Gene Bilbrew African-American Artist of Vintage Sleaze (part two)

African-American illustrator and artist Eugene Bilbrew was born in Sunny L.A. in 1924. As with most of the illustrators I hope to profile here (see my earlier Bill Alexander post) his life is sketchy. In fact, even his 1974 death of a heroin overdose in the back of minor mobster Eddie Mishkin's bookstore on 42nd Street in Manhattan is poorly documented, especially for an artist whose work has had such an influence. Remarkably, it is known that Bilbrew knew Alexander in Los Angeles before WW2. While Alexander was able to come close to the music business (illustrating 78rpm records for Roy Milton's Miltone label) young Bilbrew actually made it to the stage, if only in a minor role. He somehow finagled himself into temporary membership in "The Basin Street Boys" a LA based Doo Wop group with one hit, the prophetic "I Sold My Heart To The Junkman." The song was later recorded by Patti Labelle and has been performed in concert by no less than Bette Midler and Bruce Springsteen. The group broke up leaving Eugene in New York City (from where I will continue his story in a later post) A warning to the faint...since Bilbrew obviously fell into some bad habits in the Big Apple, you would be correct to assume most of the young black man's talent was directed at artistic pursuits even less, umm..."acceptable" than the lurid sleazy covers of these 1965 paperbacks from my collection, so if you choose to google him up with your preferences open, you might be disturbed. There are literally thousands of entries on Bilbrew and his work on the web, and yet the "real" art world seems to know virtually nothing about him. This may be due to his "way outside the norm" life and body of work, but it could just as easily be due to his race or the fact that virtually none of his original work survives. Although he was accepted into the program at the "Cartoonist and Illustrators School" (later titled the School of Visual Arts in 1956) one suspects his drift into drug addiction and work which was was largely considered pornographic at the time may have been at least partially caused by discrimination. He had a most unusual and completely individual style which emerged from a more traditional genre of cartooning, and once one becomes familiar with his work it is instantly recognizable. The best biographical material on Eugene Bilbrew and other sleaze paperback artists is found in the outstanding 2005 "Sin-A-Rama" book published by Feral House, in particular the entry on Bilbrew by Brittany Daley. This year, Feral Press has also published "Dope Menace: The Sensational World of Drug Paperbacks 1900-1975" by Stephen J. Gertz which is equally as fascinating and even more scholarly but just as much fun.

Six c. 1965 Paperback books, cover illustrations Eugene Bilbrew. Collection Jim Linderman

SEE TIMES SQUARE SMUT THE BOOK HERE

Gene Bilbrew African-American Artist of Vintage Sleaze (part three)

New York City was a good place for an illustrator in the early 1950's, in particular one with the obvious but quirky talents of Gene Bilbrew. The comic market was exploding...the Kefauver Senate hearings had yet to dent their sales to vulnerable youth, Mad Magazine was getting off the ground and lurid pulp magazines requiring sexual humor were booming. Demand for less than tasteful "adult" humor was in demand. (Remember "cocktail napkins") In fact, one of Bilbrew's first jobs as an artist was replacing the recently drafted Jules Feiffer in the studio of noted cartoonist Will Eisner, who not only created the well-known comic strip "The Spirit" but also was one of the founders of the institution now known as the School of Visual Arts. This connection led to Eugene's enrollment and the cartoonist began taking his craft more seriously. He befriended famous fetish artist Eric Stanton who was also studying at the school. Soon he has made a connection to no less than Irving Klaw, the now "notorious" photographer of Bettie Page. Bilbrew sold drawings to Klaw and infamous publisher Lenny Burtman, it wasn't long before his work began to appear in racy publications of the 1950's which were sold under the counter near the Port Authority building and by mail order. Many of the drawings from this period are startling, offensive and lurid to the extreme, but were still, technically, not violating the law. Thousand of archetypical men in gray flannel suits passed the sleazy stores every day and many ducked in on their way home. Attention seeking politicians began to harass the shops, and sale through the mail also brought problems from governmental agencies. Drugs, filth, and one imagines the lifestyle of an artist hanging on the deuce, as 42nd street was known, soon took a tole. Most who know of the artist's work believe it began to deteriorate in the early 1960's, but these paperback covers show he was still in control of his quirky talents shortly before his death. They also, as far as I know, are the only examples of his drawings with full color treatment. Soon, legal pressures put most of the publishers he sold to out of business, and when they returned, several years later after legal rights were more or less granted to sleazy book sellers, actual photographs were used to illustrate the covers and illustrators like Bilbrew were in less demand. Bilbrew sunk lower, selling drawings to even more pornographic publishers with no interest in presenting even the facade of art or a professional front. How long after this he passed away is uncertain, but he was living in the back room of a 42nd street bookstore when he overdosed in 1974. Paperback books with Bilbrew illustrations on the cover are fairly scarce. They are nearly 50 years old now, and as you might imagine, if you were reading one while your wife was visiting your in-laws, or if you came across one while cleaning out Dad's stuff...they might not make it to the estate sale.

I have a few more entries in me about illustrators working on the underside of morality. Stay tuned. In the meantime, the 2008 book "Erotic Comics: A Graphic History from Tinuana Bibles to Underground Comix" by Tim Pilcher and published by Abrams contains a four page profile of Bilbrew. 
SEE ALSO TIMES SQUARE SMUT THE BOOK AND EBOOK
Four Original Paperback books with Gene Bilbrew cover illustations, c. 1966 Collection Jim Linderman

Gene Bilbrew Dream Book (The Pharoah Knows)

I have certainly made it no secret one of my favorite artists is the junked-out and largely forgotten illustrator and fetish cartoonist Eugene Bilbrew, an African-American artist who worked with a who's who of Times Square sleazy scoundrels during the 1950s and 1960s. All my blogs have some "Bilbrew stew" but until now I have not posted the Bilbrew DREAM BOOK! He did the cover in 1972, shortly before passing away too early (robbing us of who knows how many fascinating pulp covers.)

There are literally thousands of Bilbrew illustrations floating around the web, most of them in sites you do NOT want to visit. I prefer the wacky drawings Bilbrew did for the several lines of paperback books printed by Satellite Publications in the mid-60s, but when I googled the Dream Book up, not on the web yet! Hardly seems fair. Here you go.

Warning...do NOT google Bilbrew...this is a family blog!

Dream books are still to be found anywhere the lottery is played or someone wants to "know" if their dream means they'll get the job or find the mate. Pharoah's Dream Book of Numbers can help you find power and wealth. One way is to sell Dream Books. I suppose Aunt Sally's Policy Planner is the most famous Dream Book, but there have been many. A reproduction of Aunt Sally's is available HERE.


Pharoah's Dream Book of Numbers (cover illustration by Eugene Bilbrew) 1972 Wholesale Book Corp. NY, NY Collection Jim Linderman

Eugene Bilbrew A Return Visit to the Studio on West 42nd Street

Of all the posts on this blog, the ones generating the most hits are the series I did on vintage sleaze illustrators of the 1960's, in particular the profile and pictures of work by Eugene Bilbrew. So much for my attempts to uplift the masses. I aim to please, ALL ARE NOW COLLECTED ON THE SITE VINTAGE SLEAZE

Bilbrew, an African-American School of Visual Arts student (!) fell into bad company and even worse habits. As he slipped into heroin addiction, his work became even more bizarre. He moved to the rear of a porno bookshop on the deuce. The mob-run publisher he worked for was busted out of business, so he sold his drawings to no less sleazy publishers such as Wizard, Satan and Chevron. Most of these are from Satan. A pall-bearer hits on the widow. An unlikely prison visitor tempts caged psychopaths. A rogue cop harasses an amorous couple out on the beach too late. A shop-class goggles wearing professor aims his student's motorcycle "headlights" into the wind. And of course, the extra-flamboyant dancer against a lime green wall "trips" and falls into the lap of his modern art loving suitor. Never mind that the text had absolutely nothing to do with the cover illustration, this is kitsch of the highest order. These all date to the late 1960's. Several have "saw-cut" slashes, which means they were returned to the distributor unsold. I can not imagine why.

To his credit, I suppose...Bilbrew was one of the few artists doing multi-racial covers at the time. (and the hair-impaired, for that matter) I don't think it helped sales.

Group of 1960's paperback cover illustrations by Eugene Bilbrew. Formerly collection Jim Linderman

New GENE BILBREW BOOK by JIM LINDERMAN Times Square Smut

Jim Linderman tells the true tale of an artist, an author and a mobster from New York City in the Fifties, a time America was learning of many strange things for the very first time. INCLUDES over 30 rare drawings by the noted African-American fetish artist Eugene Bilbrew unavailable and unpublished since being confiscated over 50 years ago! Rare graphics and images from the Victor Minx collection and a faithful reprint in full of a novel written by the author "Justin Kent" not seen since being confiscated as evidence by the police. A snitch, a gangster and a junkie meet to create a true story which literally moves from the 42nd Street Times Square gutter all the way to the Supreme Court. Over 50 B & W illustrations. A landmark book on censorship, New York City, Times Square and the artists who brought vintage sleaze from the deuce to the Supreme Court! Click below for Free Preview or Purchase!
TIMES SQUARE SMUT THE BOOK (AND EBOOK)

Gene Bilbrew African-American Artist of Vintage Sleaze (follow-up)

For those of you who enjoyed my articles on the illustrators for Eddie Miskin's 1960's sleazy paperback book line, in particular the strikingly demented work of Gene Bilbrew...someone is selling two covers I've never seen before on Ebay. It gives me an opportunity to crib the images and use up a days post. I pass...if you bid, good luck! If you haven't seen the earlier posts, click on label Vintage Sleaze below.

Gene Bilbrew Draws Bettie Page as a Costume

It's time to start preparing for Halloween again.  Here, Gene Bilbrew, African-American fetish artist most prominent in the 1950s and 1950s shows what you will need to show up as Bettie Page. See also the book TIMES SQUARE SMUT  for more about the illustrator.

Eric Stanton Artist of Vintage Sleaze (part four)

ALL MY ESSAYS ON vintage sleaze illustrators are now collected on VINTAGE SLEAZE
The third illustrator who worked for Stanley Malkin and Eddie Miskin's line of sleaze paperbacks in the early 1960's was Ernest Stanten, the son of Russian immigrants. Under his adopted name, he is today highly regarded as the king of the fetish illustrators, and as such I won't spend as much time profiling him...numerous books have been published on the illustrious illustrator. Stanton's first girlie drawings were done on sailor's handkerchiefs while he was in the navy (at age 17). Like Gene Bilbrew (see my previous entries) Eric Stanton also studied at the School of Visual Arts in NYC and again, like Bilbrew, worked for Irving Klaw, the photographer who became infamous with his photos of Bettie Page. Stanton also worked closely with his friend and studio mate Steve Ditko (no less than the creator of Spiderman) "Hey Spidey...get a load of THESE drawings" He also learned from Batman inker Jerry Robinson. Like the other artists I am adding to my blog, he drew for many publications other than the imprints of satellite distributors and until he passed away in 1999 he continued selling his work by mail order. Published collections of his work abound, but for my money, his best work was the more than 100 covers he did for After Hours, First Niter, Nitey Nite, Unique Books and Wee Hours. Examples above. Stanton's work is marked by slender, stiff, upright figures with implied seething undercurrents of passion. As Brittany Daley writes in Sin-A-Rama, they had "... tall frames and mile long legs". The women are strong and confident, if somewhat curiously adjusted, and the men are weak. There is an elegance and style seldom seen in paperback covers, and in every one there are folks with secrets.
SHY SHAMED SECRET SHADOWED HIDDEN by same Author

Eliot Brewster and L.B. Cole Cheap Pulp Heaven

Illustrator L.B. Cole had a doctorate degree in anatomy and used it to good advantage by rendering bad women, cheating men...and for his numerous comic books, the occasional throbbing rocket ship.
 
Eliot Brewster was one of many hack writers who had his hardcovers turned into paper digests which served the emerging market for cheap reads...much of it caused by thousand upon thousands of men and women going to war.  At home, on a train to camp or hiding in a foxhole, a colorful, spicy read was one of the few pleasures available.  There are very few copies of the books above, as they were cheap, by intention, and during difficult times passed off to neighbors and buddies until they were gone.  Later the high acid content evaporated all but those pressed tight...which only delays the inevitable crumbling a few more decades.

In Love Above All,  Les Carver returns from war to the "simple, little plump girl" he promised to marry.  Her weight is discussed frequently in the book.  His eyes wander and soon  Les is "irresistibly drawn into a whirlpool of drink, debauchery, wild sex orgies…" and more.  

Author Eliot Brewster is due a revival.

In Faithfully Yours,  Brewster puts a maid in the house, a man in the service and gives them both a book title which is a lie.

Like Bilbrew ten years later, Cole's men frequently have greasy, troubled hair falling perfectly down their troubled foreheads. 

In Love Above All, smoke initially rises towards the wedding, but swirls over to the dame. The same dame nearly impaled on a bottle of whiskey.  What man returning from the war wouldn't drift like smoke to the dark side?  After the unspeakable horror of war, many men had a choice.  Do what is "right" or pound it away, literally, against a loose bed board. Is there a cheap motel shown on this cover?  Does there need to be?  Look into his eyes.
 
Cole is responsible for some of the most striking comic book covers you will ever seen.  A good sample is HERE on the Monster Brains website.  

But Cole was at his best when things in a guy's head were at their worst.  

Brewster today appeals only to the few collectors who seek the same thrills sought during the war.  Among his other titles are Sisters in Sin, Skin Deep, Lusty, Private Companion, Ready for Love and Wicked Women.

Faithfully Yours by Eliot Brewster cover by L. B Cole 1943  Phoenix Press.  Love Above All by Eliot Brewster cover by L. B. Cole 1945  Palace Press (Phoenix) Both Collection Jim Linderman 

AN ABRIDGED VERSION OF A POST ON VINTAGE SLEAZE THE BLOG

Books and Ebooks by Jim Linderman are HERE  

Weegee Bettie Page and the FBI The Last (?) Unpublished Photographs and What Weegee told the FBI about Bettie Page

(c) Weegee/International Center of Photography/Getty Images


(c) Weegee/International Center of Photography/Getty Images


(c) Weegee/International Center of Photography/Getty Images


(c) Weegee/International Center of Photography/Getty Images


What if you could put Bettie Page, the most influential pinup model of the last 50 years in the same room with Weegee, certainly one of the most famous photographers in the world...and he had a camera in his hands? I'd say it would be so juicy even the FBI would be interested. And it appears they were!

Search for a photograph of Bettie Page taken by Weegee. One appears on the International Center of Photography website, which is appropriate as Weegee's widow Wilma Wilcox donated his extensive archive to the museum in 1993. The photo actually appears on Fans in a Flashbulb, the museum's exceptional blog.

Weegee (Arthur Fellig) was personal friends with the model, for years living only three blocks apart from each other just off Times Square (Weegee on West 47th Street and Ms. Page on West 46th Street), a walk one can do in less than five minutes, even Weegee with a cigar. There is a story reported that Weegee once climbed into a bathtub fully clothed with Bettie hoping for a better photo until she literally kicked him out. But until now, very few of the photographs Weegee took of his beautiful acquaintance have ever been publicly shown.
Cass Carr, Harlem jazz musician and promoter of amateur camera club outings also had a space in the very same neighborhood at 218 West 47th Street (a mere two blocks from Weegee's house) which he called the "Concorde Camera Circle" with a rudimentary studio. I believe the revealing studio shot here showing other participants snapping away was taken at Carr's place. It is typical of Weegee to create his own particular view in a photographic setting. The one thing you do NOT want to see in a photo of Bettie Page is other men, but there you go. Leave it to Weegee to turn the camera on the cameramen.

(c) Weegee/International Center of Photography/Getty Images

Carr also arranged outings to local farms and parks for camera club participants prior to forming the Concorde Club (previously known as the Lens Art Club) but he changed the club's name after being arrested along with others for promoting an outing in South Salem, New York. Some accounts have Weegee arrested at a camera club outing along with Ms. Page, if so it probably would have been the South Salem, New York shoot on July 27, 1952.

One thing I can confirm is the outdoor photographs here were taken at Headley Farm in New Jersey, as the gas pump has figured in other photographer's pictures. Also present at the shoot, which took place on September 9, 1956, were photographers Art Amsie, Arnold Kovacks, Don Baida, and an unknown woman photographer seen here on the left holding her own camera with the boys.

As far as I know, this unknown woman's pictures of Bettie have not turned up, but we can now say Bettie was photographed by at least three women, the others being Paula Klaw (Paula Kramer) and Bunny Yeager (Linnea Eleanor Yeager)

(c) Weegee/International Center of Photography/Getty Images

The Weegee photographs (and there are more) are beautiful pictures of the model in her prime. Striking poses of a young model obviously both aware of her talents and enjoying the session. That they were taken by one of the most interesting and talented photographers in history adds to their charm and importance.

The photographs Weegee took of Bettie Page have never been shown, and it is an honor I do not take lightly. It is also the reason the copyright notice I have placed under each image is not to be ignored.

One of the Weegee photos of the model taken in a studio is notable primarily for the unusual bikini Bettie wears which she would have made herself! It was a talent she was proud of, but maybe she should have stuck with store-bought. It also appears in a cropped version on a website or two, but in poor and possibly purloined quality.

(c) Weegee/International Center of Photography/Getty Images

The other Weegee image from the ICP collection which has appeared on the web is a cropped print showing Ms. Page in virtually the same pose taken at the same day by four different photographers.

Another Weegee photograph here shows Ms. Page in a make-shift studio not as yet identified. It could be either of their own apartments, as Page was known to pose individually on request and for her standard modeling fee. It is not known (to me anyway) if Weegee was in the habit of hiring individual models, but he did sell and publish other cheesecake photographs in news digests and quite likely some joke and gag publications. I would like to think Bettie gave him a freebie on this one!


(c) Weegee/International Center of Photography/Getty Images
But what of the FBI? Recently the FBI released several documents on Bettie Page, likely in response to repeated requests. As we know, the model was harassed and hounded by zealots and government agencies during her modeling years. Once being called by the Kefauver Committee in conjunction with their investigation of Irving Klaw, and earlier in relation to an obscenity bust in 1956 Harlem (in which the amateur bondage model was asked about "ping pong paddles" and a riding crop. She denied being involved, and also denied knowing of any photographs of the sort being produced in Harlem.



CLICK TO ENLARGE


In the the newly released FBI document pictured here I noticed a most interesting story hiding in the redacted print! Half way down, note the passage enlarged here which indicates photos of the model were "turned over on 5/25/60...by (name omitted) also known as (name omitted) a photographer who resides at (location omitted.) Now I do not know of any other New York City photographer working with a short pseudonym who took pictures of Bettie Page! So there you go... it now looks like we can add Weegee to the long list of artists who have been pestered by the long arm of the law.


CLICK TO ENLARGE

Now if I were writing this for a tabloid in the 1950s, when the neighborhood all three principles called home was known as "Hell's Kitchen" I would have titled this 'WEEGEE SQUAWKS TO FEDS" but to be fair, anyone with the slightest connection to "dirty" pictures was vulnerable to such puritanical procedures, when the laws attempting to define obscenity were far more strict than today. So let's call them all pioneers rather than pigeons.


(c) Weegee/International Center of Photography/Getty Images

I would like to thank the International Center of Photography for allowing me to use the above unpublished photographs from their archive to help illustrate this discovery and story. If you are not an active member or supporter of the museum, please take the time to join.



Jim Linderman is author of Times Square Smut and The Birth of Rock and Roll

 "Times Square Smut" available now covers the same time period as the above in detail and publishes numerous works by African-American artist Eugene Bilbrew unseen for over 50 years. Times Square Smut will tell the story of denizen and mobster Edward Mishkin, who printed and sold proto-porno soft-core books using the artist's work on 42nd Street at the same time Irving Klaw was publishing photographs of Bettie Page. In the meantime.  The Birth of Rock and Roll might be the most unusual music book you have ever seen!

Bill Ward Artist of Vintage Sleaze (part five)

Finally the last of the "fun fetish four" who drew covers for Eddie Miskin's mob-run paperback house in the 1960's.

Bill Ward is probably the most recognizable of the group, and I doubt there is a man over 40 in the United States who hasn't seen his work dozens of times. Ward ruled the girlie magazines of the 1950's and 1960's, producing literally thousands of drawings, one estimate places the number at TEN thousand. Double that figure for the number of breasts he drew. As boy, Ward enrolled in the Pratt Institute in Brooklyn, I am sure they are quite proud of that today. What set him apart from the other sleazy artists titillating returning WW2 vets as they relaxed in their suburban dens was his use of the conte crayon. It highlighted his black and white illustrations with great effect. He was paid less than ten dollars each for the most part, and because he was prolific, his original drawings are easily found today. A 350 page compilation with over 600 examples of his work was published by redoubtable Taschen. Like all the Satellite artists, he worked for many publishers and freelanced, but the covers he did for these paperbacks are not only among his best work, they have vivid color which brings them to life. If you study early American folk art, both paintings and carvings, you'll see that the feet are often too small...it lends a charming, naive quality. In Ward's case, all it does is produce a tottering, somewhat gargantuan icon which lives in the minds of every randy man. They might LOOK sexist, absurd and grotesque to you females out there, but if you enlarge an image and place that Barbie doll you grew up with over it, the silhouettes are remarkably similar. I guess you could say Ward did for the top what R. Crumb did for the bottom.
This concludes my minor contribution to vintage sleaze paperback culture. For those of you who would like to obtain your own examples, the Satellite house had five imprints under their sleaze umbrella. From 1963 to 1969 they published several hundred titles with the following imprints: After Hours, First Niter, Nitey Nite, Unique Books and Wee Hours. For the most part, there is little reason to READ them, although numerous well-known struggling authors paid their NYC rent churning them out with fake names. Bilbrew also drew a dozen or more covers for the imprint Satan.

PREVIEW the book TIMES SQUARE SMUT  AND PURCHASE(and instant affordable download as well) HERE

Dull Tool Dim Bulb Books HERE

Times Square Smut the BOOK featured in The Guardian

The Guardian ran a piece on our new book TIMES SQUARE SMUT which featured numerous illustrations of the "soft-core hard boiled" books you were not supposed to read in the 1950s.  Eric Stanton and Eugene Bilbrew covers are shown in the article. See also The Gallery of covers they selected. Times Square Smut the Book is available from Blurb in paperback and ebook download HERE.

(Above "OTHER" Irving Klaw models from the book)

Carte de Visite Salesman Sample for Hot French Vintage Dames! (In which "vintage" is defined)

Everyone thinks the word "vintage" means old. Well, not quite. What it means is "of it's time" or a period of origin. So something "vintage" could be from last week, as long as it is indicated "Vintage 2010" like a cheap wine. So when searching the term on Ebay, you should consider it to mean the same thing "natural" does on food labels...nothing. There isn't any reason to put "natural" on the label unless it ISN'T really natural. When is the last time you ate "unnatural" food? My guess is the last time you ate.


Anyway, here is a vintage Carte de Visite size Salesman Sample which is EXTRA vintage! CDV is French for "visiting card" more or less, and came to replace the tintype, more or less, though both photographic mediums flourished at the same time. You'll also find both hidden in baskets at the flea market...the tintypes are the ones with rust, the CDVs are the ones on little cards, and no one wants either unless they show an early baseball player, or an unfortunate slave.


So anyway here is an example of a composite salesman sample CDV by an enterprising fellow selling OTHER CDVs of what passed for sexy dames around 1890. "Allow me to present my card...of ZAFTIG HOT BABES!" Some 19th century Larry Flynt would hand these out, take down orders, and deliver the spicy goods a few days later. One could take out a loupe and get a rise, I guess, but probably better to spring a quarter for 6 of your choosing full-sized. Then each would be like 2" x 3" and they would be as big as women on your smart phone, easy to shuffle (and hide from the wife.) You can "click to engorge" but "French postcards" didn't get good until about 30 years later, I am afraid. Funny, but they are all built the way woman are today. So when did "sexy" come to mean "skinny?" Topic for another post.


CDV Salesman Sample for early risque photographs, circa 1890. "Six for 25 Cents" Collection Jim Linderman

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