Paul Cadmus & Jared French, Fire Island, PaJaMa (1940)
I have previously written about The PaJaMa collective’s Fire Island summers. They were frequently joined by fellow artists George Platt Lynes and Bernard Perlin, as well as a parade of friends and lovers, performers and literary types from their New York social scene. They were almost exclusively attractive young gay men who served as models and muses for the artists.
Chuck Howard & Ted Starkowski, FI, PaJaMa, 1951
10 of these men are profiled in the piece – several of whom have previously been featured here. The others will inevitably get more in-depth profiles in the future: José “Pete” Martinez Forrest Thayer Donald Windham & Sandy Campbell Jonathan Tichenor Randy Jack Ted Starkowski Chuck Howard Jensen Yow & Jack Fontan
Paul Cadmus: Two Boys On The Beach (1938) / Two Boys On The Beach 2 (1939)
Margaret French, “The Moon by Day”, 1939
Thanks to Robert Bonanno for reaching out and John Dempsey for the feedback and formatting!
Hard to believe but it has been a year since the last Artist’s Muse profile – these are men who inspired and were subjects of 20th Century painters, photographers, and other artists. It was last January that we cast the spotlight on Jose “Pete” Martinez. Chuck Howard was profiled in September, 2022 and is currently being featured in George Platt Lynes photographs on exhibition at Childs Gallery in Boston. If you read our post and then take a look at their press release, you might surmise the primary source of their biographical material.
Our latest Artist’s Muse is William Weslow, a ballet dancer with an extraordinarily long career who was also a Broadway performer, artist, and masseur. He posed for George Platt Lynes’ camera during their brief relationship, and was later involved with choreographer Jerome Robbins. He posed nude for dance photographer Kenn Duncan when he was in his 50’s, looking as fit as in photos from 25 years earlier.
The Columbian, Vancouver, WA (6/7/44)
William Edward Weslow was born on March 20, 1925 in Seattle, Washington. His mother had been a Ziegfeld dancer, and he soon followed her lead. As a teen, Weslow studied with famed dance instructor Mary Ann Wells. His 1943 draft registration card lists him as a student at Broadway High School in Seattle. Later that year, he joined the Navy Coast Guard and was stationed in the Alaska.
Annie Get Your Gun (1946) Ethel Merman with Weslow on the right (Photo: Eileen Darby)
After his stint in the Navy, Weslow headed to New York to continue his ballet study. He joined the Ballet Theatre, but soon turned his attention to the Broadway stage. He was in the original Broadway casts of two Ethel Merman vehicles: Annie Get Your Gun and Call Me Madam, the latter choreographed by Jerome Robbins. Besides touring companies, he also appeared on Broadway in the original casts of The Girl In Pink Tights and Wonderful Town with Rosalind Russell.
Weslow photographed by George Platt Lynes (1951)
It was around 1951 that Weslow had his brief relationship with photographer George Platt Lynes. The affair was so fleeting that it did not garner a mention in Allen Ellenzweig’s recent Lynes biography. In David Leddick’s Intimate Companions, it is summed up in a single anecdote:
Dancer William Weslow, who had a transitory but more serious than usual romance with George Platt Lynes in the early 1950’s, evidently treated the photographer to the kind of temperament Platt Lynes had displayed to his admirers in the past. Dining at Platt Lynes’s apartment before a performance, Weslow had requested a steak because of the demanding dancing that was to be done that evening. Instead, Platt Lynes served him an elaborate veal dish, which the young dancer flung against the wall before leaving in search of a steak.
Lynes’s photographs of Weslow are also rare, due in part to the paper negative process that the photographer was experimenting with at the time. This cost-cutting technique gave the photos a quality that have been described as either “ethereal” or “muddy.”
When he wasn’t on stage, Weslow enjoyed painting and sketching, with an affinity for exotic birds, both real and imagined. His work garnered several gallery showings through the years.
Buffalo Courier Express (4/1/51) &New York Post Star (7/9/71)
New York Daily News(1/1/54)& (11/6/54)
Weslowwas a soloist at Radio City Music Hall, New York Daily News (6/20/56)
In 1955, he originated the role of Levi Stolzfuss in the Amish musical Plain and Fancy. After nearly 10 years in musicals, he felt the need for a change. When the show closed the following year, he rejoined the Ballet Theatre for a brief stint before settling in at the New York City Ballet for the rest of his dance career.
Like his relationship with Lynes, Weslow’s dalliance with choreographer Jerome Robbins was so fleeting that most biographers fail to mention it. It is worth noting as it caused friction between the two while they continued to work together. Weslow is not alone in saying that Robbins could be vindictive, manipulating his dancers because of personal grudges, often pitting them against each other.
Weslow also caught the eye of New York City Ballet Director Lincoln Kirstein. He rebuffed his advances, stating “I don’t find you attractive, Mr. Kirstein.” “Who asked you to find me attractive?” Kirstein snapped, “I was just asking you to come over to the house for a few drinks and stay over.”
Later, the two had a chance meeting at a gay bathhouse. Weslow greeted him loudly with “Why Lincoln, hello! Come here often?” The married Kirstein did not respond and left the establishment.
1963 Ad for New York City Ballet
1963: Weslow & Suki Schorer in Variations from Don Sebastian (photo: Martha Swope)
1964: Weslow & Sara Leland in La Valse (photo: Martha Swope)
1964: William Weslow & Carol Sumner are the dancers in the first of 4 Temperaments – NYCB filmed for Canadian Television
1965: New York City Ballet rehearsal for Don Quixote (l-r) Nicholas Magallanes, George Balanchine, Richard Rapp, Jillana, William Weslow (photo: Martha Swope)
Camden Courier Post, New Jersey (3/8/66)
1966: Weslow & Marnee Morris in A Midsummer Night’s Dream (photo: Martha Swope)
1967: Weslow & Leslie Ruchala in Don Quixote (photo: Martha Swope)
In the mid 1960’s, Weslow began cultivating a side career as a masseur, working on fellow ballet dancers including Alicia Alonso and Edward Villella, who credited Weslow’s massages with extending his career by several years. Weslow makes a brief appearance as his masseur in the 1968 documentary Man Who Dances: Edward Villella.
In 1972, Weslow was dismissed from the New York City Ballet. He was 47 years-old and had been with the company for 14 years. In the book I Remember Balanchine, he recounts Balanchine telling him, “You’re too old. You have to leave company. We only want young, pretty dancers here. Old dancers – you see, when they get old they should just go away and die. This is what they should do, die. Because you’re not pretty. No youth… Besides, dear, you’re not going to commit suicide, are you?”
He replied; “To please you, no, I wouldn’t, Mr. Balanchine.”
“And that was that,” Weslow writes; “He didn’t say ‘You have been a good dancer’ or anything. It was just ‘Go away. Go away.’ I was close to tears. It was a terrible blow because I adored the company.”
Weslow’s massage work helped him to keep a connection to the dance world while easing into the next phase of his life, as he became known as “masseur to the stars.”
1976: Weslow was 51 years old when he was photographed by Kenn Duncan
When former ballet dancer Anne Byrne (aka Mrs. Dustin Hoffman) was profiled in the New York Daily News, her masseur William Weslow was there to lend a hand or two. (1/22/78)
William Weslow (1997)
When interviewed later in life, a reporter recalled “He seemed to love Maria Tallchief and had a poster of her on the wall. He also had kind words for Allegra Kent. He could be quite sarcastic, compassionate, cranky and deeply moving remembering certain people and other things.”
Allegra Kent called him “the funniest comedian ever” while also noting his empathy for others. He could also be quite brutal in his assessment of those he had worked with. Of Kirstein he said, “There was cruelty in Lincoln.” Jerome Robbins, he told a biographer “should have been cut up in small pieces and burned in a microwave somewhere because he was so horrible to me.”
William Weslow (2000)
While photographing male nudes for his 2011 book Shades of Love, photographer Demitris Yeros recounts how a naked octogenarian William Weslow would repeatedly interrupt the photo shoot, arms waving to chase the pigeons from his veranda.
William Weslow passed away at age 87 on January 29, 2013 in New York City. He was remembered in a Dance Magazine article as “A flamboyant personality with a sassy comeback for any remark directed his way…. (he) was as colorful off stage as on.”
Recently, the Gr8terDays blog featured cast photos of TV shows throughout the golden age of television. Surviving cast members are pictured in color while those who have shuffled off this mortal coil are depicted in black and white. I found this method of categorizing to be a bit jarring and sad, but also informative.
The post begins; “I’ve always been the morbid type. Even as a kid, I would watch old movies and TV shows and zero in on, ‘Which of these people is still alive?'”
Well, I was that kid too, although I didn’t get that way without help. I remember watching The Wizard of Oz on television when I was 5 or 6 years old while my parents made casual conversation of tallying the deceased cast members. “Yeah, she overdosed. And he’s dead. That one’s probably dead too… I’m not sure about Jack Haley.”
This might explain why my last post was Zombie Divas, a piece of Halloween fiction that featured a reanimated Judy Garland and other dearly departed entertainers hanging around the narrator’s apartment.
I have written about my love of ’60s girl groups in the past. From 2008-2013 I produced and hosted 60 Degrees with Brian Ferrari, a 2-hour weekly program on East Village Radio devoted to female singers of the 1960’s. I have great respect for these women and am very much enjoying the newly released book Will You Still Love Me Tomorrow? An Oral History Of The ’60’s Girl Groupsby Laura Flam and Emily Sieu Liebowitz.
With that said, here’s my list of surviving members of 30+ girl groups (primarily) of the 1960’s. They may be gone, but their music lives on.
Lead singer Peggy Santiglia and Phyllis “Jiggs” Allbut are the last original Angels. Besides Barbara “Bibbs” Allbut, first lead singer Linda Jansen and Bernadette Carroll have also passed on.
Darlene Love’s group The Blossoms started as The Dreamers in 1954. The evolving lineup went through many group names and members, with Fanita James as the one constant throughout. The 1964 lineup with Love, James and Jean King were regulars on the TV show Shindig! and continued until Darlene’s departure in 1975. Jean passed away in 1983, while Fanita died on Thanksgiving, 2023.
When Reather Dixon Turner died in 2014, co-lead singer Emma Pought Patron became the sole surviving member of The Bobbettes, which formed in East Harlem in 1955.
Seminal girl group The Chantels formed in the Bronx in 1957. Although they lost Jackie Landry to cancer in 1997, members of the group are still performing today.
Baby, That’s Me: The last member of The Cake is Barbara Morillo.
The Chordettes were of an earlier generation than the other girl groups, having formed as a folk group in the late 1940’s. They later shifted over to pop music with hits like “Mr. Sandman” and “Lollipop”. Carol Buschman, the last member from the group’s heydey, passed away on September 30, 2023 at age 96.
Chiffon Sylvia Peterson passed away in July, 2023. Barbara Lee had previously died in 1992. Lead singer Judy Craig still occasionally performs with her daughter and niece.
Original Crystals lead singer Barbara Alston passed away in 2018.
The Butterflys were a quartet with two former Crystals: Myrna Giraud and Mary Thomas along with lead singer Paulette Holland. All three are still in New York City… but where in the world is Carmen Santiago?
The original Cookies formed in 1954 and later morphed into the first incarnation of the Raelettes. They have all passed on, but the second lineup included Earl-Jean McCrea and Margaret Ross Williams, who are still with us. Margaret still heads a Cookies lineup and honors the earlier group in live shows with their song “In Paradise.”
Sole surviving Dixie Cup Barbara Hawkins keeps the group alive with current member Athelgra Neville, sister of The Neville Brothers.
The exciting Brenda Reid, lead singer of The Exciters, is the last surviving member of her group.
No pearly gates for these Flirtations: The group, formed in New York as The Gypsies in 1962, moved to the UK in the late 60’s. All three are still performing together, including Viola Billups, aka Pearly Gates.
Guitarist Carol McDonald (aka Shaw) passed away in 2007. In October 2023, the group was inducted into the New England Music Hall of Fame with the surviving members in attendance.
Honey Cone lead singer Edna Wright (sister of Darlene Love) passed away in September, 2020.
Trying to keep track of the many Ikettes is akin to herding cats, but this classic lineup – which became The Mirettes – featured Robbie Montgomery, Venetta Fields, and Jessie Smith, who died in February, 2021.
Bluebelle Sarah Dash passed away in September, 2021. The New York Times recently reported on the ongoing health battles of Cindy Birdsong, who left the Bluebelles to join the Supremes in 1967.
Late 60’s Vandella Sandra Tilley succumbed to an aneurysm in 1982, but Martha Reeves and her other Vandellas are alive and well.
Katherine Anderson Schaffner, group spokesperson and the one constant member of The Marvelettes, passed away on September 20, 2023. The surviving members are now Juanita Cowart Motley, the first to leave the group in 1963, and Ann Bogan, who replaced original lead singer Gladys Horton in 1967.
When Murmaids lead singer Terry Fischer passed away in 2017 from Parkinson’s disease, her sister and fellow Murmaid Carol Fischer Morell called her “the heart and soul of the group.”
Sole surviving Orlon Stephen Caldwell is still active on the oldies circuit with replacement members.
Middle Paris sister Sherrell has been the sole surviving sibling since the death of Allbeth in 2014. Youngest sister Priscilla passed away in 2004.
All three Pixies Three (as well as replacement member Bonnie Long-Walker) are still at the party.
Ruth Pointer is the oldest and last surviving member of The Pointer Sisters.
Reparata (Mary Aiese) had two sets of Delrons in the 1960’s. Only Carol Drobnicki has passed away.
Cousin Nedra Talley Ross is the last Ronette.
The elegant Royalettes from Baltimore, Maryland lost their first member when Anita Ross Brooks passed away a few years ago.
The Shangri-La’s: The Ganser twins have been gone for decades, but Mary Weiss passed away on January 19, 2024, leaving her sister Betty as the last surviving group member.
The Shirelles formed in 1957 and hailed from Passaic, New Jersey. Shirley Owens Alston Reeves has retired from performing, but Beverly Lee tours with her own Shirelles.
Early 4th Supreme Barbara Martin has also passed on, but all of the 1970’s post-Diana Ross Supremes are still with us.
Cissy (mother of Whitney) Houston and Estelle Brown are the surviving members of this legendary backing group.
Fayette Pinkney was one of the founding members of The Three Degrees, which was formed by producer Richard Barrett in 1963. She went solo in 1976 and passed away in 2009. Originally from Philadelphia but now based in the UK, members of the group are still touring.
The Toys were assembled in Jamaica, Queens in 1961. Lead singer Barbara Harris is the only one still performing, although the retired members often show up to support her at shows. All three still live in the Tri-state area.
At different times, Motown’s Velvelettes also featured Vandellas Betty Kelly and the late Sandra Tilley. Founding member Bertha Barbee McNeal passed away in December, 2022.
The Ad Libs were not a true girl group, but “The Boy From New York City” and their follow-up Blue Cat singles sure fit in the genre. Sadly, Mary Ann Thomas and the boys from Bayonne, New Jersey have all passed on.
The cast of the Phil Spector Christmas LP, released 60 years ago this holiday season.
Other books I highly recommend: John Clemente’s Girl Groups: Fabulous Females Who Rocked The World, which is cited as a reference source on anything related to the genre. Prior to that, Alan Betrock’s 1982 Girl Groups: Story Of A Sound and the 1983 documentary based on that book were the first attempts to tell their story.
Up until recent years, the fabled Ivy League nude posture photos have been written about but seldom seen. Starting in the mid-1930’s and continuing on until the 1970’s, incoming Ivy League University students were photographed fully nude in order to gauge their posture, detect scoliosis, and address other correctable body issues while simultaneously inflicting emotional scarring on the participants. Talk show host Dick Cavett joked about it in his early stand-up routines:
“Some guys hated it… some seemed to enjoy it. One guy tried to go through twice… one guy fainted… one guy tried to buy his pictures… and one guy tried to get his retouched.”
50 years later, he penned a New York Times Op Ed piece with a much darker view of the experience.
In recent years, the posture photos from Yale have garnered the most press, with tongues wagging at the possibilities of seeing our country’s best and brightest in the buff. The pics were so rare that most articles on the subject did not actually feature any of the images, opting instead to use medical textbook illustrations or military posture photos.
Since 2020, a steady stream of posture photos featuring male freshman Yalies from 1937-1960 have sold on eBay. It was really only a matter of time before some familiar faces began to pop up. I posted about writer Calvin Trillin‘s photo, which went for a little over $100, while the pic of late actor James Franciscus pulled in $1,225.
These pics now regularly sell for close to $1,000 each. Earlier this month, actor Bill Hinnant’s photo went for a whopping $1,600.
Chalk one up to eBay for their ever-changing goalposts of propriety. When James Franciscus’ Yale photo went up for auction in 2021, full nudity was prohibited in auction photos. What we were left with was a modesty strip applied by the seller to prevent us from viewing the full Franciscus. Now eBay requires that auctions selling nude photos actually show the goods – to insure that the subject isn’t too…erm… excited to be there. Dean Martin’s dong was covered with a post-it, but now it’s ok to see Bill’s Hinnant:
Hinnant was still known by his birth name of John F. Hinnant, Jr. when he arrived at Yale in the Fall of 1953. Originally from Chincoteague Island, Virginia, he had spent two summers as an apprentice at Ogunquit Playhouse in Maine. He made his professional debut there playing Barbara Cook’s son in Carousel. He also appeared in Life With Mother starring the legendary Billie (Glinda the Good Witch) Burke.
Following his sophomore year, Bill departed Yale when he won the role of Lt. Cover in the original cast of the comedy No Time For Sergeants starring Andy Griffith. After a year and a half on Broadway, Hinnant returned to Yale to complete his degree alongside his younger brother, Skip, who was also an actor.
In 1957, Bill Hinnant co-starred with former Yale classmate James Franciscus in the noir film Four Boys And A Gun:
Standing just 5’2″, his stature was usually noted in press articles. “Pintsized blond Hinnant has a full-sized talent!” crowed a 1965 Variety review.
Most of his notices were similar to Variety’s take on the 1963 off-Broadway musical Put It In Writing: “Far from memorable but featuring good work by Bill Hinnant.” This was a theme throughout his career, as he received favorable reviews in forgotten musicals that would close on the road (Maltby & Shire’s Love Match), on opening night (The American Hamburger League, Frank Merriwell), or after a handful of performances (All Kinds Of Giants, God Bless Coney). He guested on television shows ranging from Route 66 and Naked City to sitcoms like Pete & Gladys and Karen Valentine’s self-titled show.
He found his defining role in 1967 when he was cast as Snoopy in the original production of You’re A Good Man, Charlie Brown. The cast included Gary “Radar” Burghoff in the title role, Bob Balaban as Linus and his younger brother Skip Hinnant playing Schroeder. Bill’s scene-stealing Snoopy is still considered to be the definitive interpretation of the role. His performance on the original cast recording is a blueprint for anyone tackling the part. He was awarded a Drama Desk Award for his performance later that year.
In 1969, Hinnant appeared in the film A Nice Girl Like Me with Barbara Ferris:
After a successful run with Charlie Brown, he was still plagued with subpar material- a fact that didn’t go unnoticed by critics:
Even when the material was up to snuff, there were other issues to contend with:
Hinnant reprised his role as Snoopy in a 1973 television adaption of You’re A Good Man, Charlie Brown. This cast featured Wendell Burton as Charlie Brown and My Three Sons actor Barry Livingston as Linus.
Unfortunately The Bill Hinnant Story does not have a happy ending. On February 17th, 1978, Hinnant drowned while vacationing in the Dominican Republic. He was just 42 years old. The Record noted that “the beige-haired, digest-sized and personable bachelor” was very active in charities for underprivileged children and had adopted several worldwide through the Foster Parents Plan.
When I was a child in the 1970’s, one of my favorite pastimes was playing my parents’ old discarded 45s on my Fisher Price record player. One single that received considerable airplay was a Christmas record by Augie Rios called “Ol’ Fatso,” which featured a sassy child giving Santa Claus a hard time with the repetitive chorus of “Don’t care who you are Ol’ Fatso / keep those reindeer off the roof.” What’s not to love?
The flip side of this blue Metro 45 with the lion on the label was another Christmas song: “¿Dónde Está Santa Claus?” I would later learn that this was actually the “a” side of the record. At that age, I had to rely upon my own underdeveloped musical tastes to figure out which side was the hit. For this reason, I am still partial to Dusty Springfield’s self-penned b-side “Something Special” over the faux-Spector bombast of “Stay Awhile.”
As you can imagine, the rather un-PC “Ol Fatso” does not get covered a whole lot. Or at all. “¿Dónde Está Santa Claus?” on the other hand, has some other versions that have become favorites of mine.
Toni Stante (aka Antoinette Binastante) released a version on the Parkway label in 1965. This single has been the highlight of my Girl Group Christmas playlist for many years.
Later in the 60’s, The Thomas Sisters recorded what is now my favorite version. It is harder to find, though: It’s not on Spotify and keeps getting removed from YouTube. We’ll see how long this link remains active:
But back to the original version and our titular question: ¿Dónde Está Augie Rios?
Augustine Rios was born in 1946, the son of Puerto Rican immigrant factory workers living in New York City. He began performing at a young age and had made some local television appearances before being cast as Lena Horne’s little brother in the 1957 Broadway musical Jamaica, which also starred Ricardo Montalban and Ossie Davis. The role was originally only a few lines but Augie was such a standout in the out-of-town performances that it was expanded. By the time they hit Broadway, he was sixth on the cast list among his well-established stars.
New York Age, Sept. 21, 1957
Broadway cast recording of Jamaica with Augie Rios, Ricardo Montalban and Ossie Davis (1957)
Augie had been in Jamaica for over a year when he cut his first single for Metro records. “¿Dónde Está Santa Claus? was co-written by his manager, George Scheck and released just before Christmas, 1958.
Jamaica continued its run on Broadway for a year and a half, closing in April of 1959. Despite having a hit record and making television appearances during the run of the show, the press noted that Augie had never missed a performance.
Augie Rios with Carol Lawrence and Howard Keel in Saratoga (1959)
In December of 1959, Augie appeared as “Shorty” alongside Carol Lawrence and Howard Keel in the Broadway musical Saratoga, an adaption of the Edna Furber novel Saratoga Trunk with music & lyrics by Harold Arlen & Johnny Mercer. Although Cecil Beaton did win a Tony award for costume design, the show was not a success and closed in April of 1960.
Meanwhile, Augie had two follow-up singles released on Metro in 1959, followed by another bilingual Christmas single on MGM in 1960: “Felice Navidades (Merry Christmas To All)”:
Augie continued to work in theatrical productions on tour and in summer stock. He also made numerous television appearances. By 1963, he was performing with his own vocal group, Augie Rios and the Notations. They released a single on Shelley Records followed by two additional solo singles credited to Augie in 1964. Of course there have also been numerous reissues of his original Christmas classic single through the years.
Back in the early 2000’s, I came across an internet post about Augie Rios on a 1950’s music website. Augie himself had responded in the comments section, thanking everyone for their continued interest and also giving an update on what he had been up to in recent years – retired from his post-performance career and still living in the tri-state area. Unfortunately, the website is long gone, so I cannot locate details. His LinkedIn account lists him as “Retired and enjoying life.”
Here’s Augie singing his signature song with friends and family in recent years:
According to several sources, Augie Rios passed away in December 2019, age 73. There is also a memorial video on YouTube with a home audio recording and photo montage of his life.
One of my goals in creating posts about artist’s models like Chuck Howard, Randy Jack, and Ted Starkowski is to clear up misinformation posted online by galleries and auction houses. Whether the inaccuracies are intentionally deceptive or the result of laziness, the errors spread across the internet, with subjects misidentified and photo dates sometimes off by decades.
A series of 30+ nude model study photos are have recently been listed for auctions as “Jared French Nude Study of Tennessee Williams” or “Studio di nudo Tennessee Williams.” One set of two 8×10 photos sold for over $650. These should have been credited to the PaJaMa collective, which Jared French was a part of, and unfortunately (or fortunately, depending on how you look at it), the lean muscularly defined model is certainly not writer Tennessee Williams.
Tennessee Williams was the subject of several PaJaMa photos in Provincetown and at Jared French’s New York City studio at 5 St. Luke’s Place. In one of these photos, Williams strikes the same pose in the same place as our mystery model.
Tennessee WilliamsNot Tennessee Williams
So who was the thin young chap with the low-hangers?
Martha Graham levitating John Butler
In another corner of the internet, I found two of these photos in a PaJaMa exhibit, dated 1943 and identifying the subject as dancer/choreographer John Butler (1918-1993). In the early 1940’s, he earned money working as an art model while studying dance with both Martha Graham and George Balanchine.
Besides the PaJaMa photos above, he was also photographed by George Platt Lynes:
AP article (1955)
Butler danced on Broadway as Dream Curly in the original production of Oklahoma! He appeared in a string of Broadway musicals throughout the 1940’s including Hollywood Pinafore, Inside U.S.A. and On The Town, where he dated cast mate Cris Alexander.
He began to transition into choreography in the late 1940’s. The combined influences of Balanchine and Graham gave his work unique elements of classical ballet as well as modern dance. He was one of the first to create works specifically for television, which was still considered a new and inferior medium. He choreographed variety show segments (The Ed Sullivan Show, The Kate Smith Show) as well as for Omnibus and full-length ballets and operas. His 1951 staging of Amahl and the Night Visitors was recreated annually for the following nine NBC holiday specials.
Butler performs as one of the Three Dancers in this 1955 broadcast.
Life Magazine profiled Butler in the April 25, 1955 issue:
Richard Avedon photo of John Butler & Barbara Muller (1954)John Butler photographed by Roloff Beny (1959)
In addition to his work choreographing for Broadway and television, Butler founded The John Butler Dance Company in 1955. It was later renamed American Dance Theater and toured Europe until it disbanded in 1961.
John Butler & Carmen de Lavallade rehearse Portrait of Billie, his dance meditation on Billie Holliday (ca 1960)
John Butler & Melvin Dwork (1963)
His most celebrated work was the staging of Carmina Burana (1959) for New York City Opera, which has been revived with over 30 companies.
In 1961 he met celebrated interior designer Melvin Dwork, who has called Butler “the love of my life.” They remained companions and friends until Butler’s death in 1993. Dwork was instrumental in preserving Butler’s dance legacy.
As he matured, Butler’s voluminous eyebrows became something of a trademark of his appearance. He appears to have embraced this with a level of zeal that surely inspired George Whipple.
Over the next several decades, Butler continued to choreograph throughout the U.S. and around the world. The Hague, Munich, Sydney, Spoleto, Montreal, and Warsaw were part of his regular rotation with occasional work in Italy and South America. Back in New York City he choreographed Medea, the first dance for Mikhail Baryshnikov after his defection to the West.
John Butler photographed in April of 1993. He died of lung cancer later that year at the age of 74.
In 1993, author Camille Hardy interviewed John Butler for Dance Magazine shortly before his death. As they sat in his Upper East Side apartment, surrounded by his artwork collection and the walls lined with the works of Warhol, Avedon and Lynes, he said “I’ve done everything in my life I ever wanted to do.”
In the profile Artist’s Muse: Randy Jack, I wrote about his relationship with photographer George Platt Lynes, which came to an end in the Fall of 1948. Just 10 days after Jack moved out of the apartment, another former military man named Chuck Howard moved in as Lynes’ next boyfriend.
Charles “Chuck” Howard was born in Cochran, Georgia on March 4, 1927. After graduating from high school during World War II, he joined the Naval Air Force and became a tail gunner. While stationed in Miami Beach, he met New York artist Bernard Perlin and the two would “reconnect” whenever Chuck was in New York City. After the war, Howard studied fashion in France on the G.I. Bill before moving back to NYC to live with the artist. When Perlin was offered a residency in Rome, he threw himself a farewell party, and Chuck was introduced to Lynes.
Three sketches of Chuck Howard by Bernard Perlin
George Platt Lynes self portrait with Chuck Howard, ca 1948
Chuck Howard and George Platt Lynes, ca 1950
“Another twenty-one-year-old has moved in on me bag and baggage, almost without being invited..” Lynes wrote in a letter to his friend, author Katherine Anne Porter.
Howard was viewed favorably by Lynes’ friends and was said to have a grounding effect on the photographer. The relationship lasted for just over two years.
George Platt Lynes & Chuck Howard, ca. 1950
Although Howard had previously posed for Bernard Perlin, it was after his introduction to Lynes and his circle of friends that he became a favorite model for the artists. He posed for George Tooker, sculptor John LaFarge, and Jared French, with whom he also had a physical relationship.
Paul Cadmus also sketched him several times and used him as the model for the central figure in his painting Architect (1950).
Architect by Paul Cadmus (1950) Chuck Howard was the model for the central figure with George Tooker reflected behind him.
When Lynes’ nude photography became more widely exhibited decades after his death, photos of Chuck Howard were among the most celebrated. Howard downplayed the photos, describing his work modeling for Lynes as “primarily lighting tests.” Collectors disagree.
Chuck Howard also had a film career of sorts when he participated in Dr. Alfred Kinsey’s famous studies, performing sexual acts with poet Glenway Wescott in front of the researchers’ movie camera. Howard later remarked; “It wasn’t Hollywood.”
Lynes and Howard parted ways in January, 1951. “Chuck has decided to go off and live by himself;” Lynes wrote to his mother. “I shall miss him but I don’t disapprove… I’m afraid that my influence is too often all-pervading, all-inclusive.”
In an earlier blog post on Ted Starkowski, I mentioned that he and Chuck then embarked on what author David Leddick described as “a tempestuous affair.” The couple were photographed together on Fire Island while vacationing with Paul Cadmus, Jared and Margaret French: aka The PaJaMa Collective.
Lauren Hutton modeling a dress by Chuck Howard. (1965)
Act II: Chuck Howard’s career in the fashion industry began to flourish in the late 1950’s when he sketched for several designers, including Bill Blass. He worked for David Crystal before moving on to Anne Klein’s Junior Sophisticates. In 1965, he joined Townley, working his way up to become chief designer and head of business operations. The company was then renamed Chuck Howard, Inc. His design style was noted for its sense of humor with sporty, colorful coats, tunics, pants and jersey shirts.
Around this time, a Parsons student named Donna Karan began working for Howard and he eventually introduced her to Anne Klein.
After Klein’s death in 1974, Donna Karan succeeded her as designer for the Anne Klein studio. Chuck Howard then closed his company and became a designer and creative coordinator there, where he was responsible for several of its collections. He departed with fellow designer Peter Wrigley in 1976 to form their own company.
Chuck Howard (r) with his partner Ed Vaughan in their restaurant (1981)
Act III: In 1980, after his departure from the fashion industry, Chuck Howard opened his self-named restaurant on Restaurant Row. Assisting him in this next chapter was his partner Edward Vaughan. The couple rented a three story townhouse at 355 W 46th St and lived on the third floor above the restaurant.
Soon after opening, twenty-two-year-old Anthony Bourdain took over running the back of the house. He later recounted his time at the restaurant in the “Chef of The Future!” chapter of Kitchen Confidential, with Chuck and Edward referred to as “Tom and Fred.” He writes, “They were genuinely lovely, intelligent, warm-hearted and funny older guys who cooked well, had impeccable taste and were considered (rightly) to be wonderful, charming and entertaining hosts – naturals, it had been said, for the restaurant business, especially a restaurant in the heart of the theater district where they knew and were liked by so many.”
New York Daily News, (1/15/81)
The restaurant was initially successful, although the Daily News review suggested that it wasn’t destined to last. Bourdain further describes the restaurant’s decline, with mounting costs and dwindling guests. “What I learned… was a sad lesson that has served me well in decades since: I learned to recognize failure. I saw, for the first time, how two beloved, funny and popular guys can end up less beloved, not so funny and much less popular after trying to do nothing more than what their friends told them they were good at.” Bourdain moved on to another restaurant, and by the end of 1982, Chuck Howard’s had closed.
The couple retired to the island of Saba in the Netherlands Antilles where they lived for several years before settling in Santa Fe, New Mexico.
On October 5, 2002, Chuck Howard died of pancreatic cancer at the age of 75 in Albuquerque, New Mexico. He was survived by his long time partner Edward Vaughan.
Chuck Howard, ca 1950 / 1997
Chuck Howard’s life had a similar trajectory as fellow Lynes paramour Randy Jack: A WWII military man who became an artists’ muse before moving on to the world of fashion and finally ending up as a restaurateur. In their twilight years, both also enjoyed a bit of recognition for the work they inspired in some of the great American artists of the 20th century.
During vacations from the 1930’s through the mid-1950’s, artists Paul Cadmus, Jared French, and his wife Margaret Hoening French photographed each other on the beaches of Fire Island and later Cape Cod. Usually nude or donning simple costumes, they would also use found objects as props to create stark, surreal and/or erotic images. They passed Margaret’s Leica camera around, taking turns as subject and auteur. This collaborative authorship was reflected in the umbrella name they chose for this work, utilizing the first two letters of their first names: PaJaMa.
Years later Cadmus explained, “After we’d been working most of the day, we’d go out late afternoons and take photographs when the light was best. They were just playthings. We would hand out these little photographs when we went to dinner parties, like playing cards.”
The dynamic was complicated: Paul and Jared were lovers – a relationship that continued during Jared and Margaret’s marriage. All three lived and worked in a townhouse at 5 St. Lukes Place in Greenwich Village.
Paul Cadmus & Jared French, Fire Island, PaJaMa (1941)
A 2015 New York Times review of a PaJaMa exhibition noted that their photos “breathed eroticism.” While some of the hundreds of photos are masterpieces of magical realism, others appear to be figure studies for their painting. And then there are simple snapshots of nude men frolicking on the beach, enjoying the sun and surf.
Right: Jared French on Fire Island (1940) Left: Paul Cadmus’ etching “Youth With Kite”, 1941
Jared French and his considerable wares are the most frequent subject of the photographs, with entire rolls of film devoted to his nude poses and posturing. Cadmus and Margaret are slightly more demure although we do not know who was giving direction from behind the camera at any given time.
These three artists were joined by various friends and lovers through the years, fellow artists and writers that were part of their New York social circle.
Dancer/Model José “Pete” Martinez appears in PaJaMa photos of the late 1930’s with Paul Cadmus
1938 PaJaMa photos of writer Glenway Wescott sometimes appear online mislabled as Paul Cadmus or Ted Starkowski.
Photographer George Platt Lynes was a frequent guest with his own camera.
Artist Bernard Perlin captured by the PaJaMa lens on Fire Island (1939)
Jared French in Saltaire after the devastating hurricane of 1938.
West of Saltaire, the Fire Island Lighthouse served as a frequent backdrop.
Jensen Yow, Bill Harris & Jack Fontan, ca. 1950
Alexander Jensen Yow recently recalled the circle of artists, as well as his participation in PaJaMa photos of the early 1950’s. “Paul posed us and took the pictures. I was never out there with Jerry (Jared). There were plenty of personality conflicts all scattered around with these people, but I never knew what they were or anything… Jerry was always nice to me though. But his and Margaret’s was a strange relationship… She was crazy about Jerry but she was always in the background, you know. Always there. Jerry did what he wanted to do, and she tagged after him. I was so green when I met these people that I didn’t know how to act…. I tried to be discreet but it wasn’t easy.” (NOTE: Jensen Yow died at age 95 in September of 2022)
Paul Cadmus, “The Shower”, 1943
Margaret French, “The Moon by Day”, 1939
As with George Platt Lynes’ male nude photographs, the PaJaMa collection did not receive much notice or recognition until the 1990’s. They are now frequently exhibited in galleries and selections are a part of the MOMA collection.
While scrolling across the internet in search of photographs by George Platt Lynes, I came across one that I had never seen before – a handsome shirtless young gent sitting cross-legged on a bed. Initially I was dubious of its authenticity, as the subject looked so casual and timeless. There is nothing dated about the guy or his surroundings: the image could have been captured at any point in the last century.
I decided to do a little investigating and found that it was, in fact, an authentic Lynes photo. The handsome subject was a fellow named Randy Jack, Lynes boyfriend circa 1947-48. A new Lynes biography also helped to fill in the blanks.
Homer Randolph Jack was born on April 5, 1926 in Lake Clinton, Illinois. He attended Waukegan High School where he enjoyed singing and performing. As a senior, he starred in the high school’s production of the comedy Best Foot Forward. Upon graduation in 1944, he joined the Navy.
After WWII, with his Naval tour of duty completed, Randy Jack settled in Los Angeles, where he embarked on a relationship with ice cream parlor impresario Wil Wright Jr.
Californians of a certain age still swoon at the memory of Wil Wright’s frozen delights, decades after the last shop closed its doors.
George Platt Lynes photos of Wil Wright Jr.
Wil & Randy
In the recently published George Platt Lynes bio The Daring Eye, author Allen Ellenzweig refers to Randy Jack as “Wil Wright’s favorite.” In August of 1947, the two of them rented a room in Lynes’ Hollywood home. The New York-based photographer was in the midst of his “Hollywood period” working for Vogue magazine. Lynes – who always lived beyond his means and was notoriously bad with money management – decided to take in roommates to share chores and expenses.
This arrangement did not last long because, as Lynes wrote to a friend, “Wil can’t bear not to be boss and that is one thing he can’t be. Not here.” Wright also resented George’s influence on Jack, encouraging him to pursue a career as a dancer. When Wil moved out after a couple of months, Randy stayed…. and found his way into Lynes’ bed as well.
Randy Jack with George Platt Lynes (1947)
Randy Jack committed himself to a vigorous regimen of ballet classes. Although Lynes was aware that Jack was a bit long in the tooth to start training for a career as a dancer, he supported his efforts nonetheless. He wrote to his friend Monroe Wheeler; “He’s too old, 21, but he has a ballet dancers body and a ballet dancer’s soul.”
Randy Jack’s protruding ears – called “bat like” in several accounts – were viewed by Lynes as a further hindrance to attaining success as a ballet dancer. While he could not erase Jack’s advanced age, he could do something to remove this obstacle, so the cards would be “stacked in his favour, to remove whatever flies there may be in the ointment.” He agreed to barter with a plastic surgeon: Lynes would photograph the surgeon’s glamorous wife in exchange for the operation to pin back Jack’s ears. Lynes wrote to his mother at the time: “…I can’t leave things alone but redecorate or remodel anything I can lay my hands on, people as well as houses.”
The photos of Randy Jack taken in Lynes’ library are understandably the most popular.
Ears firmly clipped, Lynes photographed his roomie en tenue de danse at Vogue studios, creating this striking series of photos:
In May of 1948, Lynes’ contract with Vogue ended and he returned to New York City with Randy and their dog Bozo in tow.
Portrait of Randy Jack by Bernard Perlin, June 5, 1948
As mentioned in our profile of Ted Starkowski, Lynes and his artist friends often shared models. Like Starkowski, Randy Jack was the subject of several other artists’ work, including Bernard Perlin.
Soon after their move to New York, Jack abandoned his ballet studies and began to find work as a fashion model. This proved to be a far more attainable and lucrative goal.
In mid-summer, George wrote to Katherine Anne Porter that he was troubled about the young man, “… I wonder what New York has done to him, or what I have done.”
Whether or not Randy left George or their cohabitation ended by mutual consent is debatable. The fact remains that he moved out in the Fall of 1948… and Lynes’ next boyfriend and muse, Chuck Howard moved into the apartment 10 days later.
David Leddick writes “Jack became one of the most successful fashion models in an industry that was just becoming big business, posing for both photographers and the many illustrators of the time.”
When I look into the life of an artist’s muse from the past, there is always a point in their story that brings to mind the Kirsty MacColl song “What Do Pretty Girls Do?” The answer, she sings: “They get older just like everybody else.”
As his modeling career waned, Jack began his third act as an interior designer. His work with commercial / hotel spaces led him to the Middle East, where he settled on the island of Bahrain and became a restaurateur, opening the Upstairs Downstairs restaurant in 1977.
In 1982 Jack published Upstairs Downstairs Cookbook, featuring favorite recipes from the restaurant’s menu alongside his own illustrations.
In the mid-90’s, Intimate Companions author David Leddick reached out to Randy Jack to talk about his early years with George Platt Lynes. Leddick recounts being tipped off that Jack was living in Bahrain, and that he was able to simply call the local information to get his phone number. Strangely, Jack’s birth name in the book is listed as Randolph Omar Jack, as if the author misheard “Homer” on a poor telephone connection.
A current photo of Randy Jack appeared in Leddick’s 1997 book Naked Men: Pioneering Male Nudes. Shortly after the book’s publication, on June 5, 1997, Jack died in Bahrain. He was 71 years old. The Upstairs Downstairs restaurant is still in operation today. The restaurant’s Facebook page has comments from patrons recalling Randy Jack’s hospitality and the good times they had there.
Tom Ammiano is nearly 80 years old and recently dyed his hair blue. Not your traditional “grandma’s rinse” – it’s a punk-ass electric blue. It suits him.
If you don’t follow California politics, you may not be familiar with the name of this San Francisco legend who served for years on the city Board of Supervisors as well as the State Assembly. But you may remember him from the Academy Award winning documentary The Times Of Harvey Milk. Or perhaps you caught the documentary See How They Run, about one of his two San Francisco mayoral campaigns. Or his appearance in the documentary To Be Takei. In Gus Van Sant’s movie Milk, he portrayed himself. In the miniseries When We Rise, he was played by Todd Weeks.
Suffice to say he has been in a lot of documentaries. Although he did not make the final cut of the groundbreaking 1977 film The Word Is Out, his 30 minute pre-interview surfaced online several years ago:
“I’ve never taken much shit but I do get the shit beat out of me because of it.”
In short, Tom the school teacher turned activist, politician, stand-up comedian, and pothead is always a compelling interview. His recently published memoir is titled Kiss My Gay Ass – a phrase he once yelled at then California Governor Schwartzenegger. The book reads like a private uncensored conversation with the author.
There’s a story from the memoir that has garnered Ammiano a surprising amount of attention as of late. 63 years ago, he was a 106 lb. effeminate teen trying to fit in at a Catholic High School in Montclair, New Jersey. Although unsuccessful at contact sports, he excelled at track – running from bullies had trained him to be fast. Among those bullies – the football coach who would physically assault him in the hallways along with the other jocks.
By the end of the school year, Ammiano had performed well enough to qualify for a varsity letter. But before the ceremony, the rug was pulled out from under him. The letter sweater – that symbol of athleticism and masculinity – could not be allowed on the back of faggy Tommy Ammiano. The powers that be – namely, the football coach – would not let that happen. So they moved the goalposts: The track meet that garnered him those last few points towards his letter was suddenly disqualified. And Ammiano’s dream of acceptance through that symbol of “normalcy” went unfulfilled.
He writes of the humiliating experience in his book; “Shame. I hate that. I think shame was a very big deal growing up. During those years everything was about controlling you through shame. Then struggling against that shame – knowing, somehow, it was all wrong. But what are your options?”
Ammiano chose to bury it away and move on with his life – getting as far away from New Jersey and the innumerable aggressions and slights that many a “weird” gay kid suffered while growing up. He moved to San Francisco – “Oz” he calls it – and seldom looked back.
But when you write your memoirs, you have to.
Ammiano recounted the story during a radio interview while promoting the book late last year. “It’s something that still hurts,” he said, “even a hundred years later.” A listener decided to try and correct this situation. He wrote to Immaculate Conception High School to request that they award Ammiano his long overdue varsity letter.
Unaware of this , Ammiano was floored when he received a letter from his alma mater in February of this year. “We most certainly would like to ‘right’ this ‘wrong’…… You truly posses the ‘heart of a Lion’…. You are an inspiration.”
Last month, the cameras rolled as Ammiano was presented with his sweater. At age 79, the man of many documentary appearances has one of his very own. Granted, it’s 7 minutes long, but it’s beautifully done. And it’s on ESPN. He must have had a laugh over that.
ESPN also has an excellent article here. See the documentary here:
There’s a story from the memoir that has garnered Ammiano a surprising amount of attention as of late. 63 years ago, he was a 106 lb. effeminate teen trying to fit in at a Catholic High School in Montclair, New Jersey. Although unsuccessful at contact sports, he excelled at track – running from bullies had trained him to be fast. Among those bullies – the football coach who would physically assault him in the hallways along with the other jocks.
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