When discussing political collectibles, there are the strange, and then there are the tacky. And in my opinion, little is tackier than Nixon.
You know, I say this with affection, as I am collector of Nixon items and oddities.
It began with spying a “Liberated Lovelies for Nixon 1972” button. And it might have stopped there — if the anti-button for 72 hadn’t been right there as well… But who could pass that up?!
Nixon naughtiness is out there, and I must have it.
Since those first purchases, I’ve kept my eyes open for more Nixon items.
“Yes Nixon, No Jelly,” a tab from a candy company to promote their ‘Peanut Butter No Jelly’ candy bar during the campaign. It is interesting to note that the candy bar, like the President, is no longer… I imagine more folks miss the candy bar.
Yes, there was a matching McGovern one too, but I like mocking Nixon — & I have quite the Anti-Nixon collection to prove it! *neener neener*
There are a few reasons why Nixon is so easy to mock. One’s the man himself. The other is that Watergate changed the way we looked at our politicians and leaders. With this new awareness, or cynicism, Nixon spawned more ‘stuff’ than you can imagine.
A vintage gold plated golf tee in the shape of a women’s nude body. The seller says it’s circa 1960s and, in case you don’t actually have the balls to use this on the golf course, this risque tee will arrive with a bunch of golf balls.
Who doesn’t like a company that preaches values while looking up a lady’s skirt?
After complaining about Uncle Sam’s tax, ye olde Day & Night tobacco company wants you to get your money’s worth.
When you spend a nickle for tobacco, do you want your money’s worth, of part tobacco and the rest in coupons for pot-metal knives or brass watches?
I would point out how such an advertisement which combines capitalism with complaining about taxes — all while belittling women — reminds me of specific political parties, but I don’t have to spell everything out, do I?
Most of us know of, if have not seen, the naked and hairy Burt Reynolds centerfold in Cosmo. (It was the 70’s equivalent of a sex tape in terms of exploding a celebs popularity.) But have you seen this puzzle featuring a pants-less Reynolds? Published about the same time as the issue of Cosmopolitan, circa 1972, one can enjoy Reynolds nearly unwrapped — just wearing a football jersey. No manscaping, that’s for sure.
Bunny Yeager, who passed away at the end of last month, did a lot of pinup photography work. Some of it more legendary than others. For example, posing a topless model with various lamps and lighting, presumably for an advertising calendar. (Those were the days, my friend.)
vintage 1950s to early 60s taken by Bunny Yeager for The Seymour Lighting Company in Miami Florida. A strange time as we have a collection of these stills from a folio directly from the photographer – the majority of models were topless which really makes this atomic age lighting commission pop as it were…
Sometimes in this field real life is stranger than fiction and this contact sheet is pretty rich, our model in this pose was presumably posed by Yeager for an advertising pin-up calendar.
It wasn’t that long ago that companies provided calendars and other promotional items featuring scantily-clad and even nude women to their clients. This is a classic example of one of those advertising pieces from the 1980s: a lingerie wearing lady on the glossy surface of a clock promoting Snap-On Tools. (See also: Vintage Risque Pin Up Calendars.)
There obviously some errors in the text — the misspelling of Bettie Page as “Betty Page” and frankly, I am completely lost in the description of this paper doll for playboys…
However, this post is not about the text or even the fact that you almost expect one of the options to be a smooth Barbie-doll-esque image to make Bettie go bottomless; it’s about the art of Lou Magila.
Jim Linderman of Vintage Sleazedoesn’t like this artist — or at least the guys’ works. But I have to vehemently disagree.
As a woman, I often find the most real thing about a man’s fantasy is the image of a pinup or media babe inserted into some sketchy scenario. Like the pornos with the world’s luckiest pizza delivery dudes, the scene isn’t as important as just getting to the babe.
Yes, a lot of attention is being brought to the fact that the women in the photos do not even look like the women who posed for them; but the only thing faker than the photoshoped objects of desire are the scenes and situations in which men place the perfected images of women. Is there anything wrong with that? No; they are fantasies after all. (Expecting them to be real is another matter entirely, and one at the very definition of “sanity”.)
So what’s wrong with cartoons, illustrations, comics that capture that luscious and ludicrous point of view? There’s something rather charming about the obviously juvenile approach to just sticking the woman into the simple bare lines. It makes me feel like the artist was aware of how simplistic fantasies are. I don’t know Magila; maybe he was self aware, maybe not. But like a lot of art, you just look at it and get impressions. My impression is that this artist was aware.
Did Magila rip-off other artists? Maybe he or the publisher paid for the rights; maybe not. Maybe, like the altered artists, digital artists, bloggers,etc. of today, artist and publisher alike just figured if they had their hands on something that meant it was in the public domain. Or perhaps they felt that there were enough changes to defend Maglia’s work as derivative. So far, the answers to those intellectual property rights are as unclear as the artist’s level of awareness of the simplicity of male fantasies.
As a burlesque performer or even an enthusiast you may have seen the old photos of Bettie Page in the “Guide for Strip-Teasers.” It was published in 1953 as a guide to show how much a stripper could reveal depending on what US. State she was in. Burlesque has changed a lot since 1953, most especially the underwear! Let’s take a journey through the ages from the beginnings of burlesque onwards, as a whole, to see how the last few layers of a showgirls costume have changed.
See on www.burlesquehall.com
Collecting vintage smut, as I do, I know who Vikki Dougan is; but I’ve been surprised a number of times by both the lack of recognition this iconic beauty has and the lack of information about her. So, ever obsessed as usual, I set out to correct the situation.
Vikki Dougan: you may not recognize her from the front, but you likely recognize her backside — hence her nickname, “The Back”.
A particular prominence was assigned, for instance, to ads which featured a young actress named Vikki Dougan. In memoirs of the period, individual ads featuring Miss Dougan are traced from house to house in ways that recall the hunt for a respectable provenance which plays so large a part in the authentication of Old Master paintings. Of an Esquire photograph of Miss Dougan, Richard Hamilton remembers: “I first saw it decorating a wall in [Alison and Peter] Smithson’s home. I gained my own copy from a student’s pinboard in the interior-design department of the Royal College of Art. Lawrence Alloway gave me the data on her; the photograph had impressed him sufficiently to make him regard it as a file-worthy document. It turned up again recently as one of a group of pin-ups in a painting by Peter Phillips.”
This biography attempts to fill in some of the blanks about Vikki Dougan.
Before she earned the notorious nickname (and a plethora of puns), Vikki Dougan was born Edith Tooker in New York in 1929, to her parents Wilber and Mary (nee Dougan) Tooker. Legend says that in 1946, at the age of 16, she becomes both a Miss Rheingold finalist (but is disqualified for being underage) and the wife of a William Symons, the owner of a local photo studio.
Vikki’s big break came in 1948, when she (as Vikki Stappers Dougan) won the eighth annual New York Skate Queen competition. In promoting the ninth annual event, the following was mentioned in Billboard (April 2, 1949):
The purpose of the event, a joint promotion of Empire and The New York Journal-American, is to select an ideal girl roller skater and glorify her for a year. Judging will be based on charm, beauty and personality, with no points whatsoever for skating skill. Contestants must only appear on skates. …Professional skaters models and actresses are banned.
(Vikki, as Queen, and finalists followed up in 1949 by heading the “first ever” fashion show, sponsored by the Roller Skating Institute of America (RISA), in which they modeled “30 attractive rink costumes, loaned for he occasion by the Lence Company,” according to Billboard, March 1949.)
Winning the 1948 skating title would launch Vikki’s pretty face and figure into work as a model — and into gossip Walter Winchell‘s gossip columns, linked to DJ Art Ford. Note that in this 1948 “Look Pink” ad for cosmetic company Cutex, she is even credited — but as Vikkie Dougan, “New York model and prize-winning skater”.
In 1949, Vikki Dougan the “’48 Beauty Queen of Figure Skating” is featured in a comic-strip-style ad for Camels cigarettes, meeting Betty Lytle, one of America’s top-ranking women’s roller skaters. (Skates would be sold with Lytle’s name.) This appears to be the last mention of Vikki Dougan the skater; probably to great relief of Lytle, Dougan, and everyone else.
All this attention unsettles her husband, Bill Symons. At some point after their daughter Debbie is born in 1950, he is said to have walked-out on their marriage. Dougan gets a divorce in Mexico and (per Winchell’s column in February of 1952) Vikki establishes residency in Florida while working as a cover girl at Ciro’s, in Miami Beach. Also about this time, she is signed to agent Louis Shurr.
In the October 26, 1953, issue of Life, Dougan appears not only on the cover, but in the feature article Careers Aplenty: Vikki Dougan models, acts, designs, mothers. In this article, Vikki is listed as 21 years old and is accompanied in the photographs by her three year old daughter, Debbie. The Life article lists Vikki as having started in modeling at age 13 (as Deirdre Tooker), studied at Betty Cashman studio, and appeared weekly in Jackie Gleason’s TV show — along with the clothes designing, mothering, etc. Life also mentions that Vikki “once caused a stir in fashion circles by using wigs to change her appearance and help her get more modeling jobs” — something also featured in Life (July 28, 1952).
Vikkie Dougan, the pretty blond model who made such a hit with Frank Sinatra in Florida recently returned to New York to discover that thieves had cleaned out her apartment. They took her dresses, jewelry, mink coat… and black wig!
May 28, 1954, there are the gossip reports that Vikki, “the young model, who made the cover of Life recently” had posed as Miss General Electric earlier that day.
Dougan continues to model (including the 1955 Flexees lingerie ad and on the cover of the George Shearing Quintet’s Velvet Carpet LP), be seen on Gleason’s show — and be mentioned in the gossip columns. In 1956, it was rumored that Gordie Hormel asked her to marry him. She appears as a show girl in Back From Eternity. On April 27, 1956, Winchell On Broadyway reports that Vikki Dugan, “the ‘Away We Go’ gal with the Jackie Gleason show”, signed with MGM. Or did she? On December 21, 1956, Dorothy Kilgallen reports that Dougan “is the first girl to be signed to a Batjac (John Wayne) contract since Anita Ekberg was given her big opportunity.”
In January of 1957, there are reports that Dougan has a role in The Great Man. (She would play Marcia, the new receptionist.)
March 29, 1957, Erskine Johnson‘s Hollywood Today column is titled Vikki Dougan Reverses Trend And Backs Into Film Career:
February 13, 1957, Hedda Hopper reveals that she, Louells Parons, and Hub Keavy are to “pick Miss 8 Ball of 1957. The choice has narrowed to Venita Steenson, Carolyn Jones, Vikki Dougan, Kipp Hamilton, and Adrienne Alison, all beauties. But we’ve go to decide on one, O, dear.” Vikki Is New Ca-rear Girl In Hollywood, by Lee Belser, is so full of puns that they couldn’t publish this on April Fool’s Day and instead published it on April 2, 1957.
Through this time, Vikki “The Back” Dougan makes the rounds in men’s mags, including pictorials in the April 1957 issue of Nugget.
May 7, 1957: Hollywood gossip columnist Harrison Carroll reports that Vikki has been made queen of the California Chiropractic Association’s “Perfect Posture Week.”
In Clothes Make The Act — And The Actor (Oakland Tribune, May 19, 1957), Lloyd Shearer writes a piece that seems to be tailor made for getting The Back out of negative press. In his article, Shearer begins by discussing this “new trend in show business” whereby talent draws on fashion and “practically any female “name” can earn “5,000 a week and up if her attire clicks with the press.” The piece appropriately finishes with Vikki Dougan & her dresses, stating that it was Milton Weiss (Hollywood publicist who’d worked with Anita Ekberg) who was, umm, behind Dougan’s look.
His first move was to have three expensive dresses made for her — without backs. He then titled his client “The Back” and had her appear at previews and parties in her plunging creations. Soon local photographers zeroed in on Miss Dougan’s bare spinal column, and gagsters began originating such cracks as, “Vikki Dougan makes the best exits in town.”
Finally Vikki was banned from someone else’s preview party because her backless formal was drawing too much attention. The incident received proper press coverage. Today Vikkie — born Edith Tooker in Brooklyn — is riding toward fame on the strength of her clothes, what there is of them. It’s a trend, all right.
You might not want to put too much stock in that story tho; it changes, as you’ll soon see.
As noted in that issue of Playboy, the photo that really started it all was a wirephoto which came from Dougan’s appearance at the Hollywood Foreign Press Association’s 1957 awards banquet. On July 10th of that year (some Old Guard Hollywood retaliation, perhaps?) Mike Connolly reported in his column, “New Hollywood game called True Or False: Guessing whether Vikkie Dougan got her idea for backless dresses from watching and old Marlon Brando movie…” (In reference to Sophia Loren in A Countess from Hong Kong.)
These photographs (undated, circa 1950s) taken by Life staff photographer Ralph Crane capture America’s love-hate with Vikki Dougan & her notorious backside.
In October of that year, press for Hollywood Queens Of Tomorrow, including an AP photo — in which Vikki is not shown from the back:
Fifteen young actresses for whom stardom is predicted wait to go on stage in Hollywood Friday at the fifth annual Deb Star Ball, sponsored by the Hollywood Make-up and Hair Stylists. Several thousand movie people were in the audience at the Palladium. Left to right: Joan Blackman, Peggy Connolly, Patricia Craig, Vikki Ddougan, Dolores Hart, Diane Jergens, Barbara Lang, Ruta Lee, Jana Lund, Carol Lynley, Erin O’Brien, Joan Tabor, Joyce Taylor, Rebecca Welles and Gloria Winters.
Ten days later, Vikki Backs In, Helps Maxie Promote Ice Cream Breakfast (by George Flowers, Independent-Press-Telegram, October 20, 1957).
On the 21st of that month, Vikki the starlet appears at the annual Publicists’ Association Ballyhoo Ball. This is the famed party where Greta Thyssen had a cheetah on a leash, Joan Bradshaw brought a lion, and Errol Flynn and Maura FitzGibbons were arrested on drunk charges; Vikki “Lady Godiva” Dougan was on an artificial horse.
December 22, 1957, Dougan uses giant scissors for the ribbon-cutting opening of a Safeway Market in Tarzana.
In 1958, Dougan attempts to change her image. It is noted; but still does not please. On March 24, 1958, Harrison Carroll accuses Dougan of wearing “a shapeless sack (looked like a nightgown) over a satin sheath.” On March 27, 1958, Vikki Dougan was reported to be at the Oscar Award Ceremonies — but still not pleasing anyone:
A bizarre note was added by eager starlet Vikki Dougan, who arrived in gaudy makeup and flapper costume.
Poor Vikki can’t win!
In his June 2, 1958, column, Earl Wilson asked Vikki “about the alleged practice of Hollywood gals calling guys for dates.”
“No, but suppose you’re going with an actor and you say after a premiere, ‘I’d like to go to Mocambo’ and he says, ‘But I can’t afford it.’ So you say, ‘I don’t want to embarrass you but couldn’t we go it I paid the bills?'”
It happened to her, she said, “and strangely enough, if men accept it, they resent it.” Vikki said she may be a sexbomb in the papers but she’s had three dates in a year. “The men you go with want to get married,” she added. “The trouble is, they never say when.”
Meanwhile, photos of her continue to circulate in the various men’s mags.
May 23, 1959, Harrison Carroll uncovers Dougan professional and relationship news.
If she listened to Lili St. Cyr‘s estranged husband, Ted Jordan, actress Vikki Dougan soon will be displaying even more epidermis than in those backless gowns that used to make Hollywood night clubbers gasp.
Jordan, who just started to date Vikki, tells me she would be great in a genteel strip act.
“She reminds me so much of Lili,” he says. “They have the same nose and mouth, the same beautifully arched back. Vikki is not quite as tall as Lili, but, otherwise, their measurements are about the same.
“And I heard Vikki sing. She’d really do great in night club work. I know the ropes and I could help her.”
I checked with Vikki. She’s not convinced, but she’s listening.
In October of 1959, “Remember Vikki Dougan?” is the headline. Not only has she fallen out of the press, but apparently work of any kind. She, and her nine year-old daughter, have been living off a $40 weekly unemployment check for the past eight months.
A similar article runs in November of that year, in which Dougan says the reason she wore a backless dress in the first place was to avoid posing “in bikinis and other cheesecake.”
The ever-helpful Erskine Johnson’s got Dougan’s back again at the tail-end of January of 1960, allowing the actress to spin more tales about her notorious backside.
February 22, 1960, Vikki Dougan (misspelled “Vicki Dougan” in the photo caption) is one of the judges for the Miss Pasadena Contest.
But then crickets chirp and Dougan disappears until August 28, 1960. Then photos of Vikki and former Texas Christian football player tuned actor, Jim Sweeney, appear over the AP and are widely picked up — primarily because he places the diamond engagement ring (along with a friendship ring) on the toe of her left foot. Days later, on September 3rd, she (as Edythe A. Tooker) marries James R. Sweeney; he’s 25, she’s 24.
The Pacific Stars & Stripes reports that “Vikki Apparently Needs No Direction” on the set of Peter Gunn (The Candidate episode). (September 16, 1960; photo of Dougan with caption about her appearance on Peter Gunn from San Antonio Light, October 23, 1960.)
Dougan appears in episodes of Michael Shayne (Murder Is a Fine Art) and Sea Hunt (Amigo) in March of 1961. But it’s rather silent, again, until November 20, 1961, when promo photos and pun-y lines about Dougan doing the twist at New York’s Peppermint Lounge appear.
On November 26, 1961, Walter Winchel reports that Vikki had “told chums she will sue Leo Guild for including her in his soon-due book Hollywood Screwballs which mentions Oscar Levant, Bing Crosby, F. Sinatra, and Jayne Mansfield, who aren’t suing.”
September 9, 1962, columnist Connolly quips, “Vikki Dougan, who used to pose in backless gowns, is slamming out a slim volume of verses to be titled “Purple Mud.” Vikki tells me it will be a backless book.” (If anyone show me a copy — or even prove it wasn’t just a joke, please do!)
January 18, 1963 Vikki appears in Los Angeles court to divorce Sweeney, claiming he deserted her after going through her $10,000 savings. The divorce is granted and she accepts a $1 per month alimony.
On June 3, 1963, Earl Wilson reports that Vikki plans to open up a Hollywood barbershop for men.
“Remember Vikki Dougan, Hollywood’s gift to the world of backless dresses? She just signed for a feature role in Hootenanny at MGM,” reports Connolly on July 22, 1963. (She did appear in 1963’s Hootenanny Hoot.) But that didn’t pay the bills; August 11, 1963, Wilson says, “Backless Vikki Dougan now works for a cosmetic company.”
In its January 1964 issue, Cavalier runs a “The Back Is Back” pictorial which features 12 nude photos of Vikki Dougan. Dougan initiates a lawsuit against publisher Fawcett, stating that she posed nude for photos for Playboy, but later backed-out, and they did not have her permission to publish them.
There are a few scattered gossip “spottings,” but nothing much of note until February 22, 1967, when Harrison Carroll reports:
Despite the fact that she took along four wigs, my scouts spotted actress Vikki Dougan at a Houston prizefight with famed attorney Melvin Belli. And they looked just as affectionate as they did recently at Scandia. Can’t blame Melvin. Vikki is a beauty. Understand the two also were in Chicago together and visited Hugh Hefner.
Also in 1967, she would appear in Hotel. And there were reports Dougan, along Sugar Ray Robinson, was part of the cast of Tony Randall & Mickey Rooney’s Las Vegas rendition of The Odd Couple at Casear’s Palace.
In November of 1969, the Fawcett/Cavalier lawsuit is settled out of court. Vikki says the magazine paid her $75,000 to settle; Fawcett Publications, Inc., says it didn’t pay that much.
March 21, 1974, Earl Wilson’s It Happened Last Night column focused on “Shutterbug Respect” and mentions that Vikki Dougan (still haunted by her notorious back-side views) “has joined the profession.” (The profession of photographers, that is.)
And after that, Vikki Dougan seems lost — save for those who fell in love with her image. Along with inspiring pop art, Vikki and her sexy back would be the inspiration for Jessica Rabbit.
Here’s a 2009 interview with Dougan, in which she dishes about Jessica Rabbit and Sinatra:
I’d love to know more, so, if you know something — if you know Vikki! — please do share.
In Dan Goodsell‘s collection, “‘Nudist Scamps’ statuettes; charming, well-posed girls who resembled Fred Moore’s famous pinups in 3-D. These are attributed to a Verdan Lolayne of Hollywood, California. Later called(or acquired by)’Rick’s Figurines’.”
According to a past auction listing at WorthPoint, one of these vintage figurines had a paper tag on the bottom that reads “created by d bensinger hollywood california 1945 manufactured by rick’s figurines.”
Paper labels, rather than embossed or impressed markings on the plaster itself, may be more than partly to blame for us not knowing who designed and/ or manufactured these pieces.
What separates all these vintage pieces from the coveted pieces currently under obsession from the above is what also the most alluring about them. The vintage plaster or chalkware figurines have little fabric skirts or loincloths which may come on as modest cover-up, but which really reveal the most about human nature. Most men refer to their dolls as “action figures” and these pieces are no different. No, we’re not talking sex dolls here; but they certainly offer more erotic masturbatory appeal than the others. For before you even know what lies beneath, even when you assume it will be the usual and disappointing smooth generic V, you just have to do more than just look at these figurines — you have to brush the fringe aside with your finger tip and get a look. Surprise, these vintage pieces show the genitalia!
Oddly enough, for vintage pieces depicting “exotic” or “sepia” female beauties, the pubic mounds are sans hair.
Aren’t you just dying to flip the grass skirt made of string aside on this vintage piece by what appears to be Ferguson Studios?
Not all of the pieces with “skirts” or “clothing” were as explicit. This vintage “hula girl” simply has the “smooth V”. However, she is a much more crude piece in terms of all-over quality, including the skirt.
I’m not sure if the lace skirting on vintage plaster wall piece is original, or what it hides…
Ditto this marked piece from Canon Art Statuary U.S.A.
This piece, in an Art Deco style, is less risque, but she has a real string bow.
Quick collectors’ notes:
* Most all appear to hail from the 1940s and 1950s.
* Size range appears to be between 7 and 17 inches.
* The more pinup style pieces and art nude poses range in price from $30 to $60; the more beautiful and fine the piece, it may even reach $100. The more explicit pieces are range from $100 – $200.
If anyone can add more the story of these vintage smut collectibles, please do let Silent Porn Star or I know!
Because (nearly) every little girl loves horses (I sure did!), it shouldn’t be surprising that a shelf full of horse figurines would be among the decor shown in smut to designate the juvenile status of the woman. However, in this case, one would be pretty hard-pressed to suspend their disbelief that this “babe” disrobing to her stockings and suspenders is an innocent teen; she looks a lot more like a mom in her daughter’s room — perhaps there to dust the Breyer horses, nodding dogs, and 45 RPM records. For more thoughts on this: When Lollipops Make Us Suckers (NWS).
I’ve often viewed sexual objectification as a passive-aggressive thing. As in the human being objectified (most often a woman) is passive to the aggressive actions (usually from men). What clinches the deal and makes it textbook passive-aggressive behavior is how the perpetrators are so insistent in their disavowal and sullen in their complaints of being misunderstood. These vintage watches (from martonmere at Etsy) are the perfect illustration of such sexual objectification of women. Note how the male penis is the automaton, moving up and down as the watch ticks, while the females remain unmovable, unfazed, objects to receive. (Not to mention, the watches need winding, and this whole subject winds me up!) More on these sort of watches here.
EBay seller LadiesOnFilm carries a large number of vintage risque and nude images from publishers of adult magazines from the 60’s through the 90’s. It’s rather clear that many of them are the unused outtakes; but then, I guess “outtakes” are in the mind of the viewer.
It’s funny how often the “bad” pictures seem more natural than the “good” pictures. I find this photo of Carol Newell (by Ron Vogel, 1968) charming. It’s how a woman sits on the stairs, relaxed, not worrying about the planes of her face and the contours of her body… There’s no arching of her back while pointing her toes. That’s how the real girl next door sits.
The women struggle to look natural in odd poses. While the props are often dated and hysterical, it’s the desperate poses for the sake of sexual puns which are far funnier. I can just hear the photographer saying, “That’s it, that’s it, baby. Now just crawl along the floor and choke that plaster snake statue…”
I’m not saying that no simply nude woman has ever taken a bad photo, but they are far more beautiful than those photographs which overreach — either in physicality or in attempts at innuendo.
But instead she lost her panties. (Insert bawdy laughter and snickers here.) A vintage naughty novelty chalkware ashtray which, if money were no object, would be added to my collections (both the “women’s” collection and my chalkware collection. Signed and dated copyright 1952, J H Fuller. Available for sale here.
When I spotted the cover of the Fifty Shades magazine leering at me from it’s in-your-face product positioning in the check-out lane at a local grocery store, I immediately broke out into a grin of disbelief. Here? In Fargo, North Dakota?! How utterly fabulous!
In a world where human sexuality is taboo — and women’s rights to have it is steadily shrinking, I was so giddy with the mere idea of the magazine sitting on display so blatantly, so defiantly, that I pounced on a copy. And unable to contain myself, I dared to speak aloud.
“I bet you’ve seen a lot of these leaving — and with old ladies like me,” I said to both the male cashier and the bag boy precisely at the moment the cashier was scanning the publication.
The cashier managed to avoid eye contact and comment via hyper-focus on his check-out duties. The bag boy, caught off guard, looked to see what I was speaking about as it was handed to him and he awkwardly, loudly, replied, “Umm, we must have just got these in; I haven’t seen them before now.” Followed by profuse blushing as his brain caught up with what his eyes were reading.
It was rather anticlimactic.
Even though I’m not sure what I was expecting or hoping for.
But if buying this magazine was anticlimactic, it was a major disappointment to read it.
Filled with pages of uncredited “articles” which were so bland it would make the much disliked and even hated Cosmo seem intelligent, Fifty Shades just left me feeling sad, yet again, about the sad state of magazines for women.
In Underwary, feminist platitudes serve to bolster mocking men — while focusing primarily on male pleasure: “It’s your body,” “Men don’t understand lingerie,” “He will blow it,” “Instead of letting him navigate the world of satin and lace all alone, surprise him and say you’re going shopping together. He’ll think you look great, you’ll feel great, and everyone will benefit. (But mostly him.)”
Oh, and don’t forget to exercise and diet too.
Because it’s important for women to focus on their appearance even during fantasies.
Now, I’ve never ready any of the 50 Shades books, so as an ethical reviewer I can’t say anything about how “true” the magazine is to the “steamy series”. But that won’t stop me from having an opinion — an educated opinion — regarding the reaction to the books.
As a woman, I’ve not only taken a rather long road to my own personal sexual discoveries and satisfaction, but along the way I’ve uncovered and pondered our historical and cultural cues regarding sexuality — these being, largely, the reasons it was such a long road. And as a collector, I’ve been documenting this as a part of women’s history as well. The short story is that this whole Fifty Shades thing is not new. Not in terms of books; not in terms of shock and backlash either. We have a lot of dumb rules and taboos about gender and sex (NWS).
For those reasons, this Fifty Shades magazine will not be tossed out but rather saved as part of my collection. As will my scarlet letter “A”. (I got mine! Did you get yours?) The difference, obviously, is which one I believe in, like, admire…
The biggest question then is, do I leave some sort of notes about that so that my kids or future people know why I saved these things, what kind of person I was?
For men who, unlike the Mad Men, didn’t have their own private secretaries to humiliate and fondle, there was Ellen the Eye Opener:
Yes, sir! When there’s a job to be done, a service to perform, or a need to be met, we’re ready for action. And when it’s time for a smile, we like to erase those frown lines with something on the light side, for all work and no play makes Jack a dull boy.
So… meet Ellen, the Eye Opener, a girl who’ll appeal to your “mail” instincts… as she opens your mail, let her serve to remind you of us. Treat her nice… she’s a swell gal.
[A] Gil Elvgren designed plastic letter opener entitled “Here’s an Eye Opener” produced by Brown & Bigelow between 1958-1960, including the original sleeve on card stock. This fun 3D letter opener, with a flat back,is done in “accurate” curvy detail, and is in very fine condition, as pictured, and measures 8.5″ x 2.5″ at it’s widest point. The folding sleeve which creatively ‘undresses’ Ellen our pin-up model measures 8.5″ x 7.25 opened, is in excellent shape with no tears or visible toning.
The medallion she is holding above her head would have had the name of an individual business – in this case from “Mannequin Service Company – Saint Paul MN” – used as customer giveaways.
Given all the ruckus about breast feeding in public (something which relegated me to the isolation of many a stuffy room, even during family gatherings), I consider the right to bare breasts right up there with the right to bear arms. So meet crusader and an activist Moira Johnston, aka The East Village Topless Lady, who is working to spread the all-important message that it is legal for women to be topless — at least in New York City, since 1992.
Among other things, the 29-year-old discusses being harassed by middle-aged men and debating going topless with passersby (including one man who says topless women are “going against God’s law”). Johnston also tells how she was detained by cops for over an hour this week (because she was topless near the children’s park in the square), then released when they realized they couldn’t keep her. The arresting officer told her “it could be considered endangering the children…I asked his personal opinion, and he said he didn’t think it was endangering the children.”
And then there are the bare breasted broads abroad, taking to the streets, using their bare breasts to sell more than merchandise or sex itself. The women of Ukrainian based FEMEN use it to sell social change. They demonstrate for everything from women’s rights and the economy to terrorism and corruption, including against politicians like Putin.
FEMEN was founded by three young women living in Khmelnytskyi, Oksana Shachko, Anna Hutsol, and Sasha Shevchenko, primarily university students whose parents hoped that they would get married early. From an interview with Shachko:
There were hardly any jobs to be had, and the men drank. The girls, for their part, spent long evenings discussing philosophy, Marxism and the situation of women in post-Soviet society. They decided that instead of getting married, they would bring about change.
There were only three of them at first, but now the movement, whose ranks include students, journalists and economists, has spread throughout Ukraine and includes more than 300 women. Calling themselves “Femen,” they have started a movement that has also caught hold among women in Tunisia and the United States. It’s a movement that even encourages experienced women’s rights activists to undress.
Not surprisingly, FEMEN activists appear all over Europe, including in the Vatican City.
Should you wish to take to the streets to defend your right to bare breasts, or to bare your breasts for social change, you’d better know the laws. [It’s currently illegal for women to be topless anywhere in the US, save for breastfeeding (which still raises hell), except for New York.] Not that imprisonment is always seen as a barrier to activists of social change; but you should know what you’re up against and make your educated decisions.
Today, at Collectors Quest, I get to find out the truth behind what shocked my teenaged-self so much: keyboard art nudes.
Seems that what I’d seen then was ASCII art, but more likely done by a computer program operating off of a photograph, not a person. I guess it makes more sense that way… Some computer nerds (or geeks?) at the office goofing off with technology, not doing art for art’s sake by hand. (Though, I suppose, to be fair and sex positive, hands were likely involved at some point.)
The image is from this gallery of ASCII art nudes. This is “Ms Collins” or “Vicki” from created from Oui magazine, February 1973. I selected her because she seems a lot like one of the nudes I’d seen that fateful day.
…A day way back then, when parents could display nude artwork and not cringe or worry when they gave the babysitter a tour of their house.
For these works go beyond the issue of basic nudity in art, beyond even the matter of erotic art, to explore sexuality along with religion and what appears to be the opulence of wealth.
I’m no expert, in art or in the French language, but I’m rather certain these works by Marcel Vertes (Le Pays a Mon Gout aka The Country to Your Taste, 12 original lithograph prints, circa 1921) and Martin van Maele (De Sceleribus et Criminibus , 11 erotic etchings circa 1908) are not theoretical works expressing confusion or commentary on the corruption of religion or other issues of decadence, but rather are fantasies exploiting such distorted delights — i.e. they are 100% erotica, illustrated meant to arouse.