 335

New York Post (periodical)

Murky Underground, The 338

Naughty Night Nurse 336

140

Murphy, L. E. see also Lewis,

Naughty Nun 331

New York Rocker (periodical)

Herschell Gordon 239

Nazi Castle 174

322

Murphy, L. J. 335

Nazi Fiends, The 176, 180

New York Times Book Review
murray publishing 117

Nazi Holocaust 174, 179

(periodical) 33

Muscles a-Go-Go 325

Nazi Love Camp 7 see Love

New York Times (periodical)

Mutations, The (1974) 304

Camp 7 286

35, 78, 151

Muthers, The 285

Nazi Lover, The 177, 180

NFl Films 294

My Bed Has Echoes 103

Nazi Love Slaves 170, 175

Nichols, Jason see also Wood

My Bloody Valentine (1981)

Naughty Little Girls (audio)

Jr., Ed 88

223

314

Nichols, Mike 303

My Brother Ruined My Life

Necromania 86, 88

Nicholson, Jack 198, 215,

128

Necromania (1971) 88, 132

258, 303

Myers, Mike 21

Needle, The 338

Niece’s Sucking Fun, The 127

My Mother Tempted My

Neighbourhood Orgy 336

Nielson, Jr., Grant 133

Boyfriend 128

Neimark, Paul G. 76, 77

Nigger Heaven 320

My Niece 345

Nel see New English Library Night Evelyn Came Out of the Myra Breckinridge (1970) 289

Nelson, Bob 327, 333

Grave, The (1971) 303

Myra’s Lightning 43

Nelson, R. N. 218

Night Eyes 196

My Sister 138

Nelson, Robert 343, 345

Nightmare of Ecstasy 81, 357

My Son, My Lover 337

Neophyte, The 194

Night of the Crabs 191, 193

Mysterious Monsters, The 274

Neva 116, 117

Night of the Living Dead

Neva spicy see also Neva 110

(1968) 232, 233, 234

Nabokov, Vladimir 77

Never Again 342

Night of the Vampire 195

Naiad press 26, 31, 35, 36

Never Enough 104

Night Riders 327

Naked and the Dead, The 261

Never Leave Your Wife Alone

Night Shift 346

Naked Countess, The (1971)

336

Nightstand 19, 24, 107

303

Never to Belong 104

Bibliography 334–335

Naked from a Wel 338

Never Too Young 330

Nights with the Neighbours

Naked Fugitive 169

New American library 200

336

Naked Fugitive, The 174

New, Bill 106

Night Time Lez 85

Naked Hol iday 334

New Chariot 19

Nikkatsu film studio 280

Naked ID, The 45

New english library 4, 79,

Niles, Blair 16

Naked in April 328

140, 156, 181–209, 211,

Nimoy, Leonard 274

Naked Lunch 17

228, 229, 233

Nina 340

Naked on Rol er Skates 11

Biker paperbacks 198–205

Nite time 74

Naked Prisoner 54

Profile 181

Nitey Nite 92

Naked Return 103

Book Reviews 182

Bibliography 335

Naked Talent 334

Plantation bibliography

Nixon, Richard 150, 151, 214

Name Your Pleasure 327

184

NME (periodical) 207

Narcotic Agent 10

New link 297, 298, 305

Noble, Jack 20

Nation’s Health (tv) 197

Newman, Gavin see also

No Escape 343

National library 19, 98

Smith, Guy N. 191

No Job for a Virgin 339

Nature’s Gifts 328

Newman, Gordon F. 196, 197

Nolan, Jerry 298

Nature Trail 333

Newman, Paul 115

No Limits 328

Naughty Families 336

Newsstand library 19, 50,

No Longer a Virgin 334

Naughty Hot Salesgirl 336

56, 317

No Man’s Land 94, 118, 332

Naughty Little Girls 315

New York Dolls 298

Noone, Peter 231

379

InDEX

No Pity 207

Odd Man Out 327

176

Nor Fears of Hel 103

Odd Neighbours 345

Opposite Sex, The 105

Norman, D. J.

Odd-On Sex 337

Oral Daughter 48

Interview 205–209

Odd Switch, The 104

Oralism and Pain 347

Norman, Mick see also

Odd Tastes 283

Orality ’69 53

James, Laurence , and also

Odyssey: the Ultimate Trip

Orality ’70 53

Norman, D. J. 156, 202,

(1977) 290

Oral Kick, The 346

203, 205, 206, 207

Off and Gone 333

Oral Love Syndrome, The 344

Norman, Walter 92, 345

Off-Broadway Casanova 54

Oral Sex Techniques 305

Norris, Roy 256

Office Love-In (1968) see also

Ordeal 134, 135

Nostalgia books 357

Swinging Secretary 283

Orgy Box, The see also Toy Box,

Nothing Like a Married

Office Love-In, White Col ar

The 288

Woman 336

Style (1968) see also

Orgy Jail For Girls 331

Notorious Women 158, 245

Swinging Secretary 283

Orgy Jails For Girls, Volume

No Vacancy 327

Officer’s Love Slaves 175

2 331

Novak, Harry 132, 278, 286,

Officer’s Woman 175

Orgy of the Dead 82, 86

301, 303, 305

Office Swappers 342

Orgy of the Dead (1965) 88

Novak, Kim 284

Of Mothers and Others 336

Orgy Syndrome, The 344

Novel books 76, 239, 241,

Of Neighbors and Others 336

Oriental Farm Girl, The 128

317

Ogre 357

Origin of the Crabs 193

Novel books/speciality 56

O’Hara, Jock 129

Orlando, Tony 299

Novel library 11

Older Men and Pre-Teen

Orphans of Lust 332

Nuclear Nazi, The 179

Girls 54

Orth, Richard 338, 339, 340

Nude on the Moon (1960) 137 Older Men Seduced by Oswald, Lee Harvey 267

Nude Séance 289

Teenagers 140

Other Acts, The 331

Number 96 (tv) 130, 161

Olivier, Laurence 5

Other Sex Acts 331

Nurses and Young Men 54
olympia press 316, 317

Other Side of the Tracks, The

Nurses who Seduce the Young
olympic Foto-reader 106

329

53
olympic international film
other traveller 24

Nurses Wild 338
studio 283

Other Worlds (periodical) 145

Nye, Nelson 103

Omarr, Sydney 103

Our Flesh was Cheap 103

Nylon Net, The 330

One Between, The 15

Outlaws, The 202

Nylon Surprise 305

One Hot Winter 339

Out of Action 328

Nymph and the Virgin, The

O’Neil, Jennifer 304

Out of Bondage 135

298

One Immortal Man 49

Out of Darkness 104

Nymphette Syndrome, The 77

One-Man Orgy 329

Over Anxious 333

Nymphomania 346

One Mil ion AC/DC (1969)

Overcome! (1977) 290

Nymphomania Lust and the

88

Overnighters, The 118, 340

Working Girl 344

One Shocking Moment 299

Overstreet Comic Book Price

Nymphs (Anonymous) (1968)

One Step Up 342

Guide 225

106, 280

One Too Many 333
overstreet 358

One, Two, Three 88

Owen, Robert see also Geis,

Oasis in Hel 174, 179

One Violent Year 103

Richard E. 43, 53, 54

O’Bannon, Dan 233

One Way Trip 345

Obey The Rules 342

Only For love 343

Packer, Vin see also Aldrich,

Obsessed 340

Only House, The 86

Ann 25, 27

Odd Couple 55

Only House, The (1971) 88

Pack, The 338

Odd Girl Out 25, 26, 28, 29,

On The Farm 342
pad library 84, 86

31, 32

Operation Rabaul 170, 171,

Padre’s Awakening 341

HIP POCKET SLEAZE

380

Pad Upstairs, The 340

Passion Psycho 337

Perfect Town: JonBenét and the

Pagan Lesbians 72, 73, 74

Passion Sauce 337

City of Boulder 266
pagan 60, 69

Passion School 334

Perkins, D. M. 135

Pagan Urge 75

Passion Shack 334

Perkins, Porta see also

Page, Bettie 354

Passions of a Satyr 331

Harmon, Jim 69

Paige, Doreen 333

Passion’s Playboy 334
perma books 14, 235

Pajama Party 19, 55

Passion Strip 69

Perpetual Motion 92, 345

Pallenberg, Barbara 230

Passion Thing, The 54

Perry Mason (series) 154
palmer publications 145

Passion to Disaster 19

Perverted Love Slave 20

Palmer, Ray 145, 146

Passion Trap 334

Perverted Lust 71, 75

Pamela’s Passionate Paddling
patch pockets 141, 142

Perverted Playmates 20

330

Bibliography 335–336

Perverts, The 88

Pamela’s Sweet Agony 53

Paths to Lesbos 330

Pessia Galewski Trilogy (series)

pan 245, 250

Patterns of Incest 344

169
panther 216, 217, 235, 260

Patterns of: Incestual Behaviour petbridge ltd. 295

Paperback Dungeon

344

Peters, Marcia 333

(periodical) see also

Patterns of: Oral Sex 344

Peters, T. K. see also Banis,

Paperback Fanatic 357

Patterns of Wife Swapping 344

Victor J. 24, 87

Paperback Fanatic (periodical) Patterson, Owen 113, 328, Peters, Willi 103, 105

357

333
petomane publishing 130
paperback library 79, 198,

Patterson, Roger 275

Phantom of the Opera (1962)

235, 236

Pauley, J. H. 339

234

Paperback Parade (periodical)

Paul, Hugo 92, 329

Phillips, Barye 14, 31

39, 143, 226, 319, 357

Paul Merchant see also Ellison, Phillips, MacKenzie 213

Paperback Price Guide, The

Harlan 334

Photographer, The (1969) 88

358

Pauve, Richard 104

Photograph, The 340

Paperbacks at Auction 1995

Payola Woman 226

Piaia, Jessa 262

358

Pay the Devil 327

Pickingill, George 245

Parade (periodical) 254

Peck, Oscar 98, 104

Pick-Up 338, 345

Paradise Isle 327
peC 12, 20, 24, 60, 69, 72, 74, Pig Keeper’s Daughter, The Parent Figures Who Seduce

112, 119

(1972) 301, 304

331

Bibliography 337
pike books 71, 74

Parisian Passions 87

Pedastry: Sex Between Men
pillow 70

Parker, John see also Wyatt,
and Boys 21, 23
pinnacle 134, 135

John 110, 326, 332, 345

Peddlers of Sin 280

Pitt, Ingrid 303

Parker, Jon 94, 327, 328, 332,

Peeper, The 339

Planet of the Apes (1968) 106,

333, 342, 343, 344, 345

Peeping John 326

275

Parker, Lynda 104

Peeping Syndrome, The 343

Planet of the Vampires (1965)

Parks, Michael 204

Peeping Tom see also Come

227

Parr, Jack 109

Into My Parlour 11

Plante, Charles Dela see also

Partisan Patrol 174, 179
pendulum/gallery 81

Kosloff, Myron 335

Partner’s Choice 327
pendulum 82, 86, 87

Play Bal 333

Part-Time Cal Girl 339
penguin 5, 6

Playbirds (periodical) 188

Party Girl 104, 334
pennine 300, 305

Playboy (periodical) 58, 77, 78,

Party Swappers 332

Pen Pals 342

107, 117, 135, 147

Party Talk 94, 342

Penthouse (periodical) 77

Play Or Pay 344

Passionate Lovie 103

Penthouse Maids 333
playtime 50, 51, 56

Passionate Witch, The 8

People Who Peep 345

Please Don’t Eat My Mother

Passion Painter, The 329

Perfect Murder 266

(1973) 106, 132

381

InDEX

Please Force Me 54

Princess Elaine’s Terrible Fate

Pure Images 93

Pleasure and Pain 347

(strip) 91
purnell 254

Pleasure Bound 327

Prisoner of Dachau 171, 176,

Purple Thighs 87

Pleasure Camp 175

180

Push-Over 103

Pleasure Lodge 55

Prisoner of Torture Al ey 177,

Pussycat Man, The 24

Pleasure Machines, The (1967)

181
putnam 273

287

Prisoners of Doctor Raven,

Puzo, Mario 185
pleasure reader 22

The 177
pyramid 6, 204

Pleasure Was My Business 78

Prison Evangelism (periodical)

Plomp, Faye Irene 158

263

Qb books 223

Plomp, Hendrikus 158

Prison Prey 346

Quadrangle 218

Plugg (1975) 158
private edition 20, 24, 87

Quality Comics 95, 96
pocket books 5, 80, 210, 227

Private Estate 342

Quality Paperback Book Club

Poe, Al 314

Private Island 327

32, 36

Poe, Edgar Allan 8

Private Pleasures 296

Queen, Ellery 8

Polanski, Roman 257, 267,

Private Pleasures of Mary

Queen Kong (1976) 231, 232

282

Linton, The 339

Queen of Evil 17, 326

Polk, Richard 332

Private Pol 345

Queer Affair 18

Pop, Iggy 319

Private Pose 327

Queer Al ey 298
popular library 6

Private School 340

Queer Beach 53
publisher 16

Private Swedish Orgy 139

Queer Daddy 20, 92, 337

Porno Movies 347

Profile of a Pervert 109

Queer for a Day 18

Porno Shops 347

Promiscuous Wife 339

Queer for Kicks 20

Porter, Arnie 332

Proper Respect 346

Queer Pulp 358

Porter, Arnold 331

Prostitution: An In-Depth

Queer Street 20

Portnoy‘s Complaint 16

Discussion of Love for Sale

Queersvil e 18

Portrait of Seduction 290

344

Queer Trap 337

Post, George 343

Prowler 327

Questing Couples 331

Post, Jarlene 18

Prowling Wives 92, 329

Quick Change 327

Pouncey, Edwin 209

Psychic Lover, The (1969) 284

Quick Moves 345

Powell, Donald 338

Psychlo-Mania see

Quiet Days In Clichy (1970)

Powell, Donna 20, 338

Psychomania (1973) 201

296
power process 135

Psycho (1960) 118

Quincy, Laura 336

Powers, Gloria 343

Psychomania (1973) 201

Quinn, John see also Wood,

Practices and Perversions 24

Psycho Sin 337

Jr., Ed 85

Prentiss, Paul 327

Psychotic (periodical) 44

Present For Teacher 128

Psychotronic Encyclopedia of

Rachmaninov, Sergey 168

Preston, Lana 109, 329, 330,

Film, The 278

Rader, Dan 18

333, 334, 338

Psychotronic Video (periodical) Rader, Paul 89

Preston, Lillian 339

137, 322

Radio and TV Premiums 57

Preston, Paul 333
publishers export Co. see

Radway, Ann see also Geis,

Pretty Hot in Pink 336
also PEC 112

Richard E. 54

Pretty Man 25

Pulp Friction: Uncovering the

Raging Bul (1980) 109

Price, Gerald 343

Golden Age of Gay Male

Rag Top 271, 273

Price of Passion, The 119

Pulps 358

Railsback, Steve 265

Price, Vincent 235

Punish Me, Daddy 128

Rajah 128

Priest, James Clark 340

Punishment Complex, The 342 Ral y Round The Fag 22

Primitive Orgy see also Voodoo Punishment Pawn, The 128

Ralph and Inga (1971) see also

Island 76

Punishment, The 53

Seduction of Inga, The

HIP POCKET SLEAZE

382

Rambling Maids, The 103

Repentant Partners 343

Robinson, Edward G. 288

Rampant Action (series) 128,
re/search 189

Rock! 205

129

Reserved For Three 345

Rock Fol ies, The (tv) 231

Ramsey, JonBenét 266

Resistance Woman 174, 179

Rockman, Clint 182, 184

Ranch Boss 333

Reskind, Jon 128

Rock Me 320

Rand, Lou 104

Resort Girls 340

Rodd, Harvey 128

Randolph, Bill 336

Resort, The 226

Roderick, John 339
random house 273

Restless Women 175
rodox 300

Rankin, Claude 334

Return of a Cheat 334

Rogers, Bruce 343

Raped 175

Return of Tarzan, The 8

Rogers, Clinton 342

Raped In The Grass 87

Return of the Living Dead, The Rogers, R. R. 346

Rape in the Desert 129

(1985) 232, 233

Rogue (periodical) 107, 146,

Rape Me Gently 296

Return of the Werewolf 193

147, 150, 325

Rapist and the Roommates 299 Return to Vista 103

Rogue Angels 201, 357

Rapists of the Rising Sun 129

Reunion 328

Rohman, Emile 308
rapture 70, 71, 75
revell 263

Rol er Derby Girl 54

Rat Pfink a Boo Boo (1966)

Revenge of Frankenstein, The

Rollin, Jean 289

70, 289

235

Rolling Stones, the 132, 202

Rats, The 184, 195, 196

Revolt of the Jews 169, 174,

Roman Holiday see also Attack

Rats, The (series ) 196

179

Force No.3: Roman Holiday
raven books 87

Reyes, Joan 337

182

Ravished 46, 55

Reynolds, Burt 304

Roman Orgy 119, 337

Rawlings, Pat 307

Reynolds, Winston 327

Romeo and Juliet 283

Raw Meat 46, 48, 55

Ribald Classics (audio) 314

Romero, George 222, 223,

Ray, James Earl 42

Ricco, Tony 341

232

Raymond, Rick 17

Richard E. Geis (periodical)

Ronson, Matt 299
rdF 310
see also Geis, Richard

Rooftop Peeper 345

Reagan, Dan 127

E. 45

Rooney, Mickey 109

Real Thing, The 331

Richards, Joel 344

Roosevelt, Franklin D. 6
rearguard productions

Rich Bitch, The 330

Roots (tv) 182

136, 137

Richland, Grant 331

Roped Rendezvous 346

Rear Window (series) 128

Rich Man’s World 330

Rosemary’s Baby (1968) 247,

Rebel Rousers (1967) 198

Richter, Kurt 283

267, 282

Red Lights on the Prairies 141

Right Bed, The 104

Rosenberg, Robert 26
red stripe books 43

Ringside Sex 337

Rose of Sharon 103

Reed, Joel M. 349

Ripley’s Believe It or Not

Ross, Colin Campbell 158

Reefer Madness (1936) 213

(strip) 251

Ross, Gordon 20

Reems, Harry 135

Rita and Marian 54

Ross, Ira 329

Reeve, John 167

Rites of Lust, The 338

Rosten, Leo 8

Reformatory Girls 15, 324

Rites of the Half-Women see

Rostler, William 284, 285,

Reinsberg, Mark 145
also Voodoo Island 76

289

Reissner, Albert 345

Roan, Paul 138

Rowe, Julie 337

Rejected 328

Robard, Jackson 128

Rowell, Don 103
rendezvous reader see also

Robert Bruno, Robert see also Rowell, Juliette 20, 337

Tuxedo Books 78

Jensen, Lee 293

Roxana 180

Rene Bond’s Sex Fantasies

Roberts, Jay 104

Roxbury, John 337

(1971) see also Teen-Age

Roberts, Keith 250

Royal Flesh 286

Sex Fantasies 132

Roberts, Kenneth 8
royal line 20, 119

Rent Party 326

Roberts, Willo R. 105

Royce, Benjamin 336

383

InDEX

Rubdown 345

Satanist, The 287

Scott, Don 336

Ruhen, Carl 158

Satan, My Love 329

Scott, Michael 18

Rumble 320
satan press 12, 20, 92, 123

Scott, Paul T. 129

Run Hard 226

Bibliography 337–338

Scream and Scream Again

Runnels, Benny 103

Satan’s Assassins 266, 267

(1970) 235, 236

Running Wild 55, 332

Satan’s Captive 177, 181

Scream Free! (1969) 284

Run, The 201

Satan’s Chicks 138

Screen Test 345

Run Tough 226

Satan’s Desires 342

Screw (periodical) 135

Russell, Roger 307, 308

Satan’s Harvest 98, 103
scripts 155, 156, 161, 162,

Russo, John 232, 233

Satan’s Lust (1971) 138

164, 165, 169, 170, 172,

Russo, Paul V. 19

Satan’s Mistress 299

173, 244

Ruthless Fraternity 104

Satan was a Lesbian 337

Seabrook, William 249

Ruth Walsh, M. 339

Satin Flash 305

Sea Duel 174

Ryder, Thom 199, 203

Satton, Marsha 343

Sea Madame 332

Ryerson, Martin 339

Saturday Night Club, The 340

Sea Nymph 55

Saturday Night Party, The 53

Search (periodical) 145

Sabat 1: The Graveyard

Saunders, Norman 163

Search for Sexual Enjoyment,

Vultures 193

Savage, George 339

The 120

Sabat 2: The Blood Merchants

Savage Justice 177

Seasoned Sexpot 343

193

Savage Lover 339

Season For Three 345

Sabat 3: Cannibal Cult 193

Savage, Morgan 129

Seaton, George John 16

Sabat 4: The Druid Connection Savage Warriors, The 180

Seberg, Jean 280

193

Savage Woman 175

Second Fiddle 342
saber 51, 56, 58, 98, 100, 104

Savini, Tom 221, 222

Second Tijuana Bible Reader,

Sadists and Slaves 129

Sawn, Peggy see also Geis,

The 23

Sadists and the Hostages, The

Richard E. 43

Secretary on the Make 335

328

Sawyer, Gary 94, 118, 332

Secretary’s Hot Pants, The 335

Sadists Carry Knives 177, 181

Saxon, Peter 235, 236

Secret Sex Lives of Romeo and

Sadist’s Slave, The 177

Saxon, Vin see also Harmon,

Juliet, The 287

Sadomasochism 344

Jim; see also Haydock, Ron secs press 87

Sado-Masochistic Compulsion,

20, 70, 71, 74, 75, 337

Security Risk 86

The 345

Sayles, John 159

Seduce, I Must 330

Sailor on the Town 54

Say Sound, The 333

Seducers of Teens 331

Salem, Randy 19, 339, 340
scarecrow press 72

Seduction Art, The 77
salvation 201

Scarlet Sisters 103

Seduction of Inga, The (1971)

Samples, Candy 350

Scarlet Virgin 74

301

Samurai Slave 177

Scars of Dracula (1970) 234,

Seeker, The 12, 92, 337

Sanders, Dennis 331

235

Seeley, E. S. 18

Sanders, Ed 260, 261, 262

Scheiner, C. J. 319

Seka 350

Sandra 330

Schemer, The 338

Sela, Lora 103, 104

Sands, Nina 345
schick sun 274

Selected Short Stories of Edgar

Sands of Sin 175

Schiller, Lawrence 255, 265,

Al an Poe 8
sandy hook 313, 314

266

Selected Studies of Sexual

Sangster, Jimmy 235

School for Nymphos 338

Perversion 343

Sarno, Joseph 106, 278, 280,

Schoolroom Orgy 332
selective paperbacks 122

301

Science Fiction Quarterly

Sellers, Kevin 336

S as in Sex 340

(periodical) 57

Sellwood, A. V. 245

Sasquatch 357

Science Fiction Review

Senior Prom 329

Satan in Malibu 104

(periodical) 44, 48, 49

Sensual Family 56

HIP POCKET SLEAZE

384

Sensuous 38

Sex in the Shadows 340

Sexual Instincts of Adolescents

Sensuous Godfather, Volume I,

Sex in Witchcraft 347

342

The 341

Sex Is My Game 308

Sexual Man, Book Two, The

Sensuous Godfather, Volume II, Sex Jungle 334

87

The 341

Sex Kitten 56

Sexual Mores of the Teenage

Sensuous Godfather, Volume III, Sex Life of a Cop 58, 98, 104

Subculture 341

The 341

Sex Machine, The 54

Sexual Orgies 346

Serviced by the Salesgirls 336

Sex Maniac (1934) 298

Sexual Practices in Witchcraft

Set Up 333

Sex Mates 104
and Black Magic 87

Several times a Day 304

Sex Model 334

Sexual Practices of American

Sex and the Australian

Sex Museum 88

Women 15

Teenager 244

Sex O’Clock U.S.A. (1976)

Sexual Progressives, The 346

Sex and the Career Woman

296

Sexual Psychopath, The 299

331

Sex on the Odd Side 339

Sexual Revolution, The 346

Sex and the Other Woman 304 Sex Parlor 140, 141

Sexual Twilight 339

Sex and the Single Gay 22

Sex Pawn, The 138

Sexual Woman, Book Two,

Sex and the Single Man 120

Sex Persuaders, The 334

The 87

Sex and the Stewardess 38

Sexpionage 338

Sex Under Sixteen 332

Sex and the Sun King 179

Sexpot! 334

Sex Victims, The 331

Sex-A-Reenos 74, 337

Sex Probers, The 339

Sex-Watchers 346

Sex Avengers 329

Sex Racket, The 298

Sex With Children 133, 344

Sex Between Older Men and

Sex Rebel ion of Marva Kent,

Sex With Every Room 340

Young Girls 344

The 340

Sex Without Guilt 120

Sex Between Students and

Sex Rebels, The 338

Sexy Sister 328

Teachers 344

Sex Rebel, The 298

SFR (periodical) 44

Sex Bomb 335

Sex Savages 340

Shadow, The 59, 64, 95

Sex Bosses, The 332

Sex Service 337

Shadow World of the Fetishist,

Sex-Brokers, The 329

Sex Set the Pharoah’s Destiny

The 347

Sex Broke the Roman Empire

179

Shaft, Roger 341

179

Sex, Shrouds and Caskets: The

Shakedown 333

Sex Burns Like Fire 69

Love of the Dead 82, 85, 88 Shameless Desires 280

Sex Captive 341

Sex Siren 69

Shame of Auschwitz, The 176,

Sex Carnival 332

Sex Symbol 337

180

Sex Cat 335

Sex Takes a Holiday 332

Shane, Mark 103

Sex Chal enge 338

Sex Trap, The 161, 338

Shared Lover 340

Sex Connection, The 304

Sex Turned On 53, 338

Share My Spouse 330

Sex Crazy 175

Sexual Animal, The 92, 335

Shark Bait 129

Sex Cure, The 341

Sexual Behaviour in the

Sharman, Nick see also

Sex Deal, The 339

Human Female see also

Gronmark, Scott 184

Sexecutives, The 87

Kinsey Report, The 10

Sharon, Sylvia 338

Sex Explorers, The 330

Sexual Behaviour in the

Shatner, William 213

Sex Freaks, The 343

Human Male see also

Shaw, Andrew see also Block,

Sex Gang 334

Kinsey Report, The 10

Lawrence 16, 37, 107, 211,

Sex Goddess 339

Sexual Extremes 343

334, 335

Sex-Happy Hippy 121, 218

Sexual Fantasies 347

Shaw, Nell 97, 333, 342

Sex Hospital 333

Sexual Feeling in Married Men Shaw, Richard 336

Sex: In Living Black and White
and Women 299

Shaw, Susan 304, 308

331

Sexual Fetish, The 79

Shayne 338

Sex in the Outer City 341

Sexual Firsts 332

Shear, Barry 282

385

InDEX

She Cried Uncle! 336

Sin Street Hippy 121, 218

Slosser, Bob 258

She Freak (1967) 299

Sin Strippers 332

Slumber Party Massacre, The

Shelly, Mary 8

Sin Town 175

(1982) 223

Sheppard, Don see also

Sin Unlimited 70

Slum Virgin 56

Haydock, Ron 71, 74

Sir Gay 18

Smal Town Sex — Today! 24
sherbourne press 24

Sirhan, Sirhan 267

Smart Guy 320

Sherman, David 331

Sir Knight 41

Smarty Pant 345

Sherman, Louise 104

Sir, You Bastard 196

Smiling Jack (strip) 92

Sherwood, Paula 333, 342,

Sisters Hot to Trot 336

Smith, Artemis 18, 340

345

Sisters In Leather 285

Smith, Charles Martin 213

She Stud 346

Sisters In Love 308

Smith, George H. 317

She was a Hippie Vampire

Sisters of Domination 328

Smith, Guy N. 191, 192, 357

(1966) see also Wild World Six For Sex 75

Bibliography 193–194
of Batwoman, The 298

Sixteen and Eager 341

Smith, Madelaine 303, 304

Ship Master 342

Six-Way Swap 339

Smith, Phil 190, 228

Shirley, Glenn 255

Skid Row Sinners 320

Smith, Richard N. 135

Short, Betty 103

Skin Flick Star 331

Smith, Thorne 8

Short Cuts 119

Skinn, Dez 234

Smith, Warren 266

Short, Joe B. 343
skywald 2

Smut Peddler (periodical) 320,

Shotgun Wedding (1963) 88

Slash of Death, The 176, 180

323, 325, 359

Shout, The (1978) 194

Slater, John see also Slattery,

Smythe, Joseph M. 339

Showpiece 345

Ray 163–166, 170–173,

Smyth, Frank 247

Side Show Siren 82

180

Snakes 194

Side Street 327

Bibliography 176–177

Snow Bound 55
signet 6, 140, 141, 213, 224,

Slattery, Ray 163, 176

Sob Sister 327

265, 273

Slatzer, Robert F. 128

Society Daughter 104

Silent Sex see also Sex Siren 69 Slave Captives of the Black Society Madness 345

Silent Siren see also Sex Siren

Chateau 328

Sock It to Me with Flesh (1970)

69

Slave Compulsion, The 343

285

Silverberg, Robert 19, 52, 107

Slave Girl 177, 333

Sodomy and Perversion 347

Silvers, Nathan 336

Slave of the Apaches 177, 181
softcover library 75, 76,

Simms, Larry 19

Slave Orgy 175

108, 115, 118, 119

Simpson, O. J. 266

Slave Rebel ion 184, 198

Bibliography 338–340

Simpson, Ronald see also

Slave Ship 177, 181
soho library press

Tilley, Ronald Sugden 111

Slaves in Hel 175

Bibliography 341

Simpson, Sally 336

Slaves of Pleasure 175

Sold For Pleasure 175, 179

Sin-A-Rama: Sleaze Sex

Slaves of the Bitch Goddess 328 Soldier of Fortune (series) 186

Paperbacks of the Sixties

Slaves of the Samurai 163

Soldier’s Prize, The 177

359

Slave’s Revenge 184

Solomon, David 216

Sinatra, Frank 284

Slave Terror 177

Something Extra 94, 342

Sinatra, Nancy 198

Slave, The 184

Sommers, Jack 343

Sin Camp 176, 180

Slave to Love 175

Son Goes Down, The 22

Sin-Damned, The 334

Slave Trader 175

Song of the Loon 19

Sinful Sexpot 326

Slave Women 174, 179

Son of the Werewolf 193

Sin Girls 19, 334

Slave Women of the Congo 161, Sorority Sin 18

Sin Motel 334

174, 179

Sorority Snob 329

Sin On Wheels 316, 334

Sleazoid Express (periodical)

So Sweet, So Soft, So Queer 24

Sin Slum 320

310

Sound of Lust, The 335

Sins of the Fathers 324

Slime Beast, The 193

Southern, Cherri 104

HIP POCKET SLEAZE

386

Southern, Terry 217

Starke, John 299

Strange Mood 327

Spaceway (periodical) 57

Starlet’s Sucking Lips, The 141, Strange Ones, The 18

Spankers Anonymous 330

142, 335

Stranger at the Door 24

Spankers’ Holiday 341
star Neva 138, 142

Strange Relatives 342

Spanking Society, Ltd. 328

Starr, Blaze 354

Stranger In Town 342

Spanking Stepmother 328

Starr, Leda 342

Strange Sisters 30, 319, 359

Spank Me, Father 331

Starsky and Hutch (tv) 196

Strange Three, The 104

Spank Me To Heaven 341

Star Spangled Virgin 8

Strange Twist 328

Spank With Me, Henry 328

Star Stripper 333

Strapped For Time 343

Sparrow, Susanna 222, 223

Startling Stories (periodical)

Strap Trap, The 343

Spears, Francine 105

40, 41

Stratten, Dorothy 228

Spear, The 196

Star Wars (1977) 2

Stratton, Chris 205

Special Col ections (series) 142

Star Whores 48

Street Drugs 284

Speed Freaks 201

Steckler, Ray Dennis 64, 65,

Street Rod 271, 273

Spel of the Beast 128

70, 71, 72, 289, 310, 323

Street, The 320

Spelvin, Georgina 131

Steele, Burk 298

Stripper! 334

Spencer, Jack 327

Steiger, Brad 266

Stroud, Don 205

Spermula 296

Stensgaard, Yutte 303

Strunk, Gordon B. 108, 109
sphere 222, 234, 235, 236,

Stephen, A. C. 86, 88, 282,

Stryker, Susan 358

248, 249

283, 305

Stuart, Alex R. see also

Spielberg, Steven 159

Stern Discipline 343

Gordon, Stuart 201, 202

Spillane, Mickey 190

Stevens, Carter 310

Biker bibliography 202
spire books 268

Stevens, Gus 116

Stuart, Chad 19

Spirit, The (strip) 90

Stevens, Harry 336

Stuart, Lyle 79

Splatter Times, The

Stevens, Jennifer 133, 344

Stud 334

(periodical) 239, 307

Stevenson, Robert Louis 8
studio pocket 324

Split-Level Love 338

Stin, Hank 52

Study of 100 Sex Offenders,

Spoils of War 177, 181

Stinnet, Ray 340

A 79

Spruill, Jock 104
st. martin’s griffin 358

Sturgeon, Theodore 238, 250

Spyforce (tv) 158

Stockwell, Dean 295

Subdued 344

Spy Hunt 345

Stoker, Bram 8, 248

Subjected 333

Squawk (periodical) 262

Stokes, Doris 194

Submissive Young Girls (audio)

Squeezer’s Palace 331

Stonebecker, Florence 338

315

Squirm 236, 237

Stone, Ben 330

Suburban Girls Club 282

S.S. Mardigras 327

Stonheim, Susan 308

Suburban Nymph 326

Stacy, Jan 105

Storm, Christopher 338

Suburban Pagans 284

Stadly, Pat 200

Storm, Jay B. 339

Suburban Sin 339

Stag Model 121

Story of a Peeping Housewife

Suburbia Confidential 88
stag 155, 160

336

Suburbia Confidential (1966)

Stairway to Sin 103

Strand, Bunny 104

86, 88, 305

Stand In 327

Strange Breed 19

Sucker, The 338

Stanton, Eric 4, 13, 89, 90, 91, Strange Brother 16

Sucking Kathy 142

92, 96, 118, 316, 317, 332,

Strange Case of Dr. Jekyl and

Sucking Pit, The 193

342, 343, 345, 346

Mr. Hyde and Other Stories, Sucking Private Nurse 336

Bibliography 94

The 8

Sue and Stu and Sex 330

Profile 92–94

Strange Delights 19

Sullivan, David 188, 296

Stapleton, Steve 209

Strange Fruit 17, 327

Sullivan, Edward S. 279
star 129, 138, 142

Strange Honeymoon 337

Summer Artist 342

Stardust 145

Strange Hungers 332

Summer Camp 340

387

InDEX

Summer Camp Sinners 341

Tami 124

Tennis Anyone? 333

Summer Hotel 339

Taming of Rebecca, The 355

Terror in Paradise 175, 179

Summer of Sex 104

Tarpoff, Ivan 326, 332

Terror of the Swastika 172,

Summers, Montague 249

Tarzan of the Apes 7, 8, 90

176, 180

Summertime Affair 334
taschenbulch 233

Test Your ESP 274

Sunday Express (periodical)

Tate, Sharon 257, 267

Texas Chain Saw Massacre,

222

Taunted Wife 103

The (1974) 224, 237, 265

Sunday People (periodical)

Taxi Dancers 103

Theatre of Blood (1973) 304

303

Taylor, Ron 335, 336

Their Wild Vacation 335
sundown reader 25, 87

Tchaikovsky, Pyotr Ilyich 168

Then Came Bronson 204, 205

Sunset Strip Sex Agent 122

Teacher’s Horny Itch 127

Then Came Bronson (tv) 204,

Superman The Movie (1978)

Teacher’s Pet 337

205

2

Teacher’s Pets 305

Therese and Isabel e (1968)

Surburbia Confidential 299

Teach Me Lust 330

284

Sure Sale 69

Teach Me, Mummy 331

They Cal Her One Eye see also

Surf Broad 92, 123, 338

Teague, Lewis 159

Thril er: They Cal Her One-

Survivor, The 196

Tears and Humiliation 345

Eye (1974) 301

Sutcliffe, Peter 187

Teaser Next Door, The 335

They Knew the Unknown 274

Suzy and Vera 53

Tease, The 340

They Needed No Men 20

Svhela, Gary 307

Teenage Hookers 344

They Teach Sex 332

Swain, Max 333

Teenage Lesbian Sluts on

Third Bedroom, The 103

Swamp Spree 333

Wheels 321

Third Sex, The 18, 340

Swanson, Peggy see also Geis,
teen-Age library

Third Theme, The 19

Richard E. 56

Bibliography 341–342

Thirst 193

Swap Mates 335

Teenage Rape 344

Thirst II: The Plague 194

Swap Orgies 53

Teenage Sadism 331

Thirteen Adulterers Anonymous

Swapping in Suburbia 332

Teen-Age Sex Fantasies (1971)

339

Swastika Castle 176, 180

132

Thirty Seconds Over New York
swedish erotica 349, 352

Teenage Sex Kitten 132

271, 276

Sweet 142

Teenage Sexual Behaviour 341

Thomas, Jack 251

Swenson, Peggy see also Geis, Teenage Sexual Revolution, Thomas, Karol 339

Richard E. 19, 39, 43, 50,

The 341

Thomas, Martin see also

51, 53, 54, 55

Teenage Sexual Underground,

Saxon, Peter 236

Swingers Massacre see also

The 346

Thompson, Hunter S. 206

Inside Amy 288

Teenage Spankers, The 341

Thompson, J. B. 338

Swingers, The 344

Teenage Spank-O-Mania 341

Thompson, James see also

Swinging Secretary 283

Teenage Stud Service 331

Thompson, Jim 324

Switch Hitters 327, 346

Teen Butch 55

Thompson, Jim 9, 324

Sword of Al ah, The 46

Teen Hippie 55

Thompson, John B. 340

Symons, Jay see also Banis,

Teenie Boppers of Cool Street,

Thorne, Dyanne 170

Victor J. 23

The 339

Thorne, Fred 342

Telephone Lover 337

Thornton, Paul 345

Taggart (tv) 201

Telmig, Akdov see also Wood

Thorpe, Byron 346

Tainted Rosary, The 103

Jr., Ed 88

Thorsen, Jens-Jorgen 296

Take It Out In Trade (1970)

Temple of Terror 346

Those Neighbors Next Door

88

Temple, William F. 239

336

Takers, The 105

Tempting Little Sister 335

Three Horny Sisters 336

Talent Scout 327

Tender Young Bottoms 341

Three Nuts In Search Of A

Tamblyn, Russ 284, 295

Tennant, Victoria 229

Bolt 289

HIP POCKET SLEAZE

388

Three on a Broomstick 23

Tormented Virgin 332
triumph News 88

Three on a Match 329

Tormented Virgin, The 128

Troilism: Three Way Sex 344

Three’s a Crowd 326

Torres, Tereska 14

True Experiences in Prophecy

Three Sucking Daughters 127

Torrid Film Reviews

(periodical) 274

Three Way Apartment, The 53

(periodical) 298, 305–306

True Hol ywood Stories (tv)

Three Way Set, The 53

Torrid Teens in the Torture

135

Three Way Swap 53

House 341

True Mystics Magazine

Thril er: A Cruel Picture

Torrid Teen Twins 341

(periodical) 274

(1974) 301

Torture Camp 174

Try Me, I’m Darlene 341

Thril ing Wonder Stories

Torture Chamber 177, 181

Turbulent Daughters 104

(periodical) 41, 239

Torture Club, The 328

Turned on by Peeping 335

Thrills Incorporated

Torture of the Swastika 172,

Turned-On Wife 339

(periodical) 154

179

Turner, Andrew 332

Throwback 194

Torture Road 176, 180

Turner, Eve 345

Thurber, James 8

Torturer, The 236

Turner, Linda 342, 345

THX 1138 (1971) 303

To Teach Betty Lust 341

Turner, Randy 336

Tibet, David 209

Tower of Desire 329

Turni, Marie 104, 105

Ticket, The 205
tower publications 186
tuxedo books 78

Tierney, Tom 340

Toxic Horror (periodical) 319

TV Lust 86
tiger books/powell 87

Toy Box, The (1971) 288

Twenty-One Abnormal Sex

Tight Fit 342

Traded Wives 340

Cases see also Study of 100

Tijuana Bible Reader, The 23

Trained Slave 343

Sex Offenders, A 79

Tilley, Ronald Sugden 111

Trained Youth 330

Twice as Gay 17, 326

Tim 330

Trainer, Russ 12, 20, 92, 329,

Twice the Fool 104

Time For One More 55

330, 334, 337, 338

Twilight Beauty 56

Time Machine, The 8

Train, Ray 92, 123, 329, 338

Twilight Girl 18
time-Warner 79

Train Ride, The 1, 271, 277

Twilight Girls 69

Tintorera (1977) 193

Tralins, Robert 75–80, 184

Twilight Land, The 86

Tipton, George 336

Tramp 335

Twin Peaks: Fire Walk With

Tirtschke, Alma 158
transport publishing Co.

Me (1992) 288

’Tis Pity She’s a Whore (1971)

154

Twin Peaks (tv) 284, 287

304

Trap of Lesbos 340

Twins Have Mother, The 53
tNt publications 252

Traube, Roy see also Tralins,

Twins of Evil (1971) 303

To Make a Homo 86

Robert 77

Twisted 332

Tomasina Kelly 289

Travis, Ben 18

Twisted Ones, The 18, 335

Tomorrow (periodical) 274

Traynor, Chuck 134, 136

Twisted Passions 337

Tomorrow’s Light 103

Tremayne, Les 57

Twisted Sex, The (1966) 298,

To My Son, the Teen-Aged

Trent, Dick see also Wood, Jr.,

306

Driver 273

Ed 85, 87

Twist Me, Kiss Me 326

Tongue (audio) 289, 314

Tribute To The Rol ing Stones

Twist Session 69

Toni: Black Tigress 87

132

Two Cousins Turned On 336

Too Good to be True 329

Tricked and the Wicked, The

Two Daughters, Too Horny

Too Much 137

104

336

Too Often (1967) 137

Tricks of the Trade: A Hooker’s Two for Auschwitz 176, 180

Top and Bottom 333

Handbook of Sexual

Two for Two 342

Topless Waitress 92, 329

Techniques 141

Two Into Many 330
topps 163

Trio 342

Two Thousand Maniacs! 239,

Torchy 96

Triple Cross, The 129

240, 241, 242, 243

Tormented Bride 332

Tri-Sexuals 346

Two Thousand Maniacs!

389

InDEX

(1964) 239, 240, 242, 243

303, 304

Vixen’s Pageant 327

Two Ways 342

Vance, Jack 342

Von Hoffman, Nicholas 218,

Tyrannical: A Study of Female

Vandervolt, Carl 129

219

Domination 345

Van Doren, Mamie 289

Voodoo 248

Tyrant of the Alps 174

Vanessa 296

Voodoo Island 76

Van Houten, Leslie 256, 257

Voodoo Slave 184, 197, 198

Ummm! Mom’s a Hot One

Van Rod see also Bilbrew,

Voss, Elliot 136

336

Gene 91

Uncanny Tales 248
vantage 103

Wade, Vern 104

Uncle’s Captive Girl 341

Van Vogt, A. E. 238, 250

Wadle, Moe 357

Uncle’s Spanked Sweetheart

Variety Seekers, The 328

Wages of Sin 330

341

Vast, Jack 338

Wagner, Walter 263

Undead, The 193

Vaughn, Ralph E.

Waitress in Torment 335

Undercover Agent 176

Biography 143

Walker, Pete 229, 304

Undercover Scandals of Henry
vega books 98, 104

Walking Dead, The 194

VIII, The see Royal Flash

Vengeance is a Woman 157

Wallace, C. H. 250

286
venus publications 139, 140

Wallace-homestead 358

Undercover Sex 340

Verbina: A Chronicle of Lust

Wallace, Wolf 340

Undergrowth of Literature,

341

Wander-Lust 124, 125

The 217

Vibrations of Pleasure 305

Wanted: Broad-Minded

Undress Rehearsal 340

Vice Chamber 327

Couples 104

Unfortunate Flesh, The 19
viceroy 88

Wanting Women 330
unique 93, 94, 97

Vice-Vender 337

Wanton Boys 320

Bibliography 342–343

Vickery, Jay see also Banis,

Wanton Witch 69

Universal horror films

Victor J. 23

Wanton Women 175
adaptations (series) 221

Victim of the S.S. 176, 180

Ward, Bill 4, 13, 89, 95, 97,
universal-tandem 250

Victims of the Vil age Wantons

117, 316, 327, 330, 331,

Unknown 239

328

332, 341, 342, 343, 345

Unloved, The see also

Victor’s Prize, The 177

Bibliography 97

Unlimited Sin 55

Video Voyeur 336

Profile 95–97

Unnatural Desires 72, 74, 337
viking studio 359

Ward, Sheldon see also Block,

Unnatural Lovers 20

Vil age in Chains 173, 174

Lawrence 16, 37

Unnatural Wife 340

Vil age Nymph 332

Warhead 193

Untamed 342

Vincent, Gene 70

Warhol, Andy 304

Untamed Desires 104

Vincent, Jay 104, 340

War Horrors (series) 129

Untamed Women 175

Vincents, Walter H. 341

War Lord’s Women 176, 180

Until They Scream 128

Violent and the Fair, The 103

Warner see also Time-Warner

Unusual Sex Acts 24

Violent Stories (series) 129

79, 230, 233, 314

Unwil ing To Swap 346

Violent Surrender 104

War of The Worlds, The 7, 8

Upper Hand, The 343

Virgin at the Window 340

Warren, Jack 330, 339
uptown books 125

Virginia Box and the

Warren, Jerry 298

‘Unsatisfied’ 188

Warren, Norman J. 229

Vachon, Brian 254

Virgin No More 55

Warren 2, 71
valley Circle 133

Virgin’s Bead, The 335

Warrior Gods, The 174, 179

Bibliography 343–344

Virgin Witch (1972) 304

Washington, George 109

Val ey of Horror 175
viva 314

Washington, Luke 128

Val ey of Slaves 172, 173, 176, Vixen (1968) 136

Watercress File, The 22

180

Vixen Hol ow 56, 58, 59, 69

Watson, Charles ‘Tex’ 256,

Vampire Lovers, The (1970)

Vixen’s Delight 326

257, 263, 264, 268, 269

HIP POCKET SLEAZE

390

Watson, J. T. 335, 336

Wheatley, Dennis 244, 248,

Wild Rose 175

Watts — After 86

249

Wild World of Batwoman, The

Watts — The Difference 86

Wheelie! 157

(1966) 298

Way a Wife Lusts, The 336

Wheels of Death 157

Wilhonen, Mona 339

We Are Family 127

Wheels of Tragedy 272

Wilkes, John 189

We are the People our Parents

When Worlds Col ide 8

Wilkins, J. H. see also

Warned us Against 218

Whip Girl, The 140

Harmon, Jim 70

Wee hours 12, 92, 97, 110

Whipped and Raped 127

Willeford, Charles 324, 338,

Bibliography 344–346

Whippersnapper 343

339

Weekend Orgy 335

Whips Incorporated 305

Williams, Glenda 340

Weekend Swappers 327

Whip’s Women (1967) 299

Williams, James 104

Weekend Widows 340

Whistle Them Wil ing 56

Williams, J. X. see also Banis,

Weird Sex Practices around the

White, Albert 343

Victor J. 18, 23, 24, 25,

World 346

White, Charlene 333

121, 218, 334

Weird Tales (periodical) 57

White, E. B. 8

Williamson, James 207

Weismuller, Johnny 30

Whitehead, Paul 189

Williams, Randall 104

Weisser, Tom 280

Whitehouse (periodical) 188

Williams, Robert Moore 239

Weiss, Joe 138

White, Lorimer 128

Wil ing Hot Daughter 336

Welby, Ann see Bannon, Ann White Slaves of the Swastika Willow, Peter 326, 327, 332,

25

176

333, 342, 344, 345, 346

Weldon, Michael 322

White Squaw 177, 181

Willows, Peter 343

Weldon, Rex 104

White, Tony 208

Wil You Die For Me? 264,

Welk, Roger 343

Whitten, Allen 335

268, 269

Wel of Loneliness, The 14

Who’s Afraid of Virginia Woolf Wilson, Rev. J.L. 165

Wells, H. G. 8, 237

306

Windham, Doug 329

Wells, John Warren see also

Whose Man? 340

Wingate, Douglas, R. 329

Block, Lawrence 38, 141

Why Not, The 23

Wingrove, Nigel 201

We Poor Sinners 104

Wicker Man, The (1973) 246

Winick, Charles 141

Werewolf by Moonlight 191,

Wife and the Wanton, The

Winning Woman 329

193

338, 340

Winston, Bob 333

Werewolf of London, The 221

Wife Next Door, The 335

Winston, Daoma 339

Werner, Gerald 327

Wife on the Loose 335

Winston, Darrin 330

Wertham, Fredric 96

Wife on the Prowl 335

Winters, Dee 338

Westermier, David L. see also

Wife Spankers, The 328

Winters, Laura 335, 336

Wood Jr., Ed 87

Wife-Swappers, The 334

Wishman, Doris 136, 137

Westworld (1973) 198

Wife, The 289

Filmography 137

We Walk Alone 16

Wilburn, James 344

Witchcraft 249

Wexler, Haskell 292

Wild And Winsome 333

Witchcraft (periodical)

Whale, James 222

Wild Angels, The (1966) 198

252–254

What a Hot Mouth Wife! 336

Wild Couples 82

Witchcraft and Black Magic

Whatever Wanda Wants 338

Wild Divorcee 335

249

What Floor Please? 344

Wild Eager Family 127

Witchcraft in the World Today

What Hot Mothers! 336

Wilde, Ray 337

250

What Makes a Cal Girl 245

Wilde, Ritasee also Haydock,

Witchcraft Reader, The 250

What’s Up Pussycat? 291

Ron 75

Witches — Stay Away From

What You Always Wanted

Wildest Films (periodical) 298

My Door 251
to Know About… but

Wild In the Streets (1968) 282 Witch Finder 103

Were Afraid to Ask

Wild Night, The 19, 334

Witness to Evil 270

Bibliography 346–347

Wild Nympho 299

Witness to Witchcraft 251, 252

391

InDEX

Wives Alone 174

Boys 133, 344

Young Lust 339

Wives at Play 175, 331

Woodford, Jack 11

Young Passions 334

Wizard of Oz, The (1939) 100 Wood Jr., Ed 72, 81, 132, 138, Young, Red 112, 337

Wolfcurse 193

297, 305, 357

Young Stuff 329

Wolfe, Charles X. 340

Bibliography 85–88

Young Tiger 53

Wolfe publishing ltd. 251

Book Reviews 83–85

Young, T. R. see also Young,

Wolfman, The 221

Profile 81–82

Red 112

Wollman, Leo 137

Filmography 88

Young Wife 340

Woman He Wanted, The 339

Wood, Lana 284

You Only Live Twice (1967)

Woman in a Web 177

Woodruff, Cass 327, 328

280

Woman in Terror 176

Woods, Jack 329, 338

Youth Lovers, The 344

Woman of Blood Island 177,

Woodstock 219, 220

Yum Yum Girl 79

181

Wood, The 194

Woman’s Compound 176, 180

Wood, Thomas 240

Zacherle, John 238, 239

Woman Tamer 177

Woolfe, Byron 104, 105

Zacherley’s Midnight Snacks

Woman Trap 125

Woolridge, Cornell 9

238

Woman Waster, The 339

Workman, James 162

Zacherley’s Vulture Stew 239

Women and Bestiality see also

Worth Trying 342

Zappa, Frank 218

Women and their Animal

Wortley, Lady Mary Montagu Zenith 324

Lovers 53, 54

189

Zenobia — Empress of Lust

Women and their Animal

Wrath of Jimmu, The 176, 180

162

Lovers 54

Wright, Anita 337

Ziff-davis 145

Women Confidential 15

Wright, Harry B. 251

Zimet, Jaye 359

Women He Used, The 339

Wright, L. B. 20

Zimmer Bradley, Marion

Women in Terror 180

Writing Horror Fiction 191

16, 107

Women in the Shadows 26

Wrong Jail 343

Zip Gun Angels 324

Women of Auschwitz 173,

Wuthering Heights 5

Zodiac killer 267

176, 180

Wyatt, Dean 332

Zohar, Attila see also

Women of Landau 175, 179

Wyatt, John 110

Holledge, James 160, 246,

Women of Sin 175

Wylie, Jim 332

247

Women of Stalingrad 175, 179

Wylie, Philip 8

Zorro 62

Women of the Earth 174

Wynette, Tammy 185

Women of the Resistance 176,

Wynn, Jay 333

180

Women of Warsaw 176

X-Films (periodical) 295,

Women on the Loose 175

307–308

Women’s Barracks 14, 15

Women’s Camp 176

Yates, A. G. 154

Women’s Passion Prison 330

Yes Girls, The 305

Women’s Ward 340

You 285

Women under the Samurai

Young Beaver 82

176, 180

Young, Black and Gay 86

Women Were Wil ing, The 104 Young But Not Innocent Women Who Desire Dogs 344

(audio) 315

Women Who Prefer Mate

Young Doctors, The (tv) 130

Swapping 344

Young Girls at Play 142

Women Who Prefer Men 344

Young Girl Seducers 343

Women Who Seduce Boys 347

Young Girls who Seduce Older

Women Who Seduce Young

Men 53

A HEADPRESS BOOK

First published by Headpress in 2011

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HIP POCKET SLEAZE

The Lurid World of Vintage Adult Paperbacks

Text copyright © John Harrison

This volume copyright © Headpress 2012

Design & layout: David Kerekes

Cover: Ganymede Foley

Headpress diaspora: Thomas Campbell, Caleb Selah, Giuseppe, Dave Tee, Jen Wallis

The moral rights of the author have been asserted.

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Document Outline

- CONTENTS
- INTRODUCTION
- A SHORT HISTORY OF PAPERB ACKS
- ADULT PAPERBACKS

- THE SMUT PEDDLERS WRITER PROFILES & INTERVIEWS

- MASTERS OF THE PROVOCATIVE ART

- VINTAGE ADULT PAPERBACK REVIEWS

- THE 1970s: WHEN SOFTCORE HARDENED & THE SLEAZE BECAME SICK

- OTHER GENR ES
- MISCELLANEOUS OFFBEAT & ESOTERIC TITLES
- CLASSIC SMUT FILM RAGS
- COLLECTORS
- APPENDIX
- inde

Table of Contents

- CONTENTS
- INTRODUCTION
- A SHORT HISTORY OF PAPERB ACKS
- ADULT PAPERBACKS

- THE SMUT PEDDLERS WRITER PROFILES & INTERVIEWS

- MASTERS OF THE PROVOCATIVE ART

- VINTAGE ADULT PAPERBACK REVIEWS

- THE 1970s: WHEN SOFTCORE HARDENED & THE SLEAZE BECAME SICK

- OTHER GENR ES
- MISCELLANEOUS OFFBEAT & ESOTERIC TITLES
- CLASSIC SMUT FILM RAGS
- COLLECTORS
- APPENDIX
- inde