Julie London - Bosom and Blues

 
 
THE GREAT COMEBACK is an old story in Hollywood script albums. In the classic version, the fable relates how a star falls from the top of the studio payroll into a gutter of obscurity and poverty. He remains there for several years succumbing to the influences of alcohol and dope, then, overnight steps miraculously, back into the spotlight. While violin strings play “hearts and flowers” in the background, the theme plugs the sheer guts and die hard will power of the star in defeating his shortcomings to re-throne himself as the idol of millions.


In this script, Julie did not fall from the ladder of success: she merely stepped down voluntarily, in order to be a good wife and mother. The only alcohol appearing on the set is in the glasses of nightclub patrons. An the only dope, according to her fan clubs, is the guy who dumped her in favor of a TV series.

Caption: RECEIVING champagne shower from actor Edmond O’Brien. Julie’s mammaries get undivided attention in scene from The Third Voice. During filming, several takes were required to determine most provocative camera angle for audiences.

But the most significant departure from the formula comeback is the method used by the writers to restore her name to the tongues of every red-blooded American male above the age of a Cub Scout. Julie did not fight her way to the top. (In fact, if anything, she resisted.) Rather, Julie was drafted into the stellar ranks by the appearance of her mammoth mammaries in a very drafty dress on a record album cover---a simple but effective gimmick which immediately established her as standard wall covering in every fraternity house and barracks in the country.

 

Caption: REVEALING her new sex image, most of her bosom (left), in scene from Man of the West, Julie has blanket tussle with Gary Cooper. Leg exposé (above right) is from the same film.

“I know there are many fans buying my records who don’t even own a record player!” says Julie with a mischievous twinkle in her eye. “They like the covers.”

Caption left: APPEARING with Dragnet star Jack Webb, her first husband, Julie turned down screen roles to help his career. When Webb scored success, he jilted Julie for his TV work.






Caption right: DISCOVERED by musician Bobby Troup,, Julie was encouraged to cut records, display her charms on album covers. Result was immediate fame, numerous offers for movie contracts. Julie married Troup last New Year’s Eve.

And well they might. Most of Julie’s record album covers have been designed to spotlight her cleavage rather than her vocal chords. And what Julie has to show should make even Jayne Mansfield slightly green with envy. Undoubtedly, displaying part of Julie’s talents on album covers has helped her platter sales to soar. But her sexpot image---which has been furthered by her torrid roles in movies and TV shows as well as a bosom display on albums---has been a problem as well as a boom in her career. Crackpots are always pestering her with weird telephone calls which she finds most disconcerting and which almost make her forget she is a lady.

Caption Right:

SURROUNDED by her many hit albums, Julie has come a long way from rejected wife to popular songstress. She claims, however, that she is not singer, but song “stylist.”





“There was one the other day who wanted to come up and take pictures of me,” says Julie. “He told me he was writing a novel. Naturally, I wondered why he wanted to take pictures for a novel. So I told him I had somebody who handled all those requests and gave him the name. “That’s all we heard from him!”

Webmaster note: This article is longer however I do not have the rest of the text or photos.

 

Playing second fiddle to TV cop, former actress “Cried a River” on wax, put up a good front on comeback trail.

by Frank Thistle

Modern Man Magazine

November 1960