A wad of twenties might be better, but it looks like this duo will settle for the bundles of singles from their latest heist. Retro pinup models Greta Macabre and Tamara pose in perfect retro style for photographer Deyan Baric.
I thought I had this scheduled for Monday the 2nd, but I messed up.
So, a happy belated birthday to “April Dancer” (what a cool character name), The Girl From U.N.C.L.E., AKA Stephanie Powers, one of retro TV’s iconic girl-with-a-gun characters, who later starred in the mystery series Hart To Hart, and earlier in her career earned her ‘Noir Cred’ as Toby Sherwood in Blake Edwards’ creepy 1962 neo-noir thriller Experiment In Terror.
Powers was born Stefania Zofya Paul Federkiewicz in Hollywood (that made for a short trip to get a career rolling) on November 2, 1942, and happily is still with us today.
Probably too much to ask, but can I have that sleek Girl From U.N.C.L.E. car, pretty please?
From Mike Vosburg’s fun Retrowood from 2013, a ‘sorta-kinda’ mid-twentieth century Hollywood (but not really) hard-boiled noir with private eye J. Parker Wrighte mixed up in mystery and murder among the decadent tinsel town’s stand-ins most devious (and pervy) denizens. The story is dark but goofy fun, and the art’s almost sedate for Vosburg, while still indulging the figurative master’s flair for lovely — albeit lethal — ladies.
The Daily Mail’s men’s style feature “If Looks Could Kill: This Season’s Noir Fashion” (though it’s from a few ‘seasons’ ago) tells us “If you want to turn heads and get the girl, you need to look the part. Dress like this and don’t be surprised if trouble walks through your door with eyes like marigolds. You might even get a job offer about a mysterious statue, or receive a visit from a beautiful brunette with a dark secret. Thankfully, roscoes and heaters are no longer de rigueur accessories”.
Well, I don’t know about the copywriter’s take on hard-boiled patter, but the selections from Ian Derry’s photography looks just fine.
The Wilson Lewes Trio had four LP’s, I think, each a compilation of their takes on popular movie theme songs. I don’t know if this kitschy 1966 album with the themes from Dean Martin’s The Silencers and James Coburn’s Our Man Flint was even remotely listenable. But the two well-armed assassins look formidable enough – and suitably swinging sixties-ish – to take on playboy photographer Matt Helm and former Z.O.W.I.E (Zonal Organization World Intelligence Espionage) spy Derek Flint.
More from Stephen Mooney, from his IDW/creator-owned delightfully dark yet daffy “dames, danger and dinosaurs” (with Nazis, for good measure) series Half Past Danger from 2013/2014.
I’m sure it was shot for a fashion editorial, but model Pat Jones sure looks like a snoopy reporter or ‘stiletto gumshoe’ hard at work (and stylishly so) in this 1956 William Helburn photo.
While working at his family’s New Jersey general store, McCauley “Mac” Conner (1913 – 2018) started his art training during the Depression through the International Correspondence School, later attending the Philadelphia Museum School of Industrial Art and New York’s Grand Central School of Art. While still there he was drafted into the Navy during WWII, stationed in New York and assigned to produce training materials. Once discharged, he began his illustration career in earnest, opening The Neeley Studio with two partners, quickly in demand as a go-to artist for the Saturday Evening Post, Cosmopolitan and other glossies along with multiple advertising accounts.
Editors and art directors relied on Conner’s work to be up-to-date right down to the details of the season’s fashions from hemlines to accessories, and though many regard Conner as an expert with female subjects (and thus, numerous romance story assignments) he actually enjoyed mystery and crime story projects. His 1950’s era work (the examples shown here) are mostly gouache, ink and graphite on board, and are dramatically different from his later work, Conner intentionally reinventing himself during the 1960’s when he witnessed the rapid decline of magazine and advertising illustration work, which was being supplanted by photography. He turned to carefully rendered and less stylized painting and quickly became popular with romance paperback publishers like Harlequin and Warner. In his well-deserved retirement, Conner continued painting, turning to portraiture. Mac Conner passed away at 105 in 2018.
I prefer A Bullet For Cinderella, John D. MacDonald’s original title for his 1955 novel retitled On The Make, the 1960 Dell paperback edition that got this gorgeous Mitchell Hooks cover illustration, a particular Hooks’ fave of mine.
Victor Prezio (born 1924) is one of those unsung heroes of the postwar pulp and paperback cover art era, largely eclipsed by better known names but responsible for a lot of illustrations you’ve likely seen many times at leading retro-art and kitschy-culture sites. These two Prezio pieces almost bookend the artist’s evolving style: Early on, working as richly shadowed and every bit as painterly as a James Avati cover illustration, like the grim piece above appropriately titled “Scene Of The Crime”. Then later, much more casual (and surely faster and for less money) brushwork dashes out the scary image below for a sleazy 1966 Real Men magazine cover. Westerns, gothic romances, and no shortage of women-in-peril illustrations for the “men’s adventure” magazine market, Prezio did it all, and is (I think) still with us, but presumably retired by now.