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Our books on Amazon: the MEN'S ADVENTURE LIBRARY series...
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Thursday, January 17, 2019

POLLEN’S ACTION: THE ART OF SAMSON POLLEN — a new book showcasing his men's adventure magazine artwork

Simply put, Samson Pollen was one of the greatest of the many artists who provided illustrations for the men’s adventure magazines (MAMs) that flourished from the early 1950s to the late 1970s.

My publishing partner Wyatt Doyle and I had the good fortune and the honor of working with Sam on two books featuring his artwork before he passed away in December of 2018.

The first, POLLEN’S WOMEN: THE ART OF SAMSON POLLEN was published last year. It quickly became one of the best-selling books in our Men’s Adventure Library series, which features classic MAM stories and artwork.

The second, POLLEN’S ACTION: THE ART OF SAMSON POLLEN, was released on January 1, 2019.

Both books are available on Amazon and Barnes & Noble. They’re also available via the Book Depository site, which offers free shipping worldwide.

Both books feature full color reproductions of dozens of original men’s adventure mag paintings Sam created, and scans of the story spreads and covers they were used for.

Each book also includes exclusive interviews with Sam and introductions by me.

Although many MAM and paperback cover artwork fans know his work, there is surprisingly little biographical information about him on the internet.

Our collaborations with Sam are the first studies of his life and work and, since he granted us access to scores of his original MAM and paperback artwork and spoke with us extensively about his life and career, they won’t be the last.

Samson Pollen was born in the Bronx on March 19, 1931. His family moved to Brooklyn when he was 11.

From an early age, he showed a talent for artwork. This talent was noticed by a high school teacher who helped him get enrolled at the venerable National Academy of Design in Manhattan. There, he was taken under the wing of the school’s dean, Charles Louis Hinton, a legendary painter, sculptor, book illustrator and muralist.

After studying at the Academy and graduating from high school, Pollen got a job as an apprentice at the Wittrup-Patterson art studio in New York, owned by top commercial art illustrators Jack Wittrup and Robert Patterson.

When the Korean War broke out in 1950, he joined the Coast Guard Reserve and was stationed in New York.

When his superiors became aware of his artistic talent, they asked him to do illustrations for the official Coast Guard magazine. By the end of his tour of duty, he was offered a cushy post in the Coast Guard art department if he’d re-up. He decided instead to try to become a professional illustration artist.

In the early ’50s, for someone with Pollen’s talent, this was not an unrealistic goal. The magazine and paperback markets were booming, and New York City was the headquarters for most top publishers. It was also where most top magazine, book, and advertising illustrators lived and worked.
Over the next forty years, Sam went on to create scores of classic covers for action/adventure, mystery, crime, romance, and young adult novels.

But from the mid-’50s to the late ’70s, the majority of Pollen’s illustration assignments came from men’s adventure magazines. Most of them were for MAMs published by Martin Goodman’s Magazine Management company.

Magazine Management is now most widely known for giving birth and a robust early life to Marvel Comics. What is less well known today is that, through various subsidiaries, it published many of the best and longest-running MAMs.

Goodman’s published his first MAM title, STAG, in December 1949. He launched another, MALE, in June 1950. Both sold well. In 1952, Goodman created MEN. In 1954, he launched FOR MEN ONLY. Every year or so during the ’50s and early ‘60s, he tried publishing new variations on the men’s adventure format.

In the early 1950s, they were published with an “Atlas” logo on their covers, reflecting the name of the Goodman-owned company that distributed magazines and paperback books he published to newsstands. In 1958, after Goodman dissolved the Atlas company, Magazine Management began calling its MAMs the “Diamond Group” of men’s mags and used a special diamond-shaped logo to identify them. The four flagship Atlas/Diamond MAMs, STAG, MALE, MEN and FOR MEN ONLY, ran through the late 1970s, then were sold and turned into Hustler clones.


Mag Management’s Atlas/Diamond MAMs became an important source of income for scores of writers and artists. However, the list of artists who worked for them from the early ’50s to the late-’70s and created the majority of illustrations for them is fairly short. They include Gil Cohen, Charles Copeland, Mort Künstler, Bruce Minney, Earl Noremand Samson Pollen.

Illustrations by Pollen appeared in all but a few of the shortest-lived Atlas/Diamond MAMs. Most are interior illustrations. Sam created many paperback novel cover paintings during his long career as an artist and a few magazine covers, but when working for magazines, he preferred interior illustrations.

Most Atlas/Diamond MAM interiors were painted and printed in black-and-white or as “duotones” (shades of black, plus shades of a single color). In the ’50s and ’60s, only a small percentage were in full color. Full color became more common in issues published in the ’70s, as advances in printing technology made it more affordable. But even in those years, black-and-white and duotones were more common in the Atlas/Diamond MAMs.

Sam Pollen didn’t mind. In fact, as you’ll read in POLLEN’S ACTION, he preferred black-and-white and duotones over full color. He felt they allowed him to focus more on the composition and storytelling aspects of a painting.

“I liked doing the interiors,” Sam told me. “I never really went for the covers. On the interiors, I could focus on the composition and the story I wanted to tell in the painting. When you do a cover it’s a completely different approach. I was doing enough covers on paperbacks, so I didn’t want to do men’s adventure magazine covers. I did do a few, but most of my cover art was for paperbacks.”

Sam said never read the stories he illustrated. In fact, I know from other MAM artists I’ve interviewed for my MensPulpMags,com site, such as James Bama, Gil Cohen, Basil Gogos, Mort Kunstler and Bruce Minney that most didn’t. They didn’t have time. They were too busy meeting deadlines for magazine and paperback artwork.
Art Directors would give them a short synopsis a few sentences long and, in some but not all cases, and idea of the scene they wanted painted and delivered — usually within a week or less. The rest was left to the artist, his imagination and his talent. Sam Pollen had an abundance of both.

Many of the stories and “book bonus” adaptations Pollen illustrated were written by notable writers, including:

  • Mario Puzo, author of The Godfather; whose MAM stories were often credited to the pseudonym Mario Cleri (an example is on page 73 in POLLEN’S ACTION);
  • Donald Westlake, the prolific and popular novelist who penned darker crime fiction as Richard Stark (see page 15);
  • Norman Mailer, the famous (and infamous) man of letters (see page 108);
  • Richard Wright, pioneering African American writer (see page 123);
  • Don Pendleton, creator of the popular Mack Bolan/Executioner novel series (see page 14);
  • Walter Kaylin (see pages 26 and 36), perhaps the ultimate MAM writer, who often wrote under the pseudonym as Roland Empey and whose work is featured in our HE-MEN, BAG MEN & NYMPHOS anthology (see pages 42, 86, 87, 90, 98, 103 and 126);
  • Robert F. Dorr renowned military aviation writer, whose MAM stories are featured in our anthology A HANDFUL OF HELL (see page 66); and
  • Other well-known writers such as Martin Cruz Smith, later famous for GORKY PARK and other  novels, Evan Hunter, best known for the 87th Precinct novels written as Ed McBain, and Erskine Caldwell, the popular author of racy paperbacks.

Pollen’s illustrations were always at least as good as — and often better — than the stories themselves, even in the case of those penned by notable writers.

The style Pollen used for his men’s adventure magazine artwork changed over the three decades he worked for the genre. When he first started working for the Goodman mags in the 1950s, he used the fairly photorealistic style that was common in illustrations at the time. Sort of Norman Rockwell light.

During the course of the ‘60s and ‘70s, his style became looser. He focused more on how he composed the various elements of a scene and how he could make it a dramatic image that told its own story, less on photorealistic rendering of faces and details

As my co-editor eloquently put it:
“Pollen’s earliest MAM work in the ’50s reflected his slightly more mannered paperback covers of that era, painted in a more photorealistic style common at the time. But the challenge of depicting motion interested him, and unlike the portrait-driven work of his early paperbacks, the requirements of MAM illustration afforded him the opportunity to explore that interest, full tilt. His duotone illustration for “69 Days of Hell in a High Seas Penal Boat” (pg. 122) from the September 1961 issue of Male, for example, retains elements of formality in his approach, but the scope and intensity of its action (and its use of 3-D perspective) would all be hallmarks of his later, looser style. Like most Pollens, there is a lot going on, and the more you look, the more there is to see. Each component contributes to the illusion of motion, from the curl and swoop of the watery tempest to the tilt, angle and lines of the small boat expressing the dip, rise, and toss of the waves. Even the four figures struck by the ship’s boom offer a visual prompt for the subconscious; divided into panels, they might represent the sequential progress of any one of them, stage by stage from smackdown to splashdown…There is a lot of invention in Pollen’s chaos.”

When you look at the original paintings shown in POLLEN’S ACTION and in our previous collection, POLLEN’S WOMEN, you’ll see that even without the tales they were painted to accompany, these images tell compelling stories. They also stand alone as cool examples of 20th Century illustration art.

Today, Sam’s original MAM paintings sell for prices as high as $5,000 to collectors of such art.

Of course, snooty critics don’t consider them to be “fine art.”

And, that reminds me of the old joke known to insiders in the art world.

      What’s the difference between a fine artist and an illustrator?

      Answer: An illustrator can draw.

Samson Pollen could draw — and he drew and painted the hell out of every illustration he created.

He passed away in Manhattan on December 4, 2018 at age 88, from natural causes, not long after he saw and approved a proof copy of POLLEN’S ACTION.

We were immensely pleased when Sam told us he loved the book.

We’re glad he got to see it. A few days later, he died.

I loved having the chance to know and work with the great Samson Pollen. I know Wyatt did, too.

And, we’re both grateful to him and his beautiful wife Jacqueline for their enthusiastic support of our efforts to keep his artistic legacy alive.

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Comments? Corrections? Questions? Email me or post them on my Famous Quotations Facebook page.

To see an extensive flip-page preview of

Thursday, December 27, 2018

The John Whitlatch enigma solved: a guest post by writer & pulp maven Paul Bishop…

Paul Bishop blog post about John Whitlatch   

Updated on December 27, 2018…

EDITOR’S NOTE: A while back, I posted an interview here with a writer I’m a huge fan of and proud to call a friend: Paul Bishop. As I noted in that interview, Paul is an excellent and prolific novelist. His most recent novel is LIE CATCHERS, a highly-acclaimed police procedural with a special twist. Paul is also a veteran police detective, an editor and an indie publisher. On top of all that, he’s a serious action/adventure media maven who posts regularly about books, magazines, movies, TV shows, and people in the men’s adventure, Western, spy, mystery, and noir genres on his own blog, other sites, and in various men’s adventure-related Facebook groups, like the one associated with this blog and The Men's Adventure Paperbacks of the 70s & 80s group.

One of Paul’s blog posts focused on the novels of a mysterious writer named John Whitlatch. In the late 1960s and early 1970s, Whitlatch wrote a series of gritty action/adventure novels that have gained a cult following, partly because they feature terrific cover paintings by two artists who did hundreds of illustrations for men’s adventure magazines and novels, Norm Eastman and Mel Crair, and partly because they are bloody good reads.

Exactly who John Whitlatch was remained an enigma to those of us who are his fans — until recently. After doing some initial research and a post about Whitlatch on his blog, Paul was contacted by someone who knew Whitlatch and gave Paul more information than existed anywhere online. Armed with that info, Paul wrote a new, in-depth post summarizing what he’d learned. I immediately asked him if I could repost it here, along with higher resolution scans of the covers than I’ve seen online (using my own copies of the Whitlatch novels) and an interesting review of his first two books I found using my Newspapers.com subscription. Paul said “yes.” So, here it is. Thanks, amigo! And, thanks again for the great Afterword you wrote for our book collecting men’s adventure magazine artwork featuring bikers and motorcycle gangs, BARBARIANS ON BIKES.


Jon Whitlatch is an author whose name pops up regularly within men’s adventure series genre circles. Between 1969 and 1976, Whitlatch wrote eleven action novels, the first ten of which were published with a series of stunning covers. Lurid and garish, featuring outlaw bikers, big breasted babe in jeopardy, and tough heroes out for revenge, the covers of Whitlatch’s novels could just as easily have graced the covers of any of the titillating Men’s Adventure Magazines of the day.

In actuality, the stunning covers of Whitlatch’s books first ten books were painted by top Men’s Adventure Magazine artists Norm Eastman (Gannon’s Vendetta, Lafitte's Legacy, Tanner's Lemming, Frank T’s Plan, The Judas Goat), and Mel Crair (Morgan's Rebellion, Morgan's Assassin, Stunt Man's Holiday, Cory’s Losers. Men’s Adventure Magazine top model Steve HollandThe Face That Launched A Thousand Paperbacks—appears on several of the covers, adding to their collectability.

Paul-Bishop pic in libraryUnfortunately, Whitlatch’s last novel, Gannon’s Line, did not receive a similar instantly collectible cover. Instead, even though the small central illustration was by the great Robert Maguire, the cover design itself was generic and instantly forgettable.

While the covers of Whitlatch’s books are often the catalyst for men’s adventure readers to buy and collect them, the writing between the covers is uniformly terrific. While definitely in sync with the attitudes and mores of the time period in which they were written, Whitlatch’s tales of every day guys caught up in deadly circumstances never failed to thrill.

A Whitlatch hero is a man pushed beyond the reasonable boundaries of civilization and is forced to find a core of inner strength to overcome overwhelming odds—in other words, a guy who you can unabashedly root for as he takes on outlaw motorcycle gangs, voodoo cults, tin-pot Latin dictators, sadistic Japanese troops in the Pacific Theater, Renegade Indians, and other megalomaniac villains.

Whitlatch’s books are straightforward contemporary actioneers. Even when writing a Western (Iron Shirt) or a WWII Dirty Dozen style tale (The Judas Goat), the narratives are straight out of the men’s adventure genre. This is not to say they are cookie cutter or by the numbers plots. Whitlatch’s writing elevates the tropes of the genre with excellent action scenes. His heroes are not supermen, but rugged individuals who face their fears and have the courage to not lay down and die.

For many years Whitlatch himself remained an total enigma. When asked about Whitlatch, regular genre resources and gurus were forced to shrug their shoulders and admit to their mystification at the lack of information.

Usually, this little information about an author would indicate the use of a house owned pseudonym, with a number of authors penning the tales. But, this doesn’t appear to be the case with Whitlatch. Having read all eleven novels, the distinctive tempo and sentence structure make it clear they were written by the same person.

About twenty years or more ago, I tried tracking Whitlatch through his publisher. I was put in touch with Whitlatch’s agent who informed me Whitlatch was deceased. He did, however, provide me with a contact number for his family, warning me they would probably not want to be interviewed.

Norm Eastman - GANNON'S VENDETTA, John Whitlatch (1969) MPMNorm Eastman - MORGAN'S REBELLION, John Whitlatch (1969) MPMNorm Eastman - TANNER'S LEMMING, John Whitlatch (1970) MPM

I eventually made contact with Whitlatch’s sister in Arizona, but while polite, she refused to impart any information. A strange situation, especially coupled with a tid-bit from mystery historian Al Hubin, which noted there had been no copyright renewals on Whitlatch’s titles. This raised the odd possibility of Whitlatch or his work being seen as an embarrassment to his family.

My introduction to Whitlatch originally came through his second published title, Morgan’s Rebellion. This was a great adventure tale. The all-American everyman Jamey Morgan finds himself falsely imprisoned in Central America. Desperate and alone, he takes it upon himself to escape, rally the scattered rebel forces, and overthrow the corrupt regime in order to get his life back and revenge on his wife and business partner.

Norm Eastman (I think), THE IRON SHIRT, John Whitlatch (1970) MPMNorm Eastman - THE JUDAS GOAT, John Whitlatch ( 1971) MPMNorm Eastman - LAFITTE'S LEGACY, John Whitlatch (1971) MPM

This was great stuff! Morgan was a cool character with his archery background and his righteous American indignation. Whitlatch is hardly politically correct and he wears the Mad Man style male chauvinist label proudly—definitely a product of his time—but the guy could write a rousing adventure

In 2009, I wrote about Whitlatch in a Forgotten Books post for my blog. At the time, in response to a blog post of his own, my buddy and prolific writer James Reasoner said, “You have to love the Internet.” In James’ case, his own blog post regarding a specific hardboiled author generated unexpected contact from one of the author’s surviving relatives.

Norm Eastman - FRANK T'S PLAN, John Whitlatch (1972) MPMMel Crair - MORGAN'S ASSASSIN, John Whitlatch (1973) MPMMel Crair - STUNT MAN'S HOLIDAY, John Whitlatch (1973) MPM

In my case, several months after my post bemoaning the complete lack of information about John Whitlatch—beyond his novels and those lurid covers—I received a surprise email. It was from Bob Miller, a friend and former co-worker of Whitlatch’s who had somehow come across my original Whitlatch post. He offered to share information about the elusive author, whom he stated was a down-to-earth nice guy with a good sense of humor. I immediately scrambled to dial the provided phone and quickly found myself chatting with my informant.

Bob Miller told me he worked with Whitlatch in the 1960s when they were both claims adjusters for an insurance company working out of an office on Gower Street in Hollywood. Bob remained friends with Whitlatch, and was an ardent reader of his novels, until Whitlatch died in the late 1970s.

Mel Crair - CORY'S LOSERS, John Whitlatch (1973) MPMRobert Maguire - GANNON'S LINE, John Whitlatch (1976) MPMJohn Whitlatch & Tom Power, SHOOT OUT AT DAWN (1981) MPM

Apparently, Whitlatch was a force in the insurance business. He eventually became the head claims adjuster for All-State Insurance, working out of the company’s headquarters on Wilshire Boulevard in LA. Reportedly, he had a large, framed, picture of the All-State HQ building in Chicago hung on the wall behind his desk. The picture had a hand-drawn arrow pointing to one specific window in the building, which Whitlatch claimed was the office of the idiot I work for.

While working as a claims adjuster, Whitlatch also attempted to branch out into private business. For several years, he operated a self-service laundry on Ventura Boulevard—in the San Fernando Valley—with his wife, Geraldine. However, the business was forced into bankruptcy when long-term street repairs closed down easy access to the building. 

Steve Holland & Eva Lynd art and photoCrippled with a bad limp, Whitlatch didn’t let his physical infirmities keep him down. Miller remembers Whitlatch’s visits to the ranch where Miller’s father-in-law trained and bred horses. Whitlatch always managed to get around and showed an interest in everything.

During the time of his visits to the stables, Whitlatch began writing spec movie scripts. Miller’s father-in-law had contacts in the movie industry via several of the horse owners for whom he bred and trained. He allowed Whitlatch access to those contacts and, while Whitlatch never sold a script, he received encouragement and praise for his writing.

On one stable visit, Whitlatch witnessed Miller’s father-in-law putting Vicks Vapor Rub in a mare’s nose in order to get her to accept a foal that wasn’t hers. The Vicks worked to distort the mare’s olfactory senses so she couldn’t tell the foal wasn’t her own. Whitlatch was to later use the scene in one of his novels.

A perfectionist when it came to insurance work, Whitlatch was a taskmaster—never letting correspondence or reports leave the office until they were letter perfect. But while he found insurance work financially rewarding, he longed to quit and write full time.

  Miller remembers the day Whitlatch called him full of excitement. He had just sold his first two novels. Pocket Books had given him a contract for two of his completed manuscripts and planned to publish both novels simultaneously—a first for the publishing house. 

Whitlatch eventually quit All-State to pursue his writing career. He had a handful of other novels published, but there was bad news on the horizon. Two years later, Miller received a phone call from his friend. Whitlatch told Miller he had been diagnosed with a brain tumor and had been given six month to two years to live.

Whitlatch’s final book, Shoot-Out At Dawn, was a non-fiction account of the deadly events at a remote Southern Arizona cabin in 1918. The book was written with Tom Power, one of the survivors of the clash. Whitlatch died shortly after it was published by Phoenix Books in 1981.

From other sources , it appears Whitlatch’s wife died sometime after 2005. The couple had no children. Clearly, Whitlatch will remain an enigma, but thanks to Bob Miller, those of us who have admired Whitlatch’s novels were finally given a glimpse into his background.

Here’s a brief look at what his men’s adventure novels are about, taken from the descriptions on the back covers…

GANNON'S VENDETTA (1969) “Do not forget, gentlemen—violence is the only thing they understand. If in doubt, kill.” … Recalling with hatred all the blood and pain these cycle creeps had caused him, Gannon described his enemy to the men who had come to help him. The animals on the hopped-up Harleys had raped Gannon's wife, torched his house, and then—after working him over—dumped him in the desert to die. They never expected Gannon to come out alive. This was the end of the long hunt--high noon at midnight. Gannon had followed the rat pack deep into Mexico. And now he was ready to do battle—their style.

MORGAN’S REBELLION (1969) “Prison made a man of Morgan. And the man became a legend.” … Jamey Morgan—a quiet California citizen—was arrested on a business trip to Central America. Accused of aiding a revolution he knew nothing about, Morgan was deprived of all diplomatic rights, branded an international renegade, and sentenced to hard labor. And so, the only way he could return to the United States was to overthrow the government that imprisoned him. He made the revolution his own. After escaping from prison, Morgan fled into the hills and joined the rebel forces. An experienced bowman, he trained and organized an extraordinary guerrilla troop—Los Arqueros, the Archers—fifty rugged men on horseback, armed with bows and explosive arrows. The exploits of this daring commando unit help bring a ruthless dictatorship to its knees—and brought fame, love, and fortune to Captain Jamey Morgan.

John Whitlatch Review, Green Bay Press Gazette 1969 MPMTANNER'S LEMMING (1970) TANNER—the man who single-fistedly quashed a student takeover and tongue-lashed its leaders into silence at a turbulent school-board showdown. TANNER—the man who had never flown a plane, yet took the stick when a pilot died in midair and landed safely. TANNER—the man whose blunt business sense had won him a place in a Senator's inner circle. TANNER—had he blown a hole in the heart of the man millions of Americans revered? Had he killed Senator Stanton? Could he have been the assassin?

THE IRON SHIRT (1970) Vengeance! Jonathan Fontaine swore it...in the smoking remains of his homestead, over the charred, mutilated body of his young daughter. He had gone East but now was back in Arizona with a specially equipped rifle. And he had a fresh lead on the Indian—the one who had worn a necklace of human fingers and The Iron Shirt...

LAFITTE'S LEGACY (1971) Jean Larue returns the newspaper said...The last of the Latittes had come back from Arizona to visit his dying grandfather. But enemies lay in wait, blocking his way with fallen trees, terrorizing his wife with poisonous snakes, signaling their malice with voodoo dolls. Someone wanted the old treasure map that was his legacy. But his adversaries had not reckoned with the pirate blood that was also part of Lafitte's legacy. He would tight with all the guile and guts, tenacity and ingenuity that had made his legendary ancestor the terror of the bayou.

THE JUDAS GOAT (1971) Life had made them hard...The army made them mean! The attack squad...Hand-nicked from the entire U.S. World War II army, they were a unique company. Twelve men led by a lieutenant, as able as he was arrogant, and a sharp, seasoned sergeant who was militantly silent about his past. Twelve fighters. among them an ugly man, a black man, an old World War I scout, a southern redneck, and a mountain climber. They were a strange assortment, but they had several things in common—They were tough and tenacious...and they didn't care too much about living. To the General they were the army's answer to the marines. To the Colonel they were a crack team...the best he could assemble. To the lieutenant they were animals. And by the time their brutal training had ended they were killers.

FRANK T’S PLAN (1972) Frank T. Dodge had a plan for revenge and it called for more than seeing a man dead… His daughter had been murdered...Frank T. had a painful score to settle. And his chance came when a jury freed the accused man, Martin Ballard. Lusting for vengeance, Frank T set out on a daring hunt to bring his prey back alive. But there was another group of desperate men who wanted Ballard dead. To get his man, Frank T would face death and terror with only his guts to get him through.

MORGAN'S ASSASSIN (1973) They called him “El Arquero”... The history books said bows and arrows had gone out years ago. But nobody had told James Morgan. Armed only with his great longbow, he had led a revolution that freed a Central American nation from tyranny. His men were all arqueros, or archers, but he was the only one called “El Arquero.” Now, back in the States, Morgan received another call for help—from the F.B.I. This time it was to foil an assassination attempt that everyone else seemed powerless to stop. But then he discovered that he was next on the assassin's list. It was kill or be killed—and as Morgan stalked his man, he discovered he was up against the most diabolical political conspiracy America had ever seen. To defeat it, the arqueros would have to march again...

Paul Bishop, writer editor publisherSTUNT MAN'S HOLIDAY (1973)  Max Besh was one tough apache. They shouldn't have gotten him mad. Max Besh, movie stunt man arid full-blooded Apache, was having quite a vacation in Las Vegas. He'd wan six grand at the crap tables and he'd gotten himself a curvy young dancer for companionship. Next thing he knew, he was looking down the barrel of a .38 and somebody was riding off with the cash and the girl. What the kidnappers didn't realize was nobody pulls that kind of trick on Max Besh. They eluded police and crossed the Mexican border, but they couldn't shake the angry Indian on their trail. Even if it took a shootout, Max Besh was going to get his money and his woman back—in that order.

CORY'S LOSERS (1973) When Cory had been stuck with that had murder rap, some of the town's solid citizens had moved in and taken everything he had. Now it was seven years later, and Cory was back with a score to settle. Meanwhile, his enemies had become the most powerful, ruthless men in town. They knew Cory was coming, and they were ready for him. But Cory had friends—the losers who, like him, had been taken by the big honchos. Together, they were going to make things pretty hot for those crooked bastards...

GANNON'S LINE (1976) John Gannon had settled into the life he wanted as foreman of the Holguin Rancho, south of Sonora. But powerful people in Washington had singled him out to lead a band of men and horses into the scorching Baja desert. His mission: to locate in that inferno of sand and sun the secret base of an espionage ring—and to crush the sadistic genius who masterminded it.

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EDITOR’S POSTSCRIPT: When I scanned the paperback covers for this post, I noticed a connection between the John Whitlatch novels and men’s adventure magazines that I hadn’t noticed before. As Paul Bishop noted in his post, most of the novel covers were done by two top MAM artists, Norm Eastman and Mel Crair. Eastman and Crair both used the great male model Steve Holland as main characters for their Whitlatch covers, as they often did for their men’s adventure mag illustrations.

When I scanned the cover of LAFITTE'S LEGACY, painted by Norm Eastman, it struck me that the gal getting nuzzled in the bottom left corner of the cover looked a lot like my friend Eva Lynd, who was both an artist’s model and pinup photo model back in the day. In fact, she was one of Eastman’s favorite female models for his men’s adventure art.

I emailed a scan of the LAFITTE'S LEGACY cover to Eva and she confirmed that Norm had used a reference photo of her for the nuzzled gal. As I’ve discussed in other posts on this blog, Eva often posed together with Holland for reference photos taken by Eastman and another artist who did many MAM and paperback illustrations, Al Rossi. To read and see more about Eva Lynd and Steve Holland together, click this link.

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or join the
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John Whitlatch novels on Amazon

Sunday, December 23, 2018

Men’s adventure magazine Christmas spoof covers. Ho! Ho! Ho!

MAN'S LIFE, Jan 1954 Xmas spoof, John Fay art REV
Christmas covers and stories were not common in the men’s adventure magazine (MAM) genre.

In the 1950s, a few of top tier MAMs, like ARGOSY, TRUE and SAGA, did have annual Christmas-themed covers. I’ve featured examples in previous posts here.

But holiday cheer was a bit out of sync with the character of most other MAMs.

I have tried to imagine what Christmas covers on those other men’s adventure mags might look like.

And, with the help of Photoshop, I’ve created some just for fun.

I recently posted old and new examples in the Men’s Adventure Magazines & Books Facebook Group, where I do more frequent posting than I do on this blog.

ACTION FOR MEN, March 1960 Xmas spoof, Rafael DeSoto art REVSome of my favorite Christmas spoof covers are shown here.

The example at top left is my Christmas version of the cover of MAN’S LIFE, January 1954.

For it and many of my other faux Christmas covers, I used the face of Santa as depicted by  artist Haddon Sundblom.

Sundblom did paintings of Santa Claus for widely-seen Coca-Cola advertisements from 1931 to the mid-1960s.

They played a key role in popularizing what is now the traditional image of a white-bearded Santa.

The amazingly colorful scene I inserted Sunblom’s Santa into on the cover of MAN’S LIFE was done by John Fay.

At right is a Christmas-cized version of the cover of ACTION FOR MEN, March 1960. Cover art by Rafael DeSoto.

I imagine the guy with the Santa Claus hat thinking: “Maybe those headhunters who are chasing us won’t chop off my head and turn it into a tsantsa if they see me wearing this hat and think I’m Santa.”

Below, with apologies to the artists and Santa Claus, are some more Christmas spoof covers I’ve made.

The first three feature well-armed Santas.

In my holiday version of the cover of AMERICAN MANHOOD, January 1953, there’s a ripped, bare-chested Santa carrying a Tommy Gun. 

The original cover artwork for that one was done by a little-known pulp and men’s adventure magazine artist named Peter Poulton.

Next to that is my Christmas version of the cover of ADVENTURE, June 1957, showing a knife-wielding Santa in an iconic MAM painting by Mort Künstler.

Then there’s my G.I. Santa on the cover of BLUEBOOK, July 1971, with cover art by Mel Crair.

In that one, St. Nick is carrying a bazooka.

AMERICAN MANHOOD, Jan 1953 Xmas - Peter Poulton art REVADVENTURE, June 1957 Xmas spoof, Mort Kunstler art REVBLUEBOOK, July 1971 Xmas spoof, Mel Crair art REV

Next up is a Christmas spoof made from the classic “WEASELS RIPPED MY FLESH!” cover of MAN’S LIFE, September 1956. (Cover art by Wil Hulsey.) I think it was the first one I created, back in 2012, when the story anthology of the same name was released as the first book in the Men’s Adventure Library series I co-edit with Wyatt Doyle.

The original cover paintings for the covers of MAN’S STORY, April 1974 and MEN TODAY, July 1964 were both done by Norm Eastman.

And, in both cases, Norm used my friend Eva Lynd as the model for the damsels being distressed by the Nazis — or, in this case, the Nazi Grinch. (By the way, there are still about a dozen copies of the 2019 Eva Lynd Calendar available on eBay. You can see a preview of it in my previous post.)

MAN'S LIFE, Sept 1956 Xmas spoof, Wil Hulsey art REVMAN'S STORY, April 1974, Xmas spoof (Norm Eastman art) REV2MEN TODAY, July 1964 Xmas spoof, Norm Eastman art, Eva Lynd REV

The biker on the cover of MEN, April 1969 looks almost festive in the Santa hat I Photoshopped onto his head. (Cover art by Earl Norem.)

And, Santa, inserted on the cover of SAGA, May 1959, looks pretty dashing as a pirate. (Cover art by Thomas Beecham.)

Given that many men’s adventure magazines feature “killer creature” artwork and stories involving highly unlikely man-killers, I decided to see what an attack by Rudolph the Reindeer would look like. I used the cover of SPORT LIFE, December 1955 for that one. (Cover art by Mort Kunstler.)

MEN, April 1969 Xmas spoof, Earl Norem art REVSAGA, May 1959 Xmas spoof, Tom Beecham art REVSPORT LIFE, Dec 1955 Xmas spoof, Mort Kunstler art REV

“White Kings” being worshipped by awed islanders is another common trope in MAM stories and illustrations. That trope led me to create the Christmas version of STAG, April 1958. (Cover art by James Bama.)

My WILDCAT ADVENTURES, June 1960 Xmas spoof shows Santa as a wild “Hairy Ainu” tribesman in a scene painted by Basil Gogos.

And, finally, here’s Santa inserted onto the cover of our collection of MAM animal attack stories and artwork I WATCHED THEM EAT ME ALIVE.

That gonzo coconut crab attack scene, painted by George Gross, was originally used on the cover of MAN’S CONQUEST, November 1956.

STAG, April 1958 Xmas spoof, James Bama art REVWILDCAT ADVENTURES, June 1960 Xmas spoof, Basil Gogos art REVI WATCHED THEM EAT ME ALIVE Xmas spoof (George Gross, MC Nov 1956) REV

Happy Hollydaze, folks!

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Last Minute Shopping Ideas for Fans of Men’s Pulp Adventure Magazines…

Tuesday, October 16, 2018

The 2019 Eva Lynd Calendar, featuring Eva in classic glamour girl photos & artwork…

Eva Lynd 2019 calendar - Cover
In recent years, I’ve had the pleasure of becoming friends with actress model Eva Lynd.

I started writing posts about her on this blog before I met her several years ago, when I learned that she was a favorite model of Al Rossi and Norm Eastman, two of the great artists who did illustration art for the men’s adventure magazines I collect and focus on here.

In this post, I’m happy to announce the Authorized 2019 Eva Lynd Calendar is now available.

By authorized, I mean it is approved by Eva and copyrighted jointly by her and my Subtropic Productions company.

The 2019 Eva Lynd Calendar is available from me on eBay, or by emailing me and arranging a PayPal payment. The price is $19.99 plus shipping.

Each page of the calendar features a photo or illustration Eva modeled for.

Several of the photographs come from Eva’s personal collection and have never been published before.

I’m showing scans of the cover and the pages for each of the 12 months in this post.

Eva Lynd served as the main female model used for dozens of men’s adventure magazine cover and interior illustrations from the late 1950s to the late ‘60s.

During that time, she was also a popular glamour girl photo model for top pinup photographers as well as an actress who appeared in (among other things) TV variety shows and dramas, the memorable “Girl in the Tube” Brylcreem commercial, the cult horror film THE HYPNOTIC EYE (1960) and other movies.

In 1958, she appeared in LIFE magazine in a story about the popular casinos in Havana, Cuba, where she worked as a showgirl for a brief time before Fidel Castro took over as that country’s dictator.

There’s a special chapter about Eva in the CUBA: SUGAR, SEX, AND SLAUGHTER, the latest men’s adventure magazine story and artwork anthology in The Men’s Adventure Library book series I co-edit with Wyatt Doyle.

The title of the chapter, which includes an exclusive interview Wyatt conducted with Eva, is “Viva, Eva!” I should note that she pronounces her name pronounced AY-va, not EE-va. But it seemed like a cool chapter title and Eva didn’t mind.

The cover of the 2019 Eva Lynd Calendar features a photo taken of her around 1958 by the legendary celebrity photographer and Beach Boys publicist Earl Leaf. You can see more photos of Eva by Earl in this previous post.

The painting shown on the page for January was done by artist Al Rossi. It was used on the cover of the 1964 edition of the steamy paperback STRANGE LOVERS, written by Dan Bartell.

Eva Lynd 2019 calendar - January EvaEva Lynd 2019 calendar - February EvaEva Lynd 2019 calendar - March EvaEva Lynd 2019 calendar - April Eva

Eva also posed for many men’s adventure illustrations done by Rossi, often with the great male model Steve Holland. You can see examples, as well as reference photos of Eva and Steve taken by Rossi, by clicking this link.

The photo of Eva on the February page was taken around 1956 or 1957 by Lester L. Krauss, whose work appeared in many magazines, as well as on a long list album covers in the ‘50s and ‘60s. Photos of Eva by Krauss were used for both back in the day.  

Norm Eastman was another great men’s adventure magazine and paperback artist who frequently used Eva Lynd as a model, and who also often posed her and Steve Holland together.

One of my favorite paintings Eastman did using Eva and Steve is shown on the March page of the 2019 Eva Lynd calendar. It’s a World War II scene showing Eva with red hair, toting a machine with Steve Holland and a blonde (also based on Eva) in the background.

That classic Eastman was used on the cover of the October 1966 issue of BLUEBOOK.

The photo of Eva on the April page of the calendar was taken by the legendary sculptor, photographer and playboy Sepy Dobronyi, during Eva’s time in Cuba. We show a couple of others he took of her there in the chapter about Eva in our CUBA book.

Eva Lynd 2019 calendar - May EvaEva Lynd 2019 calendar - June EvaEva Lynd 2019 calendar - July EvaEva Lynd 2019 calendar - August Eva

The May calendar page shows one of the covers of MODERN MAN Eva was featured on. This one the cover of MODERN MAN QUARTERLY, Spring 1959. The photo of Eva was taken by Herb Flatow, whose work appeared in scores of men’s magazines.

The calendar page for June features an arty shot of Eva peeking through ferns taken by another top pinup photographer, Charles Kell.

The July page shows one of several album covers Eva appears on. This example is the 1957 LP RAZZ-MA-TAZZ, by Phil Moody and Nick Patool. The photo is credited to Jerry Tiffany and Stan Sternbach.

The photo of Eva on the August page is by Jerry Yulsman, one of the top glamour girl photographers of the ‘50s and ‘60s. It’s from a photo session Yulsman did with Eva in 1956 or 1957. Other photos from that session appeared in the men’s bachelor magazine DUDE in March 1957 and in the March 1958 issue the men’s adventure mag REAL ADVENTURE.

The original painting featured on the September page is another classic men’s adventure mag cover painting by Norm Eastman that Eva and Steve Holland modeled for together. It was used on the cover of WORLD OF MEN, January 1969.

The October page photo of Eva with a mask is another shot taken by Lester Krauss, probably in the early ‘60s.

Eva Lynd 2019 calendar - September EvaEva Lynd 2019 calendar - October EvaEva Lynd 2019 calendar - November EvaEva Lynd 2019 calendar - December Eva

The alluring shot of Eva wearing a black fur stole on the November page is another photo taken of her by Earl Leaf, probably at his home studio in California sometime around 1958.

The gorgeous painting of Eva Lynd wearing a red dress and a white fur stole was done by artist Mike Ludlow, a top mid-20th Century illustration artist. It was used for the story “Bring Back the Bride” by Hannibal Coons in the September 7, 1957 issue of the SATURDAY EVENING POST.

If you’d like to buy a copy of the Authorized 2019 Eva Lynd Calendar, act soon. It’s a limited edition.

Thanks as always to Eva for sharing her life and archives with me. Stay tuned for some news about the next book in our Men’s Adventure Library series that will feature her.

Click this link or the image below get copies of CUBA: SUGAR, SEX, AND SLAUGHTER

and other books in our Men’s Adventure Library series on Amazon

or go to the Book Depository site to buy them with free shipping worldwide

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or join the
Men’s Adventure Magazines & Books Facebook Group and post them there.