Men In Danger

Howell Dodd Men In Danger magazine 1964

Men in danger? Sure, but I’m not certain which is more dangerous. The easy money for delivering a package of something that’s surely illegal? Or Miss Can’t-Keep-My-Slip-On goading him from her perch on the bed behind? A pulp (or more correctly, one of the so-called ‘mens sweats’) magazine interior illustration by Howell Dodd from a 1964 issue of Men In Danger.

Don’t Talk To Strangers In Cars

Gwen Stefani by Michelangelo Battista

Sound advice: Don’t approach a car idling at the curb and don’t talk to strangers. Especially a stranger leaning out of the driver’s side window who looks as menacing as singer Gwen Stefani does in this retro-styled image from fashion photographer Michelangelo Battista.

The Pop Culture Rembrandt

Pop Culture Rembrandt

Check out the Crime essay by J. Kingston Pierce: “Robert McGinnis: A Life In Paperback Art”, honoring the prolific American illustrator on his 93rd birthday this Sunday, February 3rd. The article’s tag notes, 93 Years & Thousands of Paintings from a “Pop Culture Rembrandt” and Pierce’s essay does a fine job of sharing McGinnis story and his place among the masters of postwar paperback, magazine and commercial illustration.

Robert McGinnis - Lesbian Covers

Perhaps more than any other artist from that era, Robert McGinnis’ work is almost inseparable from the identities of a number of popular paperback crime and adventure series. Consider at least the well-known ones: Brett Halliday’s Mike Shayne, various Carter Brown series, Richard S. Prather’s Shell Scott series, John D. MacDonald’s novels including the Travis McGee series, M. E. Chaber’s Milo March Mysteries, Edward S. Aarons’ Sam Durrel spy series, and Erle Stanley Gardner’s Perry Mason books as well as his A.A. Fair Donald Lam & Bertha Cool mysteries. Almost disappoints me that McGinnis only did two covers for one of my own private eye series favorites, Frank Kane’s Johnny Liddel mysteries. But along with these, there were countless stand-alone titles, from crime to romance, westerns to espionage and more. McGinnis only did a few of the postwar paperback era’s lesbian themed books, and took what may be an unfair bad rap for his illustration for Beebo Brinker, but we should remember that illustrator’s often had no more than a brief editor’s blurb to go by, and often didn’t get to read the book itself…if budgets or deadlines would have allowed them to anyway.

Never Kill A Client 1963

McGinnis’ style evolved with the times, becoming increasingly abstract, vignetted and decorative, rooted less in fully rendered interior/exterior scenes. By the time photography and all-typographic styles began to dominate the paperback market’s covers, the artist had moved successfully into film posters and other assignments (likely more lucrative) while pursuing his own fine art work, predominantly western art. The excellent book Tapestry- The Paintings Of Robert E. McGinnis edited by Arnie and Cathy Fenner does a wonderful job of juxtaposing selected McGinnis commercial illustrations with non-commercial paintings, seeing both in a fine art context.

kill now pay later 1960

For many, Robert McGinnis’ striking nude (or nearly so) vixens and elongated, preening sixties-chic coquettes are what he’ll be remembered for. Myself, I’m drawn to the more flesh-n-blood figures, my all-time favorite the seated woman in a simple green dress and long brown gloves from the cover of Never Kill A Client, a 1963 edition of a Mike Shayne mystery (above), and an illustration I keep handy since it so closely resembles my own imaginary character, the ‘Stiletto Gumshoe’. Some real favorites are shown here in this post, including the fetching femme fatale perched on a private eye’s desk from Kill Now, Pay Later (1960), or the bar room pianist tickling the ivories where McGinnis’ trademark longer-than-long legs draw his attention from Murder Me For Nickels. The iciness of the subdued colors in a very risqué for the time, Exit For Dying (1956) may just be the single sexiest piece of cover art I’ve ever seen. But I’ll always love the comparatively prosaic and fully-rendered scene of the redhead alighting from the backseat on Day Keene’s Too Hot To Hold from 1959.

Murder Me For Nickels

I’m never comfortable with labeling one artist, author, musician or any other creative as ‘the best’. There are masters and there are followers and many at levels of skill, talent and popularity in between. For me, there are several artists from those golden and ‘silver’ ages of paperback, pulp and glossy magazine illustration that comprise the top tier. McGinnis, of course would be there, not only as a superior figurative artist but also as a master designer, possibly demonstrating more stylistic diversity than any of his peers and contemporaries. And of course, those contemporaries are, for the most part, retired or deceased now. Bittersweet, but maybe that’s for the better, so they don’t have to reckon with an Adobe-ruled Illustrator/Photoshop world.

Robert McGinnis Exit Dying 1956

Do follow the link below to J. Kingston Pierce’s “Robert McGinnis: A Life In Paperback Art” essay and gorge on the many reproductions. It’s a far more eloquent tribute than anything I could muster up. Still, a heart-felt happy 93rd birthday to the ‘”Pop Culture Rembrandt”, Robert McGinnis.

Too Hot To Hold 1959


This Body’s Not Big Enough For The Both Of Us.

this bodys not big enough

Bestselling author Edgar Cantero has written one heck of an unusual novel with This Body’s Not Big Enough For The Both Of Us. It’s ‘the worst case of sibling rivalry’, as the inside flap teases.

The office door says ‘A. Kimrean & Z. Kimrean, Private Eyes’. But the pair aren’t husband and wife, father and son or mother and daughter. In fact, there’s only one desk inside with one chair behind it, and that’s for the scrawny, androgynous gumshoe who goes by A.Z. – twin brother and sister Adrian and Zooey, genetic chimeras who inhabit the very same body.

A 30+ page opening that plays with the hard-boiled crime novel cliché of a fetching femme fatale type showing up to enlist A.Z.’s assistance is a bit of challenge to adapt to, surely enough to put off fans of a traditionally plotted and written story. But get past that portion, and a rollicking good time awaits. Oh, there’s a ‘mystery’, and there’s crime, enough of both to satisfy any mystery/crime fiction fan, provided they aren’t looking for a straightforward whodunit. Cantero, from Barcelona Spain but residing these days in Brooklyn, toys with narrative conventions, honors and rips apart genre tropes and pokes fun at clichés. The tone is smart-assed and insouciant right from page one – right from the opening lines, in fact — and never really lets up.

And a nod to designer Michael J. Windsor’s for the striking dustjacket design, which lists images sourced from no less than eight photographers, reworked into a truly eye-catching bit of vector art and graphic design. This Body’s Not Big Enough For The Both Of Us is a bit different, no question, but a lot of fun.

this bodys not big enough back cover

Boutique Noir

alexi lubomirski shopping noir

Boutique Noir? Fashion Fatale? Deadly Dior? We could throw out tags forever for this armful of haute couture shopping bags in Candice Swanepoel’s hands, moodily lit for photographer Alexi Lubomirski’s lens.

Dark Lily.

lily james by cuneyt akeroglu

Not exactly Disney’s Cinderella or Downton Abbey’s Lady Rose: Lily James, shot by Turkish photographer Cuneyt Akeroglu, and looking quite sultry (and possibly quite deceased) in a noir-ishly lit and styled set of images.

lily james 3lily james 2

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