Erotic depictions of women in drawing, painting, sculpture and photography from the dawn of man to the present.

Wednesday, September 4, 2013

Venus Revealed: The Pubic Wars Part 11 1979 part 1

January 1979 saw Playboy's massive 410 page 25th Anniversary (actually the anniversary was December 1978) issue so there was an appropriately silver cover with a 25th anniversary logo by the original creator of the Playboy Rabbit Head, Art Paul.  It was, as Hugh Hefner said in that month's editorial, "one of the most familiar commercial trademarks in the world."

Top Row: Michelle Drake,  Dorothy Stratten, Sylvie Garant, Middle Row: Suzanne Sheridan, Lisa Kalison, Missy Cleveland  Bottom Row:  Denise McConnell, Ruth Guerri and Candy Loving.

Peering through the cut-out eye of the rabbit head you could glimpse the face of one of the girls (Lisa Kallison) unearthed in the 25th Anniversary Playmate hunt, who appeared in all their glory inside the cover. They were described on the contents page as "Playmates" and, indeed, most went onto be so.  It was unusual for Playboy to preview Playmates to come.  No less than six would be Playmates in 1979: Candy Loving (January 1979), Denise McConnell (March 1979), Missy Cleveland (April 1979) Michelle Drake (May 1979), Dorothy Stratten (August 1979), Sylvie Garrant (November 1979).  Ruth Guerri would have to wait until July 1983.  Sue Sheridan and Lisa Kalison never made it which makes you wonder what happened to them.  Perhaps they wouldn't sleep with Hefner.  They both look splendid to Triple P!  

The magnificent Anita Ekberg from 1956

That month's Playboy didn't have its first pictorial until 152 pages into the magazine, which would have been more pages than most other magazines had in total.  This was, not surprisingly, a retrospective of women who had appeared in the magazine before.  As they said: "Over the past quarter century Playboy has brought you the world's loveliest women.  Herewith, the ones we consider the most memorable."  The pictorial included this shot of Anita Ekberg which was the non-cropped version of one which had originally first appeared in August 1956.  This was the first time they had shown her in all her pubic glory.  Another (dull) retrospective pictorial of comedians and girls followed.

It wasn't until The Great Playmate Hunt feature that we got some new pictures.  No less than ten of the girls featured would go on to be Playmates,  Wanda Clineman, above, didn't make it, inexplicably. 

25th Anniversary Playmate Candy Loving was not perhaps, the prototypical Playboy Playmate; she wasn't blonde for a start but she did have, perhaps more importantly, a massive pair of 37" tits. 

Next they had a piece by Anne Rice about the seductive qualities of the vampire as she saw it.  Phillip Dixon's photography not only had a vampire and his female victim but another female as well enabling Playboy to revisit it's much suppressed lesbian side.



The annual Playmate Review continued the practice of having some of the girls flash their bits in a rather bolder way than they had in their original pictorials.  This year it was Christina Smith (March 1978) and Gail Stanton (June 1978) doing the spreading.

The most visually impressive pages in the issue, however, were those displaying all the Playboy covers and centrefolds over the years, such as this example.  Playboy displayed its heritage to its rivals in a triumphant way.  Playboy always made a big thing of anniversaries, something the other magazines started to copy.  At this point Playboy's average circulation had dropped to 4.8 million copies a month, only just above that of Penthouse.  However the silver anniversary issue sold 6.4 million copies and the profits seemed to be on the rebound (in fact, profits for 1979 ended up around 30 higher than 1978).

Fashion model Dee Dee is photographed by Claude Mougin being given a piggy back ride by an understandably smiling gentleman.  

 Mougin's shots for the Rod Stwart album Blondes have more fun (1978)

Frenchman Mougin was a noted rock photographer living in Los Angeles and at this time was doing a lot of album covers.  Soon after this he moved to New York and started working for Conde Nast publications such as Vogue but also Glamour and Harper's Bazaar.  He shot many advertisements and then Bloomingdales gave him the chance to direct a TV commercial and he has been concentrating on that ever since.

Nicholas DeSciose's work often displayed a raunchiness that other photographers in Oui couldn't match and some of his Playboy shots pushed the envelope of what the magazine could show.  Here, however, you get the feeling that he has been reigned back with his pictures of Erin.  Nevertheless, his always clever lighting enticingly picks out the golden hairs down the back of her thighs.

One of only two visible pussy shots in this issue is displayed by Christina in this mirror shot by Peter Weissbrich (1942-2005).  Recently, Oui had been showing their girls labia in the centrefold shots but not elsewhere but in 1979 even this disappeared.  Weissbrich also shot some LP covers but was better known.latterly, for his black and white art photography.  He did a lot of Playmate shoots for Playboy Germany in the seventies and early eighties and discovered German Playmate and later B movie queen Ursula Buchfellner, who we will see as Playmate of the Month for October 1979 in US Playboy.

No labia either for Mariana, shot by Frank Gitty, but she does have a lovely bush.  She is a good example, too, of how stunningly beautiful most of the Oui girls were compared with most of their competitors.

The final pictorial was from a shoot by Jean-Pierre Bourgeois, pictures from which certainly appeared in other magazines, including Men Only in the UK where the girls were dubbed Sylvie and Christine.

Pat Hill's photograph of August 1976 Pet of the Month Victoria Lynn Johnson adorned the cover of Penthouse's January edition in what would be one of its least explicit issues for some time.

The unnamed model in the first pictorial, Furgive and Furget did get down to a little clitoris touching but the real controversy these days would be the fact that the magazine was glamourising fur. The credit for the furs in the pictorial was from a supplier in the Netherlands so perhaps she was Dutch.  Triple P's first proper girlfriend (who would arrive on the scene later in 1979 although we had already met her the previous December) had a fur coat which she wore at college to which, of course, there was no objection at all at the time.  

The Pet of the Month came in the lanky 5'9" form of Texan Dusty Jackson who only had two labia revealing pictures in her pictorial by Carl Wachter.

The final pictorial was a girl/girl one called Gemini II and featuring Charlotte and Emily in a not very passionate set.  The most enticing picture is of one giving the other a good squirt with the shower.

January's Club was noticeably more explicit than Penthouse that month.  Barry Vincent's shots of Amelia had her very brightly displayed with no concealing shadow.

Kelly, by James Ballard, not only had a full page portrait of her orchid-like labia but she was shown gently toying with them too.

A nice girl/girl set from Barry Vincent of Nicola and Melanie with the girl in the blue blouse being none other than Nancy Suiter, who we will see again shortly.

 Suiter in The Ecstasy Girls

Suiter was about to burst onto the porn film scene in The Ecstasy Girls (1979).  She made only four films and had disappeared from the scene by 1981 but has since become something of a cult figure.  When the film was first released she was uncredited but such was her impact, and the number of magazine pictorials she appeared in from 1978 to 1979, that the film's posters were altered to give her prominence.

James Ballard's pictorial of Penelope rounded off January's Club with one of the then fashionable Lolita-type pictorials.  These were possible sparked by the previous year's film Pretty Baby (1978) which had displayed a full frontally nude Brooke Shields who was then 12.

Certainly there are similarities between this pictorial of a girl with a doll in period clothes in a period setting and the poster for the film.

Frank DeLia's striking cover for January's Hustler also has something of a naughty little girl theme as Nancy Suiter (yet again!) sucks on a candy cane

The cover promises the "hottest pictorials ever" but the most explicit shot is this small one illustrating one of the films in their monthly "X" rated review.  From the French film Another Love, Another Place (1978) here Armand Verdun patently penetrates Fritzi Lang in the first unequivocal intercourse shot in the magazine.

German porn star Fritzy Ross (as she was also known) only made a few features and seemed to appear mainly in short loops.  She appeared in Italian Playboy in November 1977 in a feature on European porn stars.

Certainly containing some real passion was that months boy/girl set, Quiet Village, Roots of Passion which features the young lady getting her luscious lips very close to the gentleman's impressive member. Needless to say although they published two appreciative letters (from women, I wonder why?) about the pictorial in the April edition there was the usual ranting missive from someone who was less impressed.  "It's bad enough that you're showing dick.  But nigger dick?" said the not very tolerant, Brian Edwards from Illinois. It was actually one of Hustler's best boy/girl sets for some time.

Cemtrefold that month was Dana, shot by James Baes.  Maybe it was this pictorial which was supposed to be the "hottest ever" as she certainly looks like she's having a good bake in the sun.

Although Dana points her pert bottom into the air to reveal all to Baes lens, it is this shot of her droplet strewn body which is the best in the magazine and, indeed, the bet photo that Hustler had had for a very long time. A marvellous study in texture it is easily up to the standards of its sister magazine Chic.

The final pictorial was one of those horrible "comedy" ones which seemed so popular in the men's magazines of the time.  This comic-book style take on Superman, entitled, inevitably, Beaverman would have been quite at home in Oui apart from some shots of flaccid penises.

Featuring our here savong the girl from an inscrutable communist Chinese babe this outtake shows that Beaverman got a little bit more excited about his lovely co-star during the shoot.

Interestingly, from today's perspective, the only letter about the pictorial said: "I especially liked the Oriental villainess, Comrade Nu Kee, with her shaved snatch."  A novelty indeed, in those days!

Finally, Hustler carried on with its own amateur reader' wives section, Beaver Hunt. Featuring in that month's issue, and earning several letters of appreciation in March, was one Lorie Armbrust.  Surprisingly, we will see more of her in February in another magazine.

February 1979

July 1964

February's Playboy cover featured Chicago Bunny girl and future (December 1979) Playmate Candace Collins in an update by Tom Staebler of Reid Austin's 1964 lipstick rabbit head cover featuring Cynthia Maddox.

The first pictorial that month was unusual to say the least.  Not because it featured some of the boldest legs apart poses in the magazine for some time but because these photographs of Lexi Vogel are by her father, Ron.  Now many proud fathers like to take pictures of their daughters but with their legs apart and stroking their pussies?

Here is Lexi ready for a ride.  The pictorial featured several pictures of her in chaps.  The feature also noted she was a successful horse rider.  In fact, she won over 500 championships and made the US Olympic equestrian team.

Lexi today

Today Lexi is a successful Hollywood makeup artist working on magazines, films, TV and commercials. Pamela Anderson, who she worked with for Playboy, called her the best makeup artist she had ever had. She spent ten years doing makeup for Playboy Playmates and other pictorial shoots as the magazine's head makeup artist

Lexi with her father Ron Vogel

Ron Vogel (b. 1933) shot ten Playboy centrefolds between 1958 and 1968 as well as three covers for the magazine.  Vogel was one of the top glamour photographers of the sixties and worked for over forty years, often doing the stills for a slew of low budget racy films.

Playmate of the Month was Lee Ann Michelle who was described as from Surrey, England (as is Agent Triple P).  We bought this issue when we were working at Heathrow Airport between school and university. Delighted at having real money for the first time we stocked up on a different men's magazine every week from the newsagents in the dismal town of Stanwell next to the cargo terminal.  We were amazed to see this picture of Lee Ann in front of Chertsey Bridge which was less than a mile from our family home!

Playboy was gradually moving away from revealed labia at this point but we did get this enticing shot by Mario Casilli of Lee Ann overflowing her lacy knickers.

Carol in November 1978's issue

Playboy, of course, along with the other men's magazines, often used made up names for its models.  The odd thing about Lee Ann is that whilst this wasn't her real name the magazine had already featured her in their World of Playboy section in the November 1978 issue using her real name, Carol Needham.  Saying that she would be Playmate of the Month in February 1979 and showing this still from her (eventually uncredited) part in Seven (1979).  Her delivery of her few brief lines in the film explain why she never went on to have an acting career. The film also had an equally topless role for Playmate Susan Lynn Kiger (January 1977).  

Carol's first topless appearance in a newspaper at the age of sixteen

Carol Needham came from Walton-on-Thames (Walton bridge is the next down the Thames from Chertsey Bridge depicted in her pictorial, above) and while walking down the King's Road in Chelsea was spotted by someone who suggested she should visit a modelling agency.  She did and was sent by them to Beverly Goodway, Page 3 photographer for The Sun.  Goodway knew two good things when he saw them and she appeared in her first Page 3 picture in January 1977 at the age of sixteen (which was still legal in the UK at the time) while she was still at school.

Page 3 girl in The Sun

Carol made over eighty Page 3 appearances in The Sun and The Star and was voted Page 3 girl of the year in 1982.

In 1977 she was in Los Angeles shooting a Hollywood themed calendar for British car parts manufacturer Unipart with John Kelly.  He introduced her to Hugh Hefner who asked her to pose for the Playboy centrefold which she later said was one of her favourite pictures of herself.

Here we have a seventeen year old Carol (second from the right) in a Christmas shot from The Sun in 1977 with a bevy of other Page 3 beauties (The Sun always had a "bevy" of beauties).  Left to right:  Joni Flynn (who had appeared in Penthouse the previous year and later appeared as a Bond Girl in Octopussy), Diane West (the least known of the girls, although she was third in the 1977 Page 3 girl of the year contest), Carol and Jilly Johnson (see our previous Pubic Wars post for more on her).

Photographed by Harry Ormesher

Ormesher for UK Penthouse November 1985

Carol married top glamour photographer Harry Ormesher who shot many of her Starbird pictures for the Daily Star.  Ormesher is now a racehorse breeder and had been the co-owner of The Iron Door Club in Liverpool, the first venue The Beatles played at under that name.  He was about twice her age.

Oui 1983

Apart from her tabloid appearances she appeared in many of the top men's magazines in the late seventies and early eighties; on rare occasions showing rather more than she did in Playboy. 

Meanwhile that month Playboy launched another one of its overseas editions; this time in Australia which included the first girl with a cricket bat to grace the cover of Playboy.

Playmate of the Month was home-grown lovely, Karen Pini from Perth, who was a runner up in 1976's Miss World competition and then a Page 3 girl in the UK.

One of Karen's Playboy pictures by Rico Mettbach had her flashing her bits, albeit in a small picture.

Agent Triple P had first noticed Miss Pini when she appeared in Patrick Lichfield's Unipart Calendar Book in this extremely fine shot.  The picture  was taken in France for the 1979 calendar but, inexplicably, never made it into the final calendar.  Odd, because it is probably my favourite Lichfield Unipart shot.

 The Daily Star Calendar 1986

Apart from magazines she made the usual Page 3 girl appearances on paperback covers and records.

Here is  Carol with Rowan Moore (top) and Gina Charles (bottom) in some soft three girl action from Paris Las Vegas magazine.  Israeli-born but English raised Moore would be Playboy Netherlands' centrefold in December 1983.  She was part of a Dutch girl group called Centrefold for several years. We must feature her in the future!  Charles was another Page 3 model and appeared in Genesis and some Playboy newsstand specials.

Carol was a real beauty with an absolutely stunning body, even by Playboy standards.  Sadly she never made good on the wish expressed in her Playmate data sheet to be an actress.  Her appearance in Seven is her sole screen credit. She now runs a modelling agency.

The next pictorial for February's 1979 Playboy was The Girls of Las Vegas and even this was much more modest in the below the waist displays than similar features in the past, with only Carol Nicholson, a skater at the Hacienda Casino's ice show, flashing her Canadian beaver

The Year in Sex feature often had Playboy pushing the visual boundaries more than in any other place in the magazine.  Despite the retreat from previous year's explicitness there was still a pussy toying picture of disgraced San Diego Chargers cheerleader Elizabeth Caleca (who would also appear in the following month's issue).

More visually extreme was this picture of a young lady at the Ponderosa Sun Club Nudes-a-poppin festival. Although the picture takes up only a sixth of a page it is one of Playboy's very few explicit anal shots.

Another fashion model on Oui's February cover in the 5'8" from of leggy Linda Horn shot by Playboy regular Phillip Dixon.

Oui's models were so beautiful that they could get away with a full page portrait, like this one of Bea by Erich Klemm.  In fact many of these pictorials by continental photographers actually originated in the French Lui magazine.

Just to prove that pussy shots hadn't entirely disappeared from Oui we had Annika who also flashed her bits in the centrefold.

Another Peter Weissbrich pictorial for Brigitta, displaying her rear to great effect in this shot.

The final pictorial was a a boy/girl one set in Victorian times.  It was severely lacking in passion and this was the best photograph of a dull bunch.  This was a surprise as the photographer was Jeff Dunas who usually excelled at this sort of thing.

Genesis was like Penthouse in 1975 with its use of soft-focus, except, like Playboy the labia had vanished in a puff of soft focus mist and shadow.  Margaret, shot by Diana Hardy, had a lovely bust though.

Gallery had their "girl next door" on the cover, in this case Andrea from Georgia, who like all the other monthly winners picked up  a rather measly $500 for being the only girl in the magazine to flash her bits.

Joyce Slate from Tulsa (or so they would have you believe) hardly even showed her fluff let alone anything more, but Siwer Ohlsson produced this nicely composed shot just catching a fringe of fur from behind.

John Justin had his unnamed model strewn across a Ford Mustang and she gave the readers this one abandoned pussy touching shot on the bonnet.  Or hood, as Americans would call it.

February's Penthouse had featured a rare return by a previous Pet of the Month in this sensuous shot of December 1975's Susan Waide by Bob Guccione.

That month's love set was a period piece set in the nineteen thirties and shot by Earl Miller.  It included the first male/female bondage photos  in the magazine.  The story behind it being that she is a rich girl kidnapped by a gangster for money.  Of course, in the end she runs off with the gangster.  The final faux fellatio shot was one of the stronger and more suggestive ones seen so far in the magazine.  The girl is Marianne Walters, who would later go on to be a porn star as Kelly Nichols.  We will see more of her in May's Penthouse.

Pet of the Month for February was Pamela Rhodes by John Copeland.  This was his second shoot for Penthouse, after the previous year's very explicit pictorial of Pet Amber Ramsay.  Not quite so much open pussy in this one but he presented a sexy masturbation centrefold of Pamela.  She was another Pet who disappeared as soon as she had appeared in the magazine.

This was not the case for Susan Waide.  Playboy often had catch up pictorials on its Playmates but, apart from Pet of the Year reviews this was the first time Penthouse had gone back and re-photographed a previous Pet.  Waide was now 24 and looking better than ever.  She was the first Penthouse centrefold who had clearly shown her labia and was obviously still happy to display herself four years later.

Lorie displays her tits...

...and her ass

Gallery had its "Girl next Door" competition and High Society had, "Tits and Ass" contest.  The winner of this proud title being Lorrie Ambrust.  Yes, the very same Lorie Ambrust who had been in Hustler's amateur Beaver Hunt in January.  You have to give her points for trying.

Monique Vandam was a Las Vegas croupier, except of course we would recognise those lovely eyes and that fleshy pussy anywhere.  Yes, it is none other than Penthouse Pet of the Month for May 1977 Valerie Rae Clark, one of the few Pets of the period that did any modelling in other magazines.

A girl who was even busier was the model they tried to persuade us was Camille from Barbados.  Except. of course it is Ava Cadell from Hungary who  was about to appear in erotic thriller The Golden Lady (1979) in the UK.

This issue of High Society was certainly a good one for bottom lovers as all the girls thrust their behinds at the camera as if they were auditioning for, well, Club.  Here Lisa winks at us.

There was more anal displaying, as well as an open vagina, from Susan Bale from Tulsa.

Finally, High Society, which was supposed to be about real sex, ran a feature where readers could write in with their favourite fantasy and the magazine would shoot a pictorial to illustrate it.  This month Hank from Minnesota had said that while watching the world championships for table tennis he imagined two women competitors ignoring the game as they got distracted by each other.

Not that difficult a one to arrange this but compared with the approach Penthouse would have taken it is very lazy.  Guccione would have had two pages of the girls engaged in actual ping pong before any of their clothes came off, not just lolling about in the vague vicinity of a table tennis table.  Still, the set is redeemed by the presence of the ubiquitous Nancy Suiter and a quite remarkably assertive arsehole shot.  Game, set and match to Miss S.  Or whatever ping-pong people say.

March's Playboy cover featured January 1978 Playmate Debra Jensen photographed by Phillip Dixon in a flamboyant up the skirt shot.

The first pictorial was a celebrity one of Bing Crosby's then unknown granddaughter Denise.  She would later find fame as Lt Tasha Yar in Star Trek: The Next Generation before becoming the first major Star Trek character to get killed off.

Playmates were now being spared explicit legs apart poses unless there was a lot of shadow involved or, as with Miss March Denise McConnell, the picture was small.   Denise was one of the 14 out of 3,500 women identified in the 25th anniversary Playmate hunt who made it to centrefold.

Playboy followed up their controversial December 1978 Cheerleaders pictorial with another set of shots of the now mainly sacked girls. Here is the unlikely named Bunny Hover, formerly of the New Orleans Saints cheerleaders, the Angels, barely concealed by some see-through knickers.  All the fuss over the cheerleaders was a nice diversion from the issue of Playboy's proposed $135 million Atlantic City Casino, the construction of which began this month.  The aim was that the Casino would take $1 million a day.  The reality turned out to be rather different.

Moving away from the fashion models Oui's cover girl was none other than Penthouse Pet of the Month from April 1976, the gorgeous Sandy Bernadou, (here credited as Sandra) in a very racy catsuit for the cover of Oui at that time.   That year she had a large role in the early Andy Sidaris film Seven (1979), from which we also saw a still of Carol Needham (Playboy's Lee Ann Michelle, further up this post)  in Hefner's magazine.

Sandy actually made the poster, alongside Playboy Playmate Susan Lynn Kiger (January 1977). Unfortunately, unlike Sidaris' later Playmate packed films of the eighties and nineties Seven is not available on DVD and Sandy's only other screen credit was a tiny part in the TV movie The Million Dollar Face (1981).  Sadly, Sandy (She actually spelled her first name Sande, but Bernadou was her real name) died in March 2011 at the age of 54, after a short illness.

After all the carefully covered or shadowed pussies of the past few months it is something of a surprise to encounter Kristin by S.Carter who is not obscured by anything.

Micki by Otto Weisser keeps her foot in the way.  You do wonder what happened to the skin of all these girls with deep tans.  No one bothered much with suntan cream in the seventies.

More 1977 style flashing from Francoise by Eric Muller.  

Finally we have Sandy Bernadou and a couple of other young ladies going through a series of poses for a very lucky gentleman.  Nothing very racy; it is all tasteful in a very French sort of way, although it was shot, like nearly all the couples pictorial in Oui, in the US, by Phillip Dixon.  There are strong echoes of Dixon's vampire pictorial for January's Playboy in this.

Gallery carried on in its increasingly non explicit way but did have this very effective shot of Lise Vanette in a hammock.

Pet of the Month Shasta Lindstrom posed in a very early-seventies way for Penthouse's March edition in John Copeland's second Pet of the Month in a row.

The first pictorial was a rather curious girl/girl cowgirl one by Antonin Kratochvil.  It fetishised revolvers but had very little sexual heat.  This was the best picture in an uninteresting pictorial.

There was no lack of heat in John Copeland shots of Shasta Lindstrom and her pretty little pussy.  Perhaps her visibly engorged labia were just a little too prominent as the UK version of the pictorial left these pictures out.  Indeed, in the UK version of her centrefold they airbrushed out her protruding bits which were so clearly visible in the US version (below)

John Copeland worked for Playboy, Penthouse and shot pictures for other magazines.  He moved to Germany in the eighties to work for Playboy's German edition but hated the lack of spontaneity on Playboy shoots and left, marrying one of the makeup artists he had worked with there.  He continues to work from his studios in Las Vegas.

The final pictorial for Penthouse's March edition featured a girl, Solana, with extreme tan lines which only served to highlight her spread pussy. In a way it gave a similar effect to the technique James Baes had been using in Hustler, where a mirror was used to illuminate the girls' nether regions.

Hustler for March rather unusually featured a straight picture of their centrefold that month, albeit enthusiastically diddling herself. For the previous six months all the covers had sported couples as part of Hustler's new image.

Part of this image was explained in the header to their monthly erotic films section.  "Millions of adults watch X-rated films every week yet the straight media have constantly avoided the obvious need to educate the public as to which films are rip-offs and which aren't."   There, a public service and not an excuse to show Serena admiring Jamie Gillis' erection in People (1978) in the magazine's strongest erotic films picture yet.

More writhing around in the first pictorial which showed stills from Sylvester Stallone's recently re-discovered soft core film.  This, under the original title Party at Kitty and Stud's was made in 1970 and Stallone, homeless at the time, was paid $100 for two days work.  It was re-released as The Italian Stallion to cash in on Stallone's Rocky (1976).  Despite subsequent claims, the film, as originally shot, was never a hardcore one

Their first model for March Yvonne, photographed by Suze Randall, posed with a vibrator which was still an unusual prop for the time in magazine pictorials.  The text claimed she was a a prostitute.  This was in contrast to Club who claimed nearly all their models were hookers.

It was Randall again for Hustler Honey Pandora, although how many of Hustler's readers would have caught the classical allusion is doubtful.  Randall, the queen of labia spreading, here, unusually, actually has her model indulging in some faux masturbation a la Penthouse.

The final pictorial that month was a boy/girl one, except it was really boy/woman as the pictorial text discussed the issues of older women from the pre-sexually liberated age who have to hire gigolos to satisfy themselves.  Or, at least, that was the excuse for the pictorial, Male for Sale, but at least Hustler was hiring an older female model.

More of note was the visibly aroused male model in the set.  Hustler had been criticised for all the soft penises (except by those who wanted them out of the magazine altogether, of course).  They had had a few "is it or isn't it?" pictures and several of their male models had been at least semi-erect but the man in this pictorial had definitely risen to the occasion.

Samples with another big-bust queen Sweden's Uschi Digard

The lady in question was none other than Candy Samples who had been appearing in adult films and magazines for almost a decade. When asked by appreciative readers, Hustler said she was fifty years old but actually she was born in 1940 so she would have been 39 at this point.  The grey wig doesn't really successfully turn her into an old person but it's the thought that counts and it is still good to see someone older than their teens or twenties on the pages of a men's magazine of the period.

Samples hadn't entered the glamour modelling circuit until the relatively late age of 28.  She made some softcore films, such as Russ Meyer's Beneath the Valley of the Ultra Vixens, before drifting into hard core, particularly in the late seventies and eighties.  She kept on making films and posing for magazines untill well into her fifties.

So that's it for the first quarter of 1979.  April to June soon.


  1. Thank you, awesome as always.

    Have you considered offering a bit more opinion about WHY the popular mens magazines were pulling back from such explicit shots in the late 70's? From my perspective the country was still very much on a pro-porn, pro-swinger kick -- something that ended with a screeching halt with Regan's 80's -- but it would seem that the mens magazines seemed to anticipate the coming conservatism. Why the mags and not the culture more broadly? Why Playboy but not Plato's Retreat; etc.?

  2. Yvonne went on to become a record company prostitute of sorts. She married Frank Zappa's drummer and formed a God awful new wave band in the early 80's. She wore fish bowls on her boobs and her voice was like a pet squeaky toy. The kind that my silky terrier would chew up to bits, just to remove the squeaky mechanism!

  3. I'd love to hear more of your opinion of Candy Loving. She was a major playmate in the magazine's history.

  4. This blog is amazing!
    I ended up here because I have been searching for an answer to a pictorial question that is driving me crazy.And since you are talking about 70s pubic wars (love that!)I'll ask it here.

    I have a teenage recollection of a Playboy pictorial in the 70s(possibly Penthouse)of an incredibly beautiful and athletic girl who did a pose which was labled the "Nail Keg" I believe.I recall her arms being over head and stretching,with the most incredible form and midsection I have ever seen then or since.

    Please assist me.I have been googling this and searching for a few evenings now,and I am reaching out for help!

  5. I have every seventies Playboy and pretty much every seventies Penthouse too but a bit more detail (if you can remember it might help). What else was she wearing? Was it a full page picture? A one off or part of a series...

  6. This is incredible. I feel I have arrived at a great information desk for tits and ass!

    The feeling I have is that the photo has a tropical feel,maybe a hammock was involved.Not sure if it were a set of different women or a dedicated spread for one lady.I can't recall why the photo was titled,but it was called "The Nail Keg " or "Powder Keg " or similar,I'm certain that keg was in there,and the name was just perfect because of her pose and unique and beautiful torso.If I am able to find the photo I shall laminate it wallet size and carry it with me always,for inspiration.

  7. Great anus shots of Amelia, Dana, and Lisa in this update. Thanks for including them. What happened to the series you mentioned a couple months back, devoted to nothing but the women of the 70's who exposed their anuses for us in erotic mags? I'd love to see the full series about that, extending into the puckered poopers of the women of the 80's as well. The 80's is when the ball really got rolling on butt exposure, and the 90's was ripe for female butthole exposure with legendary, high class anus starlets like Joanne Guest, etc. Until the 2000's when female asshole became the de facto standard across the board in erotica.

    The history of the female asshole in erotica would be a fascinating topic. In fact, an entire book could be written about the evolution of female anal erotica, with it's mainstream origins of a few anus peaks in photos in the 70's from time to time....

    So is that series about the 70's still in the works?

  8. Yes, but very busy at present so not much time to get started. Will definitely happen though. Already done some scans.

  9. I can't believe it.I have found my answer!

    Mr.Triple P,you are a tits ,ass and pussy God of the highest order,Sir.

    I thought it may be another night of googling more photos of more gorgeous naked women,how sad...But I found my answer at Venus Observations.And the answer is this:
    (please insert the beautiful hammock pose)
    Her name is Angela Dorian,and that is the happiest hammock of all time.I will now make it my life's quest to find a girl who can fill out a hammock as well as that.Hammock shopping is the next thing on my list.

    I'm still not sure where I am getting the nail keg thing from.I am starting to think that in the pages of Playboy,there is an illustration of a woman in that incredible pose and it is labled "Nail Keg".I would be curious to know .But more importantly,I now have a dream woman to find.Thank you Agent Triple P!

  10. Excellent! The nail keg thing is a mystery, however!

    Angela (Victoria Vetri) was one of my favourites from the sixties. Sad that she is in prison!

  11. Pretty sure the March Hustler model Yvonne was New Wave Rocker Dale Bozzio of Missing Persons.

  12. The Great Playmate Hunt also featured an AMAZING picture of Liz Glazowski (later Miss April 1980).

  13. Your series, V.O., is devoted to print media. But let me note that 1979 may also represent a landmark for the UK video broadcast era. On 3 January 1979, BBC One broadcast a visually frank hour-long documentary titled "Let's Go Naked" on the modern naturist movement. As I write, a complete copy has been present for over a year on YouTube at . Pubic hair and male genitalia are clearly on view - not just bare female breasts and nude children. Nothing like this could have been broadcast in the US at this time. The first full-frontal adult nudity on American broadcast TV was seen during the 30-hour Holocaust-centric ABC miniseries, "War and Remembrance," which ran 1988-1989. Probably the first glimpse of unclad female (side-only) breast was seen during the 1973 PBS play "Steambath." As late as 1994, the NBC TV late-night cancer film, "My Breast," was shocking America by briefly exposing the protagonist's full breast during a medical exam. And all will recall that during the widely-watched annual Superbowl sports event in 2004, sub-second exposure of Janet Jackson's breast, clad only in a nipple-shield, brought public outrage, including over a half-million complaints to the FCC (US equivalent of Ofcom), which levied a massive fine. The fine was definitively voided by court action only in 2011, with the Supreme Court refusing an appeal of the verdict in 2012. Ironically, the 2004 exposure came well over a decade after New York state courts had first ruled females had the right to appear top-free in public anywhere where males could in that US state.

    1. Full frontal nudity was not uncommon in late night films and drama on UK TV in the seventies (certainly earlier than 1979). I have seen clips on nudists from a documentary shown in the sixties, with full frontal nudity, on British TV. We find the American attitude to it rather baffling!

    2. (PART 1 of 3)
      I think it is generally agreed that in recent decades at least, skittishness to various degrees of "non-sexual" nudity in moving media has been greater in the USA than the UK, and greater in the UK than in many nations within continental Europe, especially those with the greatest incomes.

      Let's start by discussing Britain and the US. Considering the UK TV programming broadcast during the last generation on the BBCs, Channel Four and even Channel Five, I was surprised at the astonished facial reactions to life-size televised nudity which the secondary school students exhibited in the BBC series "The Sex Education Show," which ran on 2008-2011 on Channel Four. Have you seen them? Given this, it is hard to believe that the full-frontal nudity shown in the 1979 BBC program on naturism I cited had become unremarkable in the following years, much less that it had been so during the 1960s. Perhaps this is a simply a matter of younger Britons not seeing many programs broadcast past a "watershed" hour in the evening. Your comment? Also, isn't any time-of-day-based content segregation losing its punch as ever more households acquire digital video recorders AKA "plus boxes"? (By the way, someone online claims that Britons saw rather more of Valerie Perrine in the aforementioned televised play "Steambath" than did Americans.)

      Reviewing a collection of anglophone naturist films produced during various eras, it is interesting to remark upon the amount and nature of nudity in each. I would assume that all would likely be more permissive than television programming of the same era, which could not include the box-office auditing of patrons part of the theatrical film modality.

      "This Nude World" (1932) is a serious documentary on naturism/nudism in America, France and Germany. Most of the shots are rather modest, but there is at least one scene where one sees an extended full-body frontal close-up of an adult woman sporting pubic hair. The narrator of this monochrome film has an American accent.

      Contrast this with the un-narrated colo(u)r fiction film "Garden of Eden" (1954), with American dialect dialog. Shots are arranged so that the pubic area of adults is never visible.

      Later yet came "[Naked] As Nature Intended" (1961). Wikipedia says that when shown in the US, the word "Naked" was omitted from the title! There is no dialog, but only naration by both an American and a British speaker. The action takes place in Britain, most of it featuring a handful of adult women, again with scrupulous care taken never to reveal their pubic regions.

      The book "Naked as Nature Intended: The Epic Tale of a Nudist Picture" (2013) by star Pamela Green states that:
      "In post-war Britain the censor would not tolerate nakedness in a mainstream British film... Enterprising producers, soon realised that films extolling the virtues of naturism would be treated as documentaries. And nakedness in documentaries was acceptable. The first British nudist film was 'Nudist Paradise' (1958)..."

      The book explains various methods used to hide the pubic area, such as: "With the censors in mind we all had towels and baskets held firmly across our fronts as if they were glued to us..."

      Yet in the end, the British Board of Film Censors (BBFC) "felt the film showed too much nudity and banned it outright", so that the makers sought an independent right to exhibit the film in London, which "saw no difference in content to the host of other 'naturist' movies that had been released in the capital and passed the film with few reservations."

    3. (PART 2 of 3)
      "Nudes of the World" (1962) was again set in England. Here there was no need to play games with towels or baskets, as all adults wore G-strings hiding their genitals and any pubic hair. Unlike the 1961 film, now even prepubescent females wore a G-string as well, although prepubescent boys could still freely show their genitals.

      Dramatic change finally arrives with "The Raw Ones" (1966), a dialog-free, narrated film militantly advocating acceptance of "American nudism." The all-adult, mixed-sex cast freely exhibits their pubic areas. This put on display the genitals of the males, but not the females, on account of thick pubic hair - despite the willingness to transiently display the perineal region during athletic demonstrations. The cast is never shy about running fast enough that both breasts and penises flap in the breeze, in contrast to all previous films.

      Let me now summarize the development of US motion picture law over the years.

      In 1915 film was categorically denied the First Amendment ("freedom of the press") protection long enjoyed by text; and even the latter had been smartly circumscribed in 1873 by adoption of the repressive federal Comstock Act for the "Suppression of Trade in, and Circulation of, Obscene Literature and Articles of Immoral Use."

      To avoid restrictive legislation, in the early 1930s a film industry association created the voluntary Hays Code, which set restrictive guidelines, not just for nudity but also for dialog and even topics. It lasted about a third of a century, until replaced by a voluntary multi-tiered rating system, which focused on appropriate viewer ages.

      Relief finally came in 1952, when the Supreme Court found that film enjoyed full First Amendment protection after all, which began the process of liberalizing its content. In 1958, a court decision established that photography of human nudity was not inherently obscene, but depended on other factors, summarized by the aphorism "nude is not lewd." This led to a genre of light-hearted films dubbed "Nudie Cuties" which freely featured female buttocks and breasts, but shied away from pubic displays. However, before the development of premium cable TV channels, additional restraints on free, broadcast TV meant that US TV systematically avoided even very modest forms of "nudity," like display of the navel, which awaited its liberation by the singer Cher in the 1970s! (This makes the 1965 "Gidget" bathing-suit "cameltoe" slip-up all the more anomalous.) I suppose a rare exception might have been made for anthropological footage of alien peoples of sufficiently dark complexion, which fed on the ugly white supremacy still far too common in America in those days.

      While from the dawn of cinema, "underground" film had depicted all manner of human nudity and sexual content, I think the first legitimate non-documentary ("mainstream") anglophone film to reveal (female) pubic hair was the British-Italian film "Blowup" (1966).

    4. I agree that this is a fair assessment on the whole. Certainly non sexual nudity is much less of an issue in the UK. One example of this I can give is the Spanish film the Artist and the Model (2012) which features extensive non-sexual full frontal nudity but no swearing or violence. In the US this film is rated 'R'. In Britain it has been classified as a '12A' certificate meaning children under 12 can see it at the cinema if accompanied by an adult. 12A certificate films in Britain can contain non-sexual full frontal nudity. In France it was a 'U' (tous public) the same as, for example, a Disney animation. In its home country of Spain it got an APTA rating "suitable for all audiences; the same as, for example Mary Poppins.

      Recently the Daily Mail tried to stir up a controversy when the BBC showed an adaption of The Merchant of Venice, which contained topless women, in the afternoon after two (yes, two) people complained out of an audience of 250,000, The BBC pointed out that it had been shown before in the afternoon with no complaints whatsoever.

      We are now seeing more warnings before some programmes on the five main terrestrial channels for nudity, violence (which exercises the concern of the British much more than nudity and sex), strong language and sexual content but we have nothing like the restrictions on US network TV. On violence, as an exemple the film The Mummy Returns had a headbutting scene and this is instant 15 certificate in the UK so the producers cut the scene for UK films and DVD.

      As regards nudity generally I remember a friend being told to put her bikini top back on by a policeman on Santa Monica beach a few years back. Public nudity is not illegal in Britain. You are perfectly entitled to be naked on any beach unless you are outraging public decency (meaning doing anything sexual).

      I am always cautious about the authenticity of the reactions of schoolchildren to sex when they know they are being filmed and they know their parents will see it! I didn’t see the series you mentioned but Channel 4 (I think) showed a sex education programme recently where a lady expert controversially asked the teenagers to script a porn film in order to show how influenced they had been by porn tropes as regards the reality of sexuality (all women should shave, all women liked having their faces ejaculated on, said the boys while the girls looked unhappy). Sex education is still handled tremendously badly in the UK, compared with Northern Europe, and this is reinforced by an out of touch and sniggering (sex in Britain is almost always equated with humour and embarrassment and only po-faced Europeans take it seriously) press (the number of pieces in our press about actresses showing their nipples through their clothes at film premieres is tragic) whose views are still close to what people thought in the early sixties. There is a reason Britain has the highest number of teenage pregnancies in Europe.


    5. I can’t make any comment on naturist films as I have never seen any. The first one that was shown in Britain was the American film the Garden of Eden. Refused a certificate by the British Board of Film Censors in 1954, it was approved by the London County Council and then another 180 local authorities. It was such a hit the BBFC eventually gave it a certificate. Needless to say British filmmakers got into the act, making such films as the one you mentioned, although the BBFC made sure that certain rules were followed: No genitals or pubic hair, nudism had to be portrayed as a serious lifestyle and the films had to be shot at recognised nudist camps. So George Harrison Marks got into trouble when he shot Pamela Green naked in her shower at home in Naked-As Nature Intended and the BBFC cut the scene. That said, most of these early nudist films in Britain were given an A certificate meaning under-sixteens could watch them if accompanied by an adult.

      The passing of the full frontal nudity in Blow Up was as a result of a conscious decision by the BBFC in the summer of 1964 to agree that nudity in film no longer need be confined to nudist camps. The biggest impact came in 1970 when the BBFC ratings were overhauled and the age you could get into an X film was pushed up from 16 to 18 and a new AA category for over fourteens was introduced. This was most famously immediately exploited by Hammer films for their sex and vampire films in the early seventies.

  14. (PART 3 of 3)
    The landmark Miller criteria for establishing obscenity unprotected by the First Amendment was formulated by the Supreme Court in 1973. It consists of three tests, ALL of which need be passed to establish legally prosecutable obscenity. The first two tests are based on "contemporary local" community standards, whatever that means. These are:
    1. The average person would find the work, taken as a whole, appeals to prurient interest.
    2. The work depicts or describes, in a patently offensive way, sexual conduct or excretion.
    The third test uses a national community standard and is:
    3. The work, taken as a whole, lacks serious literary, artistic, political, or scientific value.

    This rule continues to limit what can be legally communicated via contemporary US media. But by now, even pornography (matter intended to incite or gratify sexual feelings) showing genitalia and sexual acts is not ipso facto obscene according to Miller. So it has been changing US mores which has expanded what can be shown in print, in film and via television - with the free broadcast television channels still subject to additional bluenose restrictions as well.

    With above-ground mainstream pornography emerging as legitimate in the US by the mid-1970s, most legal anxieties concerning the potentially lewd import of any nude imagery were alleviated. By comparison, remarkably, the US porn classic "Deep Throat" (1972) was only released uncut by the BBFC in 2000! Note that less than a decade later, in early 2008, the Dutch TV station founded as the "Liberal Protestant Radio Broadcasting Corporation", today VPRO, broadcast "Deep Throat" uncut for all to enjoy.

    A vast, US-centric historical review of sex in film is rooted at
    The page covering 2014 writes:
    "2014 was no different than the three previous years - boundary-pushing, [US] premium Cable-TV continued to reveal more nudity and sex than any mainstream feature films."

    Since 1969, US adults have had the right to enjoy even obscene media in their homes, although a 1990 decision made an exception for "child pornography." Therefore, in today's world, where the Internet makes international media commerce simple, American adults can legally enjoy almost anything at home. And of course, together with encryption and steganography, today the Internet also provides them ready access to illicit material, like copies which transgress copyrights, with practical impunity.

    I am curious about the development of British law. It seems to me that while non-sexual nudity became acceptable faster and further in Britain than America, the UK lagged the States in the acceptance of erotica. Do you agree?

    1. The British law on obscenity was first properly codified by the Obscene Publications Act of 1857 which did not, unhelpfully, define obscenity. However the Hickling case of 1868 brought in the judgement that all material tending "to deprave and corrupt those whose minds are open to such immoral influences" was obscene. This went further than the 1857 act where intention was key not effect. This “deprave and corrupt” definition remains the cornerstone of British obscenity laws. The US courts also first used this definition in 1896 although it was rejected finally for use in the US in 1957. There was a problem with the Hickling judgement in that one “obscene” passage could make a whole work obscene and the 1857 act had no exceptions for artistic merit or public good. The latter issue was dealt with by the Obscene Publications Act of 1959 which brought in an exemption for public good being "in the interests of science, literature, art or learning, or of other objects of general concern". The Act also changed the definition of obscene to something that is "if taken as a whole, such as to tend to deprave and corrupt persons who are likely, having regard to all relevant circumstances, to read, see or hear the matter contained or embodied in it". In other words the definition now meant that you had to prove that many people, not just one might be depraved or corrupted. The 1959 Act (slightly amended in 1964) is still the governing act in the UK although prosecutions under it have dropped from 309 prosecutions in 1994 to 35 in 2005.
      However there have been many more prosecutions (1348 in 2012) under Section 63 of the Criminal Justice and Immigration Act 2008 which forbids the depiction of:
      • An act threatening a person's life
      • An act which results (or is likely to result) in serious injury to a person's anus, breasts or genitals
      • An act which involves (or appears to involve) sexual interference with a human corpse
      • A person performing (or appearing to perform) an act of intercourse (or oral sex) with an animal (whether dead or alive)
      and a reasonable person looking at the image would think that any such person (or animal) was real.

      This Act is probably in contravention of Articles 8 and 10 of the European Convention on Human Rights and is generally thought to be an ill conceived piece of legislation – it has been suggested that several well know graphic novels could, conceivably fall foul of the law.

      Last year we got an amendment made to the 2003 Communications Act effectively banning online paid for British-made pornography which depicts:
      Spanking, Caning, Aggressive whipping, Penetration by any object "associated with violence", Physical or verbal abuse (consensual or not), Urolagnia (toilet-related sex), Role-playing as non-adults, Physical restraint, Humiliation, Female ejaculation, Strangulation, Facesitting and Fisting

      Weirdly anything made abroad isn’t covered. The intention is a vain attempt to try to bring the internet in line with rules on DVDs and films.

      As regards the subject of magazines Britain was initially more liberal than the US, with pubic hair first appearing in magazines on general sale in newsagents in 1969. Also Britain had visible nipples on the covers before the US but gradually during the seventies developments in the US were not mirrored in the UK. Increasingly explicit g/g and g/b pictorials did not feature in UK Penthouse, for example, with the UK edition initially cutting pictures and then not publishing pictorials at all from the US edition.

      Unlike the US, any hardcore was illegal in the UK in the seventies and eighties and nineties. I had a friend who got a visit from the police in the early eighties for trying to import a magazine from the US (Hustler, I think). Hardcore is still illegal in the UK unless bought from licensed sex shops (and try and find one of those outside big cities and see how far you get). I remember when

    2. I remember when Borders opened on Oxford Street in London in the late nineties and started to stock the then hardcore Penthouse US edition. Previously I had had to get this on foreign trips. I was amazed it was being stocked in a normal shop in London but within a month it had disappeared from the shelves. UK hardcore DVDs (18R certificate which only can be bought in licensed sex shops and not by mail order) are still censored in the UK with 13.5% of them being cut before they can get a certificate. The 18R certificate was introduced in 1982 but films were softcore until 2000 when hardcore was permitted for the first time, largely because of its wide availability on the internet. The current UK government is, unlike most European countries, still trying to restrict what ISPs can freely show on the internet in the UK.