A movie poster for the 1986 film ‘Reform School Girls’ with Wendy O. Williams, Sybil Danning and Andy Warhol pal Pat Ast (pictured prominently above).
 
The “WIP” (“women in prison”) film genre has several sub-genres ranging from nuns in prison to an interpretation favored mostly by European filmmakers who loved to include Nazis in their chick-centric prison flicks. Italy, Germany, and France put out quite a few WIP films back in the 70s and 80s, as did the U.S. of A. and the Philippines. When the first women in prison films made their way to the big screen they were more dramatically inclined. One of the very first films to tell the tale of a girl behind bars is Hold Your Man starring the profitable on-screen power couple of Jean Harlow and Clark Gable. The film is full of some pretty salacious stuff. Thankfully, this was 1933 and Hollywood films were still getting away with more on screen prior to the enforcement of rules laid out in the Motion Picture Production Code of 1930 being widely adopted within the industry as it wasn’t really wasn’t policed until late in 1934. Which made a film like Hold Your Man—whose plotline involved a gorgeous blonde getting stuck behind bars while she’s knocked up with her lover’s baby—possible.

You can find WIP films in every decade but because both the 1970s and 1980s are so near and dear to my heart—and because I’d quite frankly love the opportunity to do another one of these posts—we’re going to stay put in those two consecutive decades. The genre can be pretty strange and runs anywhere from girl-heavy drama which would generally fall into the “redemption” film category to straight-up pornography. In the 1950s WIP films were heavily influenced by pulp fiction novels but it wouldn’t take long for the films to evolve (or devolve perhaps) into exploitation flicks with lots of nudity, sex, violence, rape, and notably deviant plotlines.

The popularity of the genre and its many sub-genres soared during the 70s and 80s which would bring us , Chained Heat starring teen queen Linda Blair and Wendy O. Williams’s prison warden in Reform School Girls. So now that I think I’ve given you more than a few compelling reasons to take a deep dive into this strangely complex film genre, I’ve posted a large selection of WIP movie posters that are mostly NSFW as you would expect them to be.
 

‘The Big Bird Cage’ with Pam Grier and Sid Haig
 

A German movie poster for ‘99 Women.’
 
More after the jump…

The cover of ‘Brown Acid: The Fourth Trip.’ 
 
Some of the mind-melting jams on Brown Acid: The Fourth Trip are so rare that the die-hard fuzz junkies who compiled the Brown Acid series say that you’d have a better chance of hitting the lottery than finding a physical 45 single by the bands featured on their latest installment. If there’s one thing that vinyl nerds love it is unearthing something that nobody else they know has in their collection, and Brown Acid: The Fourth Trip brings more music from unsung bands like Australian heavy metal/psych band Ash; Kanaan out of Dangerfield, Texas; and the proggy sounds of nearly unknown Indiana band, AXAS and their four-minute tribute to “Lucifer.”

Since I enjoy a challenge I had a lot of fun digging up details on a few of the bands that are featured on the latest installment of Brown Acid. Though “Lucifer” is the only AXAS tune that the band has licensed in over 40 years, according to AXAS band member Bill Carbaugh it seems that the group put out more than 65 songs during their six-year run. So guarded are the band of their back catalog that Carbaugh keeps the copyrighted and notarized score for “Lucifer” locked away in his safe. In light of this information, there’s likely a good chance that we have yet to hear the last from AXAS. Then there is Aussie band Ash, whose sick stranglehold of a single “Midnight Witch” popped up on Brown Acid: The Second Trip which we premiered here on DM last year. This time their ripping track “Warrant” will kick your ass all the way from 1971 with its impossibly psychedelic riffs and vocals that make the band sound like a much heavier version of Jethro Tull.

Rounding out the nine singles on Brown Acid: The Fourth Trip is the pre-punk sound of Chicago band Bad Axe. Inspired by The Rolling Stones, Deep Purple and The Who, Bad Axe vocalist and guitarist John Turner recalls that the recording sessions for “Coachmen” were done while the band consumed Jack Daniels and a bunch of weed. However, due to various issues especially a lack of finances (and maybe being too stoned) Bad Axe was never able to actually able to get their recordings pressed until 2014 when Permanent Records uncovered the band’s recordings and put out both “Coachmen” and “Poor Man, Run” on 45 which promptly sold-out.

Listen after the jump…

The great Kurt Vonnegut.
 

“An erect penis has no resemblance to the kind that they have seen on statues in parks or on small boys paddling the seashore.”

—Authors of An ABZ of Love, Sten and Inge Hegeler on what it is like seeing a penis for the first time.

 
Inge and Sten Hegeler were a bit like the Danish version of Masters and Johnson, the transformative American research team that revolutionized human sexuality. Hegeler was a psychologist and author who specialized in sexology. In 1948 Hegeler published the book Hvordan, Mor? ( How, Mother?) which was considered one of the first books of its kind to detail such direct, honest advice on how to provide sexual education to kindergarten-aged children. After getting his own psychology practice up and running he and Inge would go on to publish a few other notable books including one that Kurt Vonnegut kept on his own library shelf, An ABZ of Love.

Vonnegut was so taken with the publication that he wrote a letter to his wife letting her know where she could “find” the book in his library. The book itself, which was self-published by the pair in 1962, was exhaustive when it came to its range of information. And I mean they covered everything including topics that were (and are still by some) considered taboo which made ABZ a rather boundary-smashing publication that voiced a clear, positive opinion about equality and its relation to gender, color or one’s sexual identity. They were also fond of using proper words such as “cock,” “pussy” and “fuck” to describe specific actions or attributes within the book’s nearly 300 pages. No wonder Vonnegut adored it enough to write his wife a love-letter of sorts about it. In fact, here’s a short epigrammatic passage from ABZ that sounds a whole lot like Vonnegut wrote the advice himself.

So there are two paths we can take: one is try to deny and suppress our emotions and force ourselves to think sensibly. In this way we run the risk of fooling ourselves.

Hi ho. At this point, it seems pretty clear to me that everyone should own a copy of An ABZ of Love. It is also quite possible that there are many among us that could use a little refresher course on the ins and outs of what we all think about every single day, sex, as it just doesn’t come in one flavor. You know like vanilla? I’ve included many illustrations by Krag from the vintage book, which has been published in fifteen different countries, along with their often amusing captions below. Many are NSFW.
 

Text reads: “It is possible to be lonely in a group, too.”
 

 
More after the jump…

A trading card from the ‘Grindhouse Girls’ set put out by Rigomor Press in 1992.
 
This set of sexed-up trading cards featuring strippers and exotic performers from the 50s and 60s was put out in 1992 by Rigomor Press who also put out a few other controversial trading card sets such as Incredible True Life Murderers in 1991 and The World’s Most Hated People in 1992.

The Grindhouse Girls set contains images of well-known adult performers such as Blaze Starr and Maria Villa who performed her exotic act with a snake. The black and white images are a fantastic throw-back to when adult performers used pasties, big hair, and kooky gimmicks to sell their sex appeal. Best of all, like many other vintage trading card sets, when you flipped the cards over you could assemble a giant puzzle—but instead of scene from Charlie’s Angels, you get to put together a picture of “Goddess of the Jungle” Naja Karamuru who was considered to be Brazil’s answer to Jayne Mansfield. Karamuru was a superstar of the burlesque scene back in the 50s and 60s and like Maria Villa, she shared her stage with a number of snakes including two pythons and a cobra. I’ve included images of all twenty cards from the set which occasionally come up for sale on auction sites like eBay if you’re interested in acquiring one for yourself. Though there isn’t any real nudity, strippers and pasties generally equal NSFW.
 

 

 
More ‘Grindhouse Girls’ after the jump…

 
Enjoy this stellar collection of rare lobby cards that once graced movie theaters all over West Germany. Included in this collection are films from late ‘60s British cinema: comedic spy-fi Modesty Blaise (1966) starring Monica Vitti and Dirk Bogarde, The Spy with a Cold Nose (1966) starring Daliah Lavi, spy comedy film Casino Royale (1967) starring David Niven, Peter Sellers, and Woody Allen, Fathom (1967) starring Raquel Welch, Privilege (1967) starring Manfred Mann’s Paul Jones, The Day the Fish Came Out (1967) starring Candice Bergen, The Jokers (1967) starring Michael Crawford and Oliver Reed, Diamonds for Breakfast (1968) starring Marcello Mastroianni and Rita Tushingham, Duffy (1968) starring James Coburn, spy thriller Hammerhead (1968), swinging sex romp Here We Go Round the Mulberry Bush (1968), Oskar Werner drama Interlude (1968), Sebastian (1968) starring Dirk Bogarde and Susannah York, crime film The Strange Affair (1968) starring Michael York, space western Moon Zero Two (1969), and Two Gentlemen Sharing (1969) starring Judy Geeson.
 

Modesty Blaise (1966)
 

Modesty Blaise (1966)
 

Modesty Blaise (1966)
 

The Spy with a Cold Nose (1966)
 

The Spy with a Cold Nose (1966)
 
More after the jump…

Marlene Dietrich, as ‘Bijou Blanche’ in a feminine version of a Navy officer’s uniform from the 1940 motion picture ‘Seven Sinners.’
 
Before you watch this sixteen-plus minute training video put out by the Navy in 1967, you’ll need a little background on this vintage piece of sexist “how to.”

How to Succeed with Brunettes’ is one of nearly 3000 training films produced by the U.S. Navy during the 1960s that range from topics such as “good hygiene” to how women enlisted in the military should “conduct” themselves around their male counterparts. It’s also said that the film was lampooned by the television news program 60 Minutes in its early days and that the show even presented the Navy with a “faux Oscar” for How to Succeed With Brunettes for being the most “unnecessary” and “fiscally wasteful” film on record for the time. For you see, back in 1966 it was tax dollars that covered the $64,000 tab for creating this cringe-worthy film.

More after the jump…

The cover of ‘Rock A Bye Baby.’ A horror novel from 1984 by prolific horror writer Stephen Gresham.
 
A huge tip of my hat goes out to the exhaustive blog Too Much Horror Fiction (is there such a thing? I think not) for inspiring this post. Curated by the self-described “neat, clean, shaved & sober” Will Errickson, the site has been cataloging and reviewing vintage horror novels since 2010. As a bonafide horror junkie, I’ll never understand how I didn’t know about this site until today. If you’re a horror nerd like I am and were perhaps not hip to Errickson’s dedication to the books that helped shape our youth, then welcome to your new Internet time-killer. Zing!

I’m sure a few of the books I’ve featured in this post will be familiar to you—such as the cover of the 1976 book The Fury which was the basis for Brian De Palma’s 1978 film of the same name starring Kirk Douglas, John Cassavetes and Amy Irving. I’ve also included a few H.P. Lovecraft paperbacks featuring fantastic cover artwork that will bring you right back to those times you spent spinning those revolving metal book racks around hoping to find a cover repulsive enough to freak your parents out with. If this post gets you pining away for this kind of vintage goodness then you’re in luck as many of these books can still be found on auction sites such as eBay and Etsy. Some of the artwork that follows is slightly NSFW.
 

The 1976 cover of a reprint of the novel by Jack Finney ‘Invasion of the Body Snatchers.’ Finney original penned the book, which has been adapted into several notable films, in 1955.
 

‘Evil Way,’ 1990.
 
More macabre book covers after the jump…

The cover of the 1960 book ‘Transvestism Today: The Phenomenon of Men Who Dress Like Women.’
 
According to a note on the back cover of the 1960 book Transvestism Today: The Phenomenon of Men Who Dress Like Women, viewing the book was only for the eyes of those affiliated with the medical community, psychoanalysts or students currently pursuing degrees in “psychology or social studies.” Written by the rather prolific Dr. Edward Podolsky and noted “hack” Carlson Wade, the duo authored many books together on sexuality and psychology. Including The Modern Sex Manual in 1942 which divulged some rather stunning revelations such as the “abnormal” act of masturbation can “dull” the feeling of intercourse:

Masturbation, if it has been indulged in excessively before marriage maybe be a cause of lack of orgasm during coitus. In women, masturbation brings into play abnormal channels of nerve stimulation, and as these are not stimulated during the normal act, the woman fails to achieve and orgasm. In most cases if masturbation is dropped completely and normal sexual activity substituted for it, the normal channels of nerve stimulation will in time bring about a normal enjoyment of the act.

It seems all that is missing from the good doctor’s assessment is that you might also go blind while pleasuring yourself. Podolsky and Wade’s Transvestism Today book is chock full of photographs of famous drag queens such as the alluring Parisian “Coccinelle” (born Jacques Charles Dufresnoy). Coccinelle was notable for many reasons including being the roommate of Salvador Dali muse Amanda Lear and the first French-born man to undergo sexual reassignment surgery which was performed in Casablanca in 1958.

When it comes to Wade’s contributions to the literary world, in addition to to his many collaborations with Dr. Podolsky (including six manuals from 1963 referred to as their “Epic Sexual Behavior Series”) he is also responsible for a series of sleazy pulp paperbacks such as a book on Coccinelle published in 1963 titled She-Male: The Sex-Reversal True Life Story of COCCINELLE. There was also a claim made by Bob Blackburn, the executor of Ed Wood’s estate (on behalf of his second wife Kathy O’Hara) that Wood was actually Carlson Wade and had written the 1958 book by Wade Conquering Goddess. And just because I love to throw our DM readers a good old-fashioned curveball, Wade also penned loads of trash under the name of “Ken Worthy” among other pseudonyms. But as I often do, I digress. Why don’t we take a look at the table of contents from Worthy/Wade/not-Wood 1967 book The Queer Path, shall we?:
 

The Table of Contents from Wade Carlson’s book ‘The Queer Path,’ 1967.
 
Moving on, here’s more anti-gay rantings from Worthy/Wade as published in 1965’s The New Homosexual Revolution lest you have any doubt of the author’s feelings about the gay community of the 1960s:

As the ranks of the homosexual is constantly swelling by greater and greater acceptance of this condition as an ‘illness,’ the ranks of the male prostitute is also swelled.

I’ve included images of both pages from both authors’ books as well as other salacious imagery that I’m sure will make you wonder if Dr. Podolsky perhaps got his degree out of a box of Cracker Jacks.
 

A page from ‘Transvestism Today: The Phenomenon of Men Who Dress Like Women.’
 

An illustration accompanying Carlson Wade’s article on the ‘strange erotic impulse’ of ‘Vampirism.’
 
More after the jump….

One of a series of sexist ads by cigar maker Tiparillo from the late 60s.
 
Cigar maker Tiparillo launched this charming advertising campaign back in 1967. It featured beautiful, buxom females portrayed as “professional” women such as a marine biologist, lab technician and a librarian in various states of undress. In the case of the bespectacled librarian it would appear that she’s entirely nude with the exception of the book she’s naturally using to strategically cover her bare breasts. The old adage of “sex sells” is never wrong, but neither is the fact that when sex is used to sell something it often comes loaded with heavy doses of sexism.

Such is the case with these particular Tiparillo ads that were likely used by men’s interest magazines such as Playboy (you can actually see the Playboy logo on the “marine biologist” one at the top of this post) so yeah, I get it. Cigarette marketing to men should involve boobs and submissive-looking women (or TWINS!) giving hope to the idea that proffering a distinctly phallic Tiparillo is the key to sexy times with bodacious (and intelligent) half-naked females. I can’t lie, I nearly spit out my vodka tonic when I saw them and I hate wasting good booze. While the images are fairly amusing (and a little rapey if you ask me) it’s the captions that attempt to tell the “story” behind said Tiparillo man and that indiscreet object of his desire. Here’s the one attached to our sexy librarian that you’ll see below:

She’ll read anything she can get her hands on. From Medieval History to How-To-Build-a-24-Foot-Iceboat. Loves books. Loves new ideas. Okay. No Doubt, she’s seen the unusual slim Tiparillo shape. She’s been intrigued by the neat white tip. She may even know that there are two Tiparillos. Regular for a mild smoke and new Tiparillo M with menthol for a cold smoke. Your only problem is which to offer. P.S. If she accepts our Tiparillo remember to fumble with the matches until she decides to light it herself. That way, she’ll have to put the book down.

If there were any more innuendo in that ad it would be for Viagra. Anyway, I’m sure these vintage ads will probably cause you to experience a wide range of emotions as they did yours truly. And as you might imagine they are kinda/somewhat NSFW.
 

 

Going to the dentist has never been so much FUN!
 
More sexist cigar ads after the jump…

Brigitte Bardot posing on a yellow Harley-Davidson chopper built by Maurice Combalbert.
 
It’s fairly well known that golden haired French film goddess Brigitte Bardot was a huge fan of the Solex (or “Velosolex”), a kind of moped/bicycle hybrid which the bombshell was widely photographed riding around in the 1970s. No stranger to knowing how to have a good time Bardot was also photographed tooling around while looking flawlessly beautiful on other kinds of motorized two-wheelers such as a Yamaha AT-1 for which Bardot did a series of 1971 print advertisements clad in hotpants and white gogo boots.

Some of the most iconic photos of the actress/model/singer and animal rights activist (Bardot dedicated herself to helping animals after retiring in 1973) and a motorcycle were taken along with a Harley-Davidson custom built by Parisian chopper pioneer Maurice Combalbert when Bardot performed her wacky love proclamation to the iconic motorcycle on her 1967 French television special Brigitte Bardot Show.

Here’s a nice selection of Brigitte Bardot looking cooler than any of us will ever look on various motorcycles, as well as a few where she’s making riding a regular bike look like the best time ever.
 

 

More Bardot on bikes after the jump…

An illustrated poster for 1971’s ‘The Erotic Adventures of Pinocchio.’
 
I’ve seen my fair share of what your Mom refers to as “dirty movies” in my lifetime and I’m sure most of our Dangerous Minds readers have too. As I also know that many of you have a thing for movie posters it is with particular amusement and pride that I bring to you a collection of illustrated movie posters advertising various ‘X-Rated’ films from the 1960s and 1970s. Pretty much no topic was off limits back then apparently. There was even an erotic flick based on the sexploits of Pinocchio. Which I suppose makes perfect sense when you think about it (ahem) long enough.

One of the more amusing aspects of these film posters is the cheesy tongue-in-cheek copywriting that accompanies the posters that’s supposed to help sell you on the idea that the Erotic Adventures of Pinocchio would be a good time because “his nose isn’t the only thing that grows!” A few others are also are based on stories originally conceived for kids such as Cinderella (“the sexiest comedy of 1977 Cinderella 2000”), Alice in Wonderland or 1969’s The New Adventures of Snow White which I believe I’m safe in assuming involves sexytime with at least seven dwarves. At least I hope it does.

If you’re digging them like I do most of the posters featured in this post can be purchased over at Heritage Auctions and other online auction sites. It should go without saying I wouldn’t be doing my job right if I didn’t say that many of the images in this post are NSFW. You already knew that, right?
 

An X-Rated musical version of ‘Alice in Wonderland,’ 1976.
 

‘Cinderella 2000,’ 1977.
 

‘The New Adventures of Snow White,’ 1969.
 

‘Thar She Blows,’ 1968.
 
More after the jump…

The cover of ‘Rent Party’ illustrated by Eric Stanton, 1964.
 
Fans of fetish artist and illustrator Eric Stanton allegedly included Howard Hughes, Douglas Fairbanks Jr., and well-known white cotton panty enthusiast Elvis Presley. During the 50s and 60s Stanton’s illustrations of tough, truculent women (often clad in bondage-style outfits) graced the covers of a huge number of “adult oriented” pulp novels and paperbacks that to this day are as controversial as they were six decades ago.
 

‘Young Danny,’ 1966.
 
Stanton was a part of a group of New York City-based fetish artists who were all getting their start around the same time like Bill Ward, Bill Alexander, and Exotique magazine illustrator Gene Bilbrew. In the late 1940’s after responding to an ad placed by the notorious Irving Klaw, Stanton’s illustrations started to get a bit more attention. He would then go on to improve his artistic style under the tutelage of the pioneering comic illustrator Jerry Robinson—the creator of Robin the Boy Wonder; the Joker; Bruce Wayne’s butler, Alfred; and Two-Face. Later, at the urging of Klaw Stanton, started to introduce BDSM themes into his illustrations. Here’s a quote from Stanton about some of the inspiration he would tap into for his risqué concepts that will likely remind you of a certain R. Crumb and his obsession with large tyrannical women:

I have always loved Amazons. The word itself is exciting. I’ve invented variations such as the Tame-azons who tame men. Being short and a little shy as a young man, I loved the idea of big strong aggressive women who would use their strength to wrestle me down.

By the late 50s Stanton had parted ways with Klaw (and his first wife) and hooked up with Stan Lee’s right-hand man Steve Ditko (the illustrator behind Spider-Man). According to Stanton the fictional character of Spider-Man’s “Aunt Mae” was actually his idea that was then adapted by Ditko for the Spider-Man comic. Stanton’s massive illustrated legacy is highly sought after by collectors and adult pulp novels featuring his art (that once sold for as little as 75 cents) routinely sell for a couple of hundred dollars depending on their condition. Original prints and pages from books containing Stanton’s illustrations and original watercolors can fetch anywhere from $10,000 to over $35,000 each. If you dig Mr. Stanton’s work but lack those kinds of funds, there are several books dedicated to his debauchery out there such as the aptly titled 2012 book The Art of Eric Stanton: For the Man Who Knows His Place. A lovely and somewhat NSFW selection of Stanton’s pulp covers from the 60’s as well as a few of his originals from the same era follow.
 

 

1965.
 
More after the jump…

‘Hare-Force One’ aka the ‘Big Bunny’ Hugh Hefner’s DC-9 jet.
 
Well, would you expect anything less from what was basically the Playboy Mansion with wings? Hugh Hefner’s custom DC-9 jet “Hare-Force One” (also widely known as the “Big Bunny”) pretty much had that and a lot more as you might imagine. In fact the jet was so ostentatious that when Hefner has it painted black so it would “stand out” while in flight he added spotlights to the tail of the plane so that the Playboy Bunny logo could still be seen at night. Nice.
 

Hef’s fabulous ‘Jet Bunnies’ standing outside of ‘Hare-Force One’ aka the ‘Big Bunny.’
 
Hef had his “Jet Bunnies” (who were cherry-picked from Playboy clubs in LA and Chicago) attend formal stewardess training at a school run by Continental Airlines and their outfits were as slick as the jet itself, consisting of leatherette mini-dresses, leatherette pants and black go-go boots. According to Hefner he wanted his stewardesses to look like “Bond Girls” and again since this is Hugh Hefner we’re talking about how they did. Of the many features that the plane had to offer were a discothèque, a bar, a shower and a movie theater of sorts featuring a Cinemascope projector. There was also a round water bed covered in fur that was accessed through Hef’s private entrance. Essentially the jet included all the comforts of “home” as long as your actual home was the Playboy Mansion.

During the time that Hef owned the plane it made numerous trips around the world and at the end of the Vietnam War became a giant stork of sorts used to bring orphans to their new adoptive homes in the U.S. Hefner would routinely lend out the use of the jet to celebrities like Yul Brynner, Elvis and Sonny and Cher and also entertained a litany of famous guests like Twilight Zone host Rod Serling, director Roman Polanski and poet and author Shel Silverstein. Hefner sold the jet in 1975 to Venezuela Airlines and in a 2010 interview for the Wall Street Journal when asked if he missed his sweet, sweet mile-high club ride his response was “only when I fly.” Awww. Images of Hef’s beloved Big Bunny, Hare-Force One follow.
 

 

 
More livin’ large with Hugh Hefner after the jump…

Golden girl Margaret Nolan covered in gold paint on the set of ‘Goldfinger.’
 
Pin-up model and aspiring the dangerously curvy actress Margaret Nolan was only twenty-years-old when she landed a the gig of the girl that the Bond visual and graphic artist Robert Brownjohn got to cover in gold paint for the racy opening title sequence in the 1964 film, Goldfinger.
 

Margaret Nolan being used as a canvas for a projector for the title sequence of ‘Goldfinger.’
 
Earlier this week I posted about the title sequences from many of the Bond films (sans credits) that both Brownjohn and the primary title sequence artist behind the rest of the Bond films up unitl 1989, Maurice Binder, created, and got caught up in the various folklore associated with the franchise. Specifically when it came to Brownjohn’s work on Goldfinger. His subject matter for the title sequences to Goldfinger seemed so suggestive the it was the first title sequence in the history of film to require an thumbs-up from a film censor. Clad in a gold leather bikini Nolan says that in all that the shoot took two to three weeks to complete. As part of her agreement to pose for the risqué segment she received a part in the film playing a brief role as “Dink,” a masseuse. Since I’m sure you’re curious Nolan said that while she found Sean Connery “lovely” he was more interested in getting busy with her identical twin sister. Because that’s how James Bond rolls. (Why not try to shag both of them, Bondy?)

The actual “golden girl” in the movie, “Jill Masterson” was played by actress Shirley Eaton who appeared on the cover of LIFE magazine painted gold. Her character’s death—caused by skin suffocation from being painted head to toe in gold pain—led to the “urban myth” that the actress herself had died during the filming. Eaton appeared in an episode of MythBusters to disprove the rumour.

The Goldfinger title sequence cost approximately $6,500 and the hard-partying Brownjohn used every last penny to create one of the most memorable moments in cinema history. The images you are about to see (some of which are slightly NSFW) were taken on the set by Herbert Spencer (the founding editor of pioneering graphic design journal Typographica) and were shown back in 2013 at MoMA as a part of the exhibition Goldfinger: The Design of an Iconic Film Title. As I mentioned previously I’m a huge James Bond film junkie and I had never seen any of the images in this post until just recently and they are utterly impossible to look away from. Unless you find the image of a beautiful woman painted gold in a barely-there bikini unappealing of course—which seems highly unlikely.
 

 

 
More of the golden girl who “knows when he’s kissed her….” after the jump…

‘Tijuana Jail Break’ commissioned by Ed Roth for ‘Choppers Magazine’ by David Mann, 1966.
 
Artist David Mann loved motorcycle culture and his paintings bring his own personal experiences as a member of the El Forastero Motorcycle Club to life. El Forastero members were notorious for large-scale drug running operations and theft rings whose number one target were motorcycles back in the mid-60s—and many of Mann’s paintings document club events like biker weddings and debaucherous parties fueled by booze and drugs. Mann’s father was an illustrator and a member of the prestigious Society of Scribes & Illuminators in London—one of the most highly regarded calligraphy organizations in the world, and it is clear that Mann inherited some of his father’s artistic genes.
 

‘Hollywood Run.’
 
Mann started sketching images of fast cars during high school in which would lead him to his first gig as a car pinstriper. After high school Mann set out for California where he fell in love with motorcycles—specifically Harleys and began what would become a lifelong love-affair with biker culture in which Mann would express himself in every way possible. Eventually Mann would land back in his native Kansas City and upon his return would purchase his first bike—a 1948 Harley-Davidson “Panhead” and painted his first biker-centric painting dubbed “Hollywood Run.”  The painting would be among the entrants to an art show held at the Kansas City Custom Car Show in 1963 where it caught the eye of El Forastero founders Tom Fugle and Harlan “Tiny” Brower who in turn hipped the publisher of Choppers Magazine, Ed “Big Daddy” Roth—the fast car enthusiast and artist responsible for the revolting hot rod-loving vermin Rat Fink.

Roth immediately commissioned Mann to create a large number of posters for Choppers and the works would launch Mann’s career, which included a long relationship with another magazine that is synonymous with biker culture, Easyrider. That alliance would last nearly until the moment which Mann would sadly draw his last breath at the young age of 63 in 2004. If you dig what you see in this post you can purchase reproductions of Mann’s art here. Prints signed by Mann sell for hundreds and even thousands of dollars. Many of the badass posters that Mann created for Choppers Magazine included Roth’s name on the panel. Roth put his own copyright on the prints as they were commissioned works, but they were all done by Dave Mann.
 

‘The Blackboard Cafe,’ 1966.
 

‘Tecote Run,’ 1966.
 
More Mann after the jump…