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Tuesday, July 04, 2023

The Labyrinth of Blue Towers: The Disappearance of Jack Arneson - Chapter 25

   

 The Labyrinth of Blue Towers:

The Disappearance of Jack Arneson

(A Sewing Box Mystery)


Chapter 1: Friday, June 10, 2011, 7:21 pm

Chapter 2: Saturday, June 11, 2011, 8:38 am

Chapter 3: Thursday, June 28, 1984, 10:10 am








Chapter 11: Thursday, June 16, 2011, 4:14 pm

Chapter 12: Saturday, June 18, 2011, 8:00 am

Chapter 13: Saturday, June 18, 2011, 9:45 am

Chapter 14: Saturday, June 18, 2011, 10:32 am

Chapter 15: Saturday, June 18, 2011, 10:51 am


Chapter 18: Saturday, June 18, 2011, 3:36 pm




Chapter 25: Sunday, June 18, 2011. 2:13 am

“Are you coming?

Kathleen had definitely lost all patience where they were concerned. She’d already disappeared behind a tall stack of blue plastic bread crates - the kind used when delivering multiple loaves to a store. Missy noted that the crate’s sides were blazoned with the name Brother’s Bread and a pair of the ever-present, cheerful, gluttonous little monks. Desperate to keep up, Missy kept her eyes trained on the wisp of light that kept slipping behind one mass of blue plastic after another. She felt like a lab rat being led through a maze. It seemed as though she and Jeanette were constantly mere footsteps away from being left in the dark.

“Slow down, Kathleen!” bellowed Jeanette. Though out of place, the tone got the desired result and Kathleen stopped in her tracks, allowing them to catch up.

Kathleen, flashlight aimed at the ground, eyed them like a schoolmarm corralling wayward children. “All together now? Good. Shall we?” Sarcastically, she motioned like a movie theatre usher for the ladies to fall in behind her. The trio continued to thread their way through the stacks of crates until Kathleen came to a halt. With great effort, and without asking for assistance, she pushed aside a single stack of crates, revealing a hidden door. She fit the key she’d lifted from the second statue of St. Peter into the door’s lock and turned it.

Pushing down on its large, crudely-welded handle, she shoved her shoulder into the door, causing it to open a crack. Turning back, she smiled at Jeanette and Missy right before flipping a light switch located on the right on the outside of the door. “Come in, please.”

With guarded heart, Missy stepped forward and squeezed through the opening of the heavy metal door. Jeanette followed suit, struggling just a bit more, due to her purse which was still pinned to her bust like a warrior's breast plate. They found themselves standing in a small cinderblock room with no windows and just the one door. The floor, unlike the rest of the basement, was bare concrete, although it appeared that at one time there may have been carpeting, for here and there. Missy could see ribbed patches of old, blackened glue. The place smelled slightly damp, as if it lacked proper air flow. The ceiling consisted of the same dark-hued rough beams as the rest of the basement. Coated with flanks of ancient cobwebs, a single bulb in a gridded metal fixture hung in the center of the room. The only piece of furniture was a sturdy canvas cot, the kind soldiers used, which had been placed at the room's center. It had been stripped of its bedding with only a small naked pillow at its head.

“Don’t close the door. And don’t worry about the light,” Kathleen purred. “Nothing can seep out of here, trust me.” Her attention then turned to the cement grooves in the cinderblock walls. A manicured index finger trailed behind her as she began to very slowly make her way around perimeter of the room. Though, in Missy’s eyes, nothing appeared very special about the room, Kathleen was strangely energized and seemed entranced.

“Now, I suppose you’re wondering what we’re doing here, hmmm?” She shot the women a quick look over her shoulder. It reminded Missy of a cat. “You know who built this room? My father. He and Abe Longren... you remember him, don’t you? Fat old fuck. Big wheezer. He’s been wheezing most of his life. Ever since I can remember.” Kathleen now stood in front of the wall opposite the door which Jeanette and Missy, stiff and unsure, had not moved from in front of. Kathleen continued, “They were friends. Shared.. common interests. Among them? Child pornography.” Her mouth formed a soundless, mock-shocked ’Oh’ as her eyes grew large and darted back and forth between the two women in an attempt to gauge their response. Seeing none, she smiled and then began tracing the cemented grooves of the cinderblock walls once again; traveling slowly along the wall toward Missy and Jeanette’s right. “I know! Nasty business! But then, they were nasty men. They were part of some network - a distribution system, I guess you could say. This was in the days before the internet. VHS tapes, remember those? That was how such things were exchanged back then.”

As she talked, she continued her way around the room, eventually walking between the ajar door and Jeanette and Missy, forcing the women to step further into the room. “It was an odd situation., my father, Abe Longren, and the Brothers. Oh, no, don’t misunderstand - the Brothers? They had no idea what was going on down here, or anywhere else in the world, for that matter This room? It’s soundproof. And the Brothers, at that time, they were rather naive - what with their vows of silence and lack of interaction with the rest of the world. They were cut-off, clueless. So, in a way, I guess they were the perfect hosts, the perfect cover for such vile business.”

In a show of bravery, Jeanette leaned forward and tested the stability of the cot before sitting down. She now sat facing Kathleen, who stood in the corner, just to the right of the door. Intuitively, Missy countered around the cot and stood behind her aunt “These walls. What they have witnessed...” Kathleen continued to touch the walls as she spoke, her hands caressing them as if reading braille.

“How” Jeanette’s question broke through Kathleen’s reverie

“I beg your pardon?

“How did Abe and your father pull this... 'child pornography' thing off?”

“Wheezy, uh, Abe... was surprisingly good with children. Driving around in his bread truck all day, visiting various towns - he was kind of like the ice cream truck man. And they were smart. Knew better than to pick the local fruit, because that could backfire on them; too close to home. Instead, they plucked their little sweeties - boys, girls - it didn’t matter, from neighboring communities. They’d ply them with treats and toys, bring them back here for a little fun, and then drop them back off where they found them. And somehow... probably shame, because children - they do feel shame, deeply. Somehow they kept getting away with it. Until Boyd Dean came along. That was the end of it. But the odd thing? Even after that? He remains the only one to come forward.”

When Jeanette spoke again, her voice was clinical, matter of fact. “The human mind is an amazing thing. It has the ability to wipe from memory things it’s not emotionally equipped to handle.”

Kathleen seemed to warm to this idea “Maybe. Maybe some of those faceless, nameless children were spared, in a way. Spared, and yet,” and with this, she became crestfallen, “not really. I mean, it happened to them. So young. They probably had no idea where they had been taken and even if they did tell someone, who was going to believe them? No one. No one ever believed anything. Even if you did tell.”

Kathleen appeared lost to a memory, and wanting to keep her on point, Jeanette prodded the woman, “So Boyd put an end to it?”

“Ultimately, yes. But the writing was on the wall a bit before that. The beginning of the end? That came in the form of Jack Arneson. They made the mistake of keeping him a little too long. That mother of his... made such a fuss. Got the papers involved. And I can see why; Jack, he was such a sweet boy. A complete innocent. He always believed that he was going home.”

Missy was glad they had finally gotten around to the subject of Jack Arneson. “So Jack was here?”

“Oh, yes. And in some ways... he still is.”

This last statement struck Missy as a bit odd, but Jeanette persevered, “What happened to him, Kathleen? Please tell us.”

A small, sad smile played on Kathleen’s lips. “I know this is what you came for. And you deserve the truth.” As she spoke, she began a second lap around the perimeter of the room, pausing every now and then, to reflect or for effect. Her tone took on a dreamy quality. “It was Christmas time. I came home from college to spend the holidays with my family. My family!” She chuckled at the thought. “My father was busy at work, my brother still at college, and my mother, sleeping off yet another dance with Jack Daniels in her bedroom. I was bored, looking around in my father’s study when I came across a VHS tape. Imagine my surprise? There was my father and old, wheezy Abe, running around dressed as monks, doing terrible things to that little boy. I was heartbroken... and livid.”

Missy put her right hand on Jeanette’s shoulder and gave it a reassuring squeeze. They had found Jack. Kathleen, lost in memory, continued, her tone becoming fragile and somewhat childlike, “You see, when I went away to college? He promised he’d stop. That there would be no more. But he lied. Daddies are good for that - lying. Bad Mommies drink and Daddies tell lies. But in a way, I came to understand why. Jack was so beautiful. You didn’t have to be around him for more than a second and you could sense exactly how special he was. Like me. Yes, I was special once, too. And Jack? In Jack, my father found the perfect replacement... for me.”

Missy’s eyes remained glued on Kathleen while Jeanette stared straight ahead. Kathleen’s eyes began to tear as she went on. “I was his original girl. His best girl, star of a series of films - back then they were done in 8mm. The series was called Snack Cakes. You want to see me do a little ‘Swiss Roll’? A ‘Snow Ball’? How about some ‘Vienna Fingers’.” She cackled. “Disgusting, huh? Just the thought of it. Makes you want to vomit? Well, trust me... I did.”

Kathleen now became angrier, more incensed, as if the memory of such despicable acts had triggered something deep within. “But enough of this. This...” Her arms flew about, indicating the whole room, “This, I have no room for in my life. Not anymore.” She snapped to and suddenly the very capable and professional woman which she presented to the world on a daily basis returned front and center. “Do you have my book?” she snapped. “No? Left it at the hotel? Hmph. Good for you. No matter. It doesn’t matter. Even if they do find it no one will know its significance.”

She moved swiftly to in front of the door.

“No, no one will ever figure it out - because there isn’t a chance in hell that the two of you are ever going to tell anyone. About anything.”

Without looking back, she slipped through the door's opening, slamming the heavy door hard and locking it tight. Then the light went out...

...and Missy and Jeanette found themselves completely in the dark.

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Next Week: Chapter 26

Doll Parts - Hole

Monday, July 03, 2023

Acquired Tastes XLIII: Gay Pulp Fiction, Part 154 - Frenchy's Gay Line

Acquired Tastes XLIII
Gay Pulp Fiction, Part 154
Frenchy's Gay Line

The brief history of Frenchy's Gay Line that I was able to stitch together is primarily anectodical. 

Publication Page

The imprint published a dozen titles between 1969-1971, operating out of the Le Salon Bookstore, in lower Nob Hill at 1124 Polk Street in San Francisco, CA 94109. It maintained a P.O. Box: P.O. Box 2261 in San Rafael, CA and was distributed by Oasis Periodical Distributors.

Le Salon Bookstore

In addition, several book retailers list that it had some type of association with the Eros Publishing Company,  which operated in Wilmington, DE.

Here's the imprint's birth, as recalled by author Richard Fullmer (aka: Dirk Vanden), who, back in 1969, was trying to determine if the three titles he'd written for Greenleaf Classics were selling:

"There was no way I could determine if my books were selling or not except by going into Le Salon, San Francisco’s premier dirty-book store, and asking the owner, 'The Dirty Old Frenchman' (as he called himself), how they were selling. After a few visits, he told me of his plans to start a publishing company of his own, calling it Frenchy’s Gay Line, and asked if I was interested in writing his first book. He offered $500 and wanted something ASAP."

I also Googled author Larry Mellman's name and discovered that, not only was he still very much with us (and a real person), but lived across the river in St. Paul, MN. I caught him a few days before he was going to be celebrating the release of his new book, The Man The Sapphire Eyes, the second in his Ballot Boy trilogy.  

I emailed him, asking if he was the author of The Sins of Socrates, one of Frenchy Gay Line's novels. Imagine my delight when he replied.

"...yes, that was me. It was supposed to have been published under a pen name but they screwed up (also stiffed me for half the fee), but oh, so long ago."

Queried, he then wrote:

"...quite honestly my memory of the circumstances surrounding that book is quite hazy. I must have seen an ad somewhere and submitted to them. I found my first porn publisher (name I no longer remember) through an ad in The Daily Californian, the UC Berkeley paper, which led to three books. They were based in the San Fernando Valley in suburban L.A. I was a student at Berkeley, working my way through college. I don't recall ever meeting the Frenchy's people, although I was living in San Francisco at the time. It seems now like it was all done through the mail."

I'll share more about Larry Mellman and Richard Fullmer later in this post. 

But that's all I could really find out about this imprint, other than I found a note on Hommi Publishing's Big Ass List that the first cover illustrations was done by its author, Dirk Vanden/Richard Fullmer. And, since it appears that all of the artwork is quite similar, one could assume that he's responsible for all - though that's pure speculation on my part. 

Here's the entire output of Frenchy's Gay Line. Fortunately, I was able to track down all twelve covers. 

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 I Want It All
Author: Dirk Vanden
 1969 
FGL-11

According to a note in Hommi Publishing's Big Ass List, this cover illustration is by the book's author: 'Vanden' (aka: Richard Fullmer).

From Google Books: 
"I Want It All started out as a gay pulp, written for Frenchy's Gay Line in 1969. It introduces Warren Miller, a young man, working as a cowboy in Colorado, exploring his sexuality in a changing world."

I Want It All was originally published by Frenchy’s Gay Line in 1969 - the first of the series. In 1970, it was revised by the author and republished by The Other Traveller imprint and then still later published in a newly revised edition by Brass Ring Books in 1995.

This title was the first of a trilogy of books which, in 2011, were revised by the author and collected in one volume as All Together by loveyoudivine Alterotica. The collection received a Lambda Literary Award for Gay Erotica in 2012.

Richard Fullmer

Richard Fullmer (Dick Vanden) was a gay pioneer of sorts, he is considered the first gay Mormon writer and part of a wave of writers who were part of the first significant group of gay authors to write for an almost exclusively gay readership.

Using the pen name Dirk Vanden, between 1969 and 1971 he published seven novels with Greenleaf Classics, Frenchy’s Gay Line, and Olympia Press.  

"I wrote I Want It All for him ('The Dirty Old Frenchman') in two months, from April 22nd to June 20th (of 1969). I based it on one of Herb’s favorite bath-house-sling acid fantasies: being gang-raped by cowboys."

"About that time, I started finding very positive reviews of my books in the gay bar newspapers and 'underground' magazines, and I soon made the acquaintance of the owner/publisher/editor/head-writer of California Scene, who gave I Want It All a very good review and asked if I’d let him publish an interview in his magazine. I was thoroughly flattered and agreed, and the next Sunday, at the Speak-Easy bar, he tape-recorded an interview, which he published the next month. It detailed all of the problems I’d had with both Greenleaf and Frenchy’s."

The 'problems' Fullmer was referring to had to do with the way publishers would alter or misrepresent his work once it went to print. Greenleaf Classics, for instance, inserted a number graphic sex scenes written by someone else into Fullmer's novels. He also bemoaned how publishers, wishing to drive sales, would use sexually explicit covers and change the titles of his novels which he felt misled the reader. Non-payment of royalties was also cited as a frequent, common issue. 

Fullmer died of cancer at his home in Carmichael, California in October 2014.

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The Search
Author: John Ahern
 1969 
FGL-12 

According to Library Thing, the title page of this book lists the author as Allen James, which was the pen name John Ahern had hoped to publish this title under. Allen James is credited with a number of novels in the genre, as published by Green Leaf Classics, 101 Books, and Magcorp Publishing.

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The Joy Spot
Author: Phil Andros
 1969 
FGL-13

Phil Andros is actually the name of a gay character created by author Samuel M. Steward, one whose name he occasionally employed as a pseudonym. In a blurb touting a collection of Steward's essays on the site LibraryThing, we learn:

"Samuel Steward (1909-93) was an English professor, a tattoo artist for the Hells Angels, a sexual adventurer who shared the considerable scope of his experiences with Alfred Kinsey, and a prolific writer whose publications ranged from scholarly articles to gay erotica (the latter appearing under the pen name Phil Andros). Perhaps his oddest authorial role was as a monthly contributor between 1944 and 1949 to The Illinois Dental Journal, an obscure trade publication for dentists, where writing as Philip Sparrow he produced a series of charming, richly allusive, and often quirky essays on a wildly eclectic assortment of topics. In Philip Sparrow Tells All, Jeremy Mulderig has collected thirty of these engaging but forgotten columns, prefacing them with revealing introductions that relate the essays to people and events in Steward's life and to the intellectual and cultural contexts in which he wrote during the 1940s. In these essays we encounter such famous friends of Steward as Gertrude Stein, André Gide, and Thornton Wilder. We hear of his stint as a holiday sales clerk at Marshall Field's (where he met and seduced fellow employee Rock Hudson), of his roles as an opera and ballet extra in hilariously shoddy costumes, of his hoarding tendencies, his disappointment with the drabness of men's fashions, and his dread of turning forty. We go along with him to a bodybuilding competition and a pet cemetery, and together we wander the boulevards of Paris and the alleys of Algiers. Throughout, Mulderig's entertaining annotations explain the essays' wide-ranging allusions and also highlight their gay subtext, which constituted a kind of private game that Steward played with his mostly oblivious audience of Midwestern dentists. The first collection of any of Samuel Steward's writings to be republished since his death in 1993, Philip Sparrow Tells All makes these lost essays available to a broad readership that Steward imagined but never actually enjoyed when he wrote them. In doing so, it takes a major step toward documenting his important place in twentieth-century gay literature and history."

In the 1960's after establishing a shop in Chicago where he practiced his art on sailors and streetwalkers, he moved to San Francisco, where he became the official tattoo artist of The Hell's Angels.

Samuel M. Steward

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Manager
Author:  Allen James
 The 1970 
FGL-14 

According to Hommi Publishing's Big Ass List, this book is about politics and sex. And, given the pen name, I think it can probably be credited to John Ahern/Allen James - whoever they might be.

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A Collection Of Short Stories Featuring...
Arms of Arum
 Author: Peter Harnes
The 1970 FGL-15

According to a note on Hommi Publishing's Big Ass List, this is a collection of short stories - the first of two collaborations by Peter Harnes and Allan James.

A copy of this title was up for sale during the first week in May on eBay, listed at $124.75.

--- ---

The Thief
Author: Nala Macnore
1970 
FGL-16

I can't make out what is in that little 'cloud' symbol just to the right of center at the top of the cover. Any clue?

--- ---

 Snowbird
Author: Peter Harnes
Birthday for Ben
Author: Allan James
 1970 
FGL-17

The second of two collaborations by Peter Harnes and Allan James. These two collections are the only books credited to Peter Harnes.

Available as a downloadable PDF or ebook at Hommi Publishing. 

--- ---

Love
Author: Roger
 1970 
FGL-18

This is the first appearance of the Global Press symbol in the upper left of the cover.

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All or Nothing
Author: Dirk Vanden
 1970 
FGL-19 
TC-515

This is the second book in the trilogy. The third is All Is Well, which was first published by The Other Traveller imprint in 1971 and then republished in 1972 by Olympia Press. 

From Good Reads:

"You met him first in I Want It All - Bill Thorne, the mechanic from the local gas station: 'tall, muscular, dark-haired, and hung like a small stallion' – out in the dark alley behind Red’s Bar and Billiards, in Gorman, Colorado, where he and twelve other drunken ranch-hands and cowboys raped a hitch-hiking queer. As a result of the rape he lost his best friend, and discovered something about himself that he’d never suspected."

--- ---

The Sin of Socrates
Author: Larry Mellman
 1970 FGL-20

This is a bio I found for author Larry Mellman:

"Larry Mellman was born in Los Angeles and educated in literature, political science, and life at the University of California, Berkeley. He has worked as a printer and journalist in Los Angeles, San Francisco, Chicago, and St. Paul, Minnesota. Larry also worked with Andy Warhol and the Velvet Underground on the Exploding Plastic Inevitable in NY, Provincetown, Los Angeles, and San Francisco, was mentored by Dean Koontz, and shared a palazzo in Venice with international opera singers Erika Sunnegårdh and Mark Doss.

While living in Venice for many years, Larry also taught English, led tours, and immersed himself in the history and art of the Venetian Republic. The Ballot Boy was born in Venice and completed in St. Paul.

Larry is a lifelong social activist and writer, a voracious reader and researcher, an opera fanatic, and devoted walker. He currently lives in St. Paul with his partner of twenty-one years and his ex-wife of twenty-five years. His son is a pianist devoted to blues and jazz."

Author: Larry Mellman

Larry mentioned this in an email:

"Last year, for my birthday, a friend gave me a copy of The Sin of Socrates (Frenchy's Gay Line). He found it on Amazon!? It was the last one. The cover art is quite chaste..."

He just released the second book in his Ballot Boy trilogy.

The Ballot Boy
Author: Larry Mellman

Available at Amazon as a paperback or Kindle download.

The Man With Sapphire Eyes
Author: Larry Mellman

*New Release*
Available at Amazon as a paperback or Kindle download.

Adding both of these to my summer reading list!

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 Come Naked to My Arms Gentle Savage
Author: Sebastian Lamb
 1971 
FGL-21

Ah, ever since Richard Amory's Song Of The Loon became a best-seller, no vintage gay imprint is complete without a contribution to this particular sub-genre.

And yet another new logo, this one just right of center at the top of the cover. 

 --- ---

Tuesday Mirror Chronicles
Author: Peter Hughes
 The 1971
FGL-22

Peter Tuesday Hughes (quite the pen name) was very prolific with a total of 33 books in the genre, many of which were for the Blueboy Library, Adonis, Greenleaf Classics, or HIS69 imprints. . He primarily wrote gay-oriented sci-fi and mystery novels, and is noted as an early exponent of the gay gothic subgenre. In 2013, Peter Tuesday Hughes' 'Bruce Doe' novels, a series of six mysteries, were named one of the top ten mystery series by The Lambda Literary Review.

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And that's the story for Frenchy's Gay Line.

Next week: another vintage gay  imprint and it's cover art.

Until then, thanks for reading!

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All Or Nothing - Cher

Sunday, July 02, 2023

Sunday Diva / Three From The Hip: Lucille Ball

Sunday Diva / Three From The Hip:
Lucille Ball

In my own personal big gay church, there is a wing dedicated to the Ladies Of Comedy. Theses are the gals who made us laugh and, on occasion, brought a tear to our eyes. They are visionaries, capturing aspects of the human condition while holding up a mirror to the world. Their characters, style, and phrases have helped form our daily vernacular in ways we are not even always aware of - but that is the power of comedy and the magic these ladies all possess. Breaking ground while breaking all the rules?

One such zenith...

Lucille Ball.

Cut from a mold no one imagined, this true beauty's wisecracking slapstick has kept the world in stitches for centuries.

Which is amazing, because to hear her tell it - she had no talent.

Yet she created the magical whacky world of Lucy, entertaining generation after generation.

With her husband Desi, they forged what would become known as the sitcom.

From that moment on, just as television was transformed forever, nothing in their lives remained the same.

And all it cost them was each other.

Still, singularly this diva broke ceilings and records, dazzling us with her antics even today.

The gospel according to her?

Well, here are three from the hip, dropping from her lips.

The Topic: I Love Lucy


"I wanted to get out of the pictures and stay home so that I could have children."

"TV started for me just as a means of keeping my husband Desi off the road. He'd been on tour with his band since he got out of the Army, and we were in our 11th year of marriage and wanted to have children."

"I'm sometimes scared of everything that has happened to us. We didn't think Desilu Productions would grow so big. We merely wanted to be together and have two children."

"How to do half-hour comedy innovatively is something I do pride myself on. We invented it with I Love Lucy."

"How I Love Lucy was born? We decided that instead of divorce lawyers profiting from our mistakes, we'd profit from them."

"I hate failure and that divorce was a number one failure in my eyes. It was the worst period of my life. Neither Desi nor I have been the same since, physically or mentally."

"I will never do another TV series. It couldn't top I Love Lucy, and I'd be foolish to try. In this business, you have to know when to get off."

"I don't think you should write a book until you tell the absolute truth. You can't do that until you're 85, and I don't want to live that long. I've always prided myself on knowing when to get off, and I hope it works out that way."

Bring On The Beautiful Girls 
from the musical Ziegfield Follies

The Chocolate Factory - Lucy & Ethel

Bosom Buddies - Lucille Ball & Bea Arthur
from the musical Mame

And one last parting shot...

"Once in his life, every man is entitled to fall madly in love with a gorgeous redhead."

"I dyed my hair this crazy red to bid for attention. It has become a trademark, and I've got to keep it this way."

"The secret of staying young is to live honestly, eat slowly, and lie about your age."

"A man who correctly guesses a woman's age may be smart, but he's not very bright."

Saturday, July 01, 2023

Weekend Onesie: Jim French's Luger - Sailors

Weekend Onesie:
Jim French's Luger -Sailors

Jim French (AKA: Rip Colt) was an American artist, illustrator, photographer, filmmaker, and publisher and co-founder of Colt Studio. With his business partner Lou Thomas, he created Colt Studio in late 1967. The two parted ways in 1974, leaving French to continue to build what would become one of the most successful gay male erotica companies of all time. The multi-talented French left a legacy of homoerotic images in artwork, illustrations, photo sets, slides, film, fine-art photographs, magazines, books and calendars while setting a new standard in photography of men.

But before his years at Colt Studio...

After initially drawing homoerotic images under the name Arion, he rechristened himself  as Kurt Lüger, chosen for its implied association with the German Luger pistol. He then went into business with  an Army buddy who was a fan of French's early unpublished  drawings. The two formed a partnership, starting up a mail order company named The Lüger Studio.    

Influenced by the works of George Petty and Alberto Vargas, as Arion, French drew "playful sketches of Fire Island life and similar scenes." However, when he became Kurt Lüger, his style changed drastically. His subjects became more hyper-masculine: construction workers, men in leather, surfers, cowboys, wrestlers, and sailors. The first appearance of a Lüger Studio drawing  was in the May–June 1966 issue of The Young Physique, featuring two of the cowboy images below. The drawings, offered in thematic sets, were then made available for purchase via mail order.

To avoid legal troubles, Lüger Studio offerings contained minimal frontal nudity while remaining erotic and coyly creative in their suggestiveness. French's artwork was favorably received and was commended for its "unbridled imagination and a fantastic technique."

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Sailing - Christopher Cross












Sailing - Rod Stewart