Nothing to do with the John Mellencamp song of course, Jackie Leyton and Diane McCall were two of Fullarton’s finest combinations. Here this spoof greeting (undies, suspenders, heels), both girls squeezed onto an upturned bucket, is a typically nutty S&S contrivance which both lovelies ham up to the max. Notably the two lassies featured in the Swing Me Girlie duo giggle which was one of JBF’s most glorious stocking tops and legs wank fests. Which Misses L and M embraced with total relish!
Let’s turn the focus on to the pioneering Scottish photographer, J B Fullarton, who it could be argued set the template for the magazines’ directions in the 1960s. There was a more innocent quality to his work compared with that of his successors’, but without losing their sense of fun and jerk-off enticement. His professional stamp was more evident too. Liz McGregor was the more homely elder sister of the lovely tarty blonde Marion, with whom she was memorably photographed. She certainly filled her bra beautifully and was the epitome of the no great looker next door but was underneath sex on legs. She looked well up for a nice saucy tumble in front of the fireplace stripped to her undies and stockings and suspenders.
I may have posted this before but here is a rare example of a photographer being named with the money Toco paid him. Eighteen guineas to be precise. This was in the summer 1968 issue of Extra. By comparison they paid two guineas for a single agency picture. From the value comparison site I went to, 18 guineas today would be worth around £225. A nice little earner indeed. We know you could purchase prints of Lisa Scott so I am guessing this was a one-off payment (for the rolls of film submitted). We have no idea how financially generous Mr Smith was towards Ms Scott (who could have been his girlfriend). But if they went fifty-fifty on the deal then Lisa would be getting a nice little wad. This gives some idea of what Shaw could have earned from all his contributions. And being an apparently wealthy man what he could have put the way of some very welcoming models.
It is perhaps obvious magazine covers are selected with the prime objective of attracting you to the pleasures within and Spick and Span excelled at this (though not always). I have to say that when I received the weekly news-mail from the Girlie-Zine site advertising its latest New “Spick and Span” Collection, my heart went into overdrive. Rolling back in time, can you imagine the anticipation this cover shot of the awesome mature contemporary S&S queen Cassie would have generated on sighting it in the newsagent “pocket book” rack? This “cover”, purposefully created, in my opinion completely captures the pure essence of Spick and Span some 40 years down the line and at best it’s good to know the Toco flame is still being kept alive. Girlie-Zine is at http://www.girliezine.co.uk
Ros Stuart on the Vauxhall in the garage. Speculation has been made as to whether Ms S was in fact Mrs Shaw. Why, I don’t know (though who am I to say it wasn’t true). What does seem the case is that Ros belonged in the final batch of Shaw models, making her debut in spring 1965. She didn’t appear to be the last. That honour could belong to Linda White, while Brenda North and another minor face, Jean Stewart, were also in the twilight era. Ros was possibly the last of the iconic Shaw models. She was also one of the most obliging. There is a picture of her published by our friends at the Vintage Fetish blog standing up completely starkers in the bath with her modesty tantalisingly partially concealed by soap studs. Topless shots indoors and out are also in circulation and found there way to Toco. Perhaps it’s this candid nature that could have led to the supposition she was Mrs S. More to the point she was certainly a lovely dirty girl and another extraordinary willing candidate to pose before Shaw’s dodgy lens. On a more prosaic note, note the wing mirrors in these pictures and the one being cleaned by Anne in the previous post. Not the same motor!
Anne in the garage, sitting on the bonnet, ostensibly polishing the wing mirror. Shaw adopts one of his favourite positions, crouching below his subject in a supplicant position. Anne’s heavenly crossed stockinged legs are within touching distance, the tops of her nylons just peeking out from under the hem of her tight dress, a bulge in the trousers probably becoming an increasing hazard. Anne smiles encouragingly down. How could you stop yourself coming over all unnecessary! Once again the mystery of Shaw’s sudden departure has been raised. Let’s not forget J B Fullarton equally enigmatically ceased snapping, handing over to his Scottish heir. In Fullarton’s case, I would imagine it was a simple case of retirement. In Shaw’s I’m not so certain. In both instances, the large portfolio of models associated with them disappeared along with them. Shaw ploughed his own furrow — there appeared to be no effort to pick up with some of the girls where Fullarton left off. Similarly, when Shaw eventually gave way to Howard, none of the girls he photographed seemed interested in continuing in Spick and Span, engaging another snapper. Shaw, as I’ve argued many times before, strayed in the broadest sense into porn territory and exhibited a desire to get more from his models, certainly than it appeared Fullarton did. I wonder if he drew a little bit of heat towards his detached home in leafy Bearsden. He certainly seemed to chance his luck with Louise Crawford and the Kent sisters in the local snooty tennis club! Could his wife have caught him out and put her foot down, who knows. Or it may simply be he was taken ill and shuffled off his mortal coil. It looks like we well never know and his withdrawal may be a lot more prosaic than we fancy. But why was it not one of the 50-plus dolls he snapped over a mere two or three years, including the film and TV star Anne, popped her head above the parapet once he was gone.
It would be mean not to reproduce the exception that disproves the rule. When all the stars were aligned Jane could look positively radiant, as in the case here. She knows what she’s showing and looks totally at ease doing so. Shaw’s amateurism is again evident as he leaves space above her head and cuts one of her feet off. This prevents the shot from being perfect. The anticipation of Jane’s arrival to do the shoot must have been too much to bear! One wonders if Shaw picked her up or whether she caught the bus to Bearsden or someone dropped her off. I am assuming in the early Sixties young Jane did not drive (or could afford a car). And how much and to whom did she talk about her modelling exploits? I am guessing she discussed it with a girlfriend or maybe her mum before crossing the Bearsden threshold. Or was she put up to it by her feller, who liked the idea of dirty old men wanking over pictures of his gorgeous gal? The arcane world of Spick and Span and no mistake.