LGBT History – Page 5 – Brian Ferrari's Blog

You Know The B-52’s Song “Roam” Is About Butt Sex, Right?

The B-52’s are currently in the midst of another farewell tour. It seems like a good time to revisit this blog post from the summer of 2018:

A couple of months ago, the internet burst into flames when Bunny Wailer, songwriter of “The Electric Slide”, confirmed rumors that the song is indeed about a vibrator. (It’s electric!).

An article on the Aazios site quoted him as saying that he wrote the song after a girlfriend told him she didn’t need him because she had a toy she nicknamed the “electric slide”. The story went viral.

Singer Marcia Griffiths was not happy about it. “I don’t sing about vibrators,” she said. “I sing to teach, educate and uplift.”

“Why not both?” I say.

Huffpost, which initially reposted the Aazios story, then printed an update that it was not true… noting, apropos of nothing, that Aazios is “an online source of LGBTQ news and entertainment” – as if that had anything to do with Bunny Wailer, the vibrator, or the validity of the story.

Snopes has labeled the story FALSE with a quote from Bunny Wailer that reads like a statement prepared by a lawyer to protect a client from litigation: “At no time have I ever lent credence to a rumor that the song was inspired by anything other than Eddie Grant’s “Electric Avenue“. To state otherwise is a falsehood and offends my legacy, the legacy of singer Marcia Griffiths, and tarnishes the reputation of a song beloved by millions of fans the world over.”

The problem is… Wailer wrote the song in the 1970’s, years before Eddie Grant’s 1982 hit. The song was dusted off and reworked to ride the “Electric” coattails of that hit record. Thirty-five years later, it is still a dance floor staple at a certain caliber of venue. It is understandable that someone who still makes money off of this record does not want to suddenly admit that their cash cow is about a dildo.

Bottom line: It is or it isn’t. Either way, you now have a topic of conversation to slur loudly over your 9th cocktail while your mom and Karen from finance are knocking into each other on the dance floor.

So… now can we talk about The B-52’s 1989 hit song “Roam“? You know it’s about butt sex, right?

Of course, nobody is going to step up and confirm this now. The B-52’s still make a nice living touring the world performing “Roam” along with party classics like “Rock Lobster“ and “Love Shack“. One song they haven’t performed in years is “Dirty Back Road,” a track from their 1980 Wild Planet LP. Co-written by a guy named Robert Waldrop with band member Ricky Wilson, it’s not that much of a stretch to figure out what this little ditty is about:

Wreckless driving / Like a sports car / God I want you / Like a fuel engine / Energized line / Like a road / You ride me / Like a road / You ride me / Foot on the peddle / Feet in the air / Sand in my hair / Don’t look back / Don’t look behind you / Reckless drivin’ on / Dirty back road

Pretty obvious, right? Well… of course not, according to YouTube comments. People will argue about anything. I know, I know. Never read the comments.

Now lets move on to “Roam“: The song’s lyrics are credited again to Robert Waldrop, with music written by the surviving members of the band. Ricky Wilson had passed away from AIDS complications in 1985 during the recording of the Bouncing Off The Satellites LP. After taking a few years off, the band came back in 1989 with the LP Cosmic Thing, which would be the biggest commercial success of their career. The singles “Love Shack” and “Roam” topped the charts around the world, garnered the band their first two Grammy nominations and still get regular airplay today.

When did I realize that “Roam” was about butt sex? I couldn’t say. I just always knew. I saw Robert Waldrop’s name in the cassette booklet, read the lyrics to “Roam“ and thought “Look at that. He cleaned up his ‘Dirty Back Road‘.” Well, not completely – the second line has them “dancing down those dirty and dusty trails.” It may not be as blatant, but it’s there.

The phrase “Take it hip to hip rock it through the wilderness” is repeated about a dozen times throughout the song.

The chorus: Roam if you want to / Roam around the world / Without wings without wheels / Roam around the world / Without anything but the love we feel…

And then there’s this verse:

Hit the air-strip to the sunset / Ride the arrow to the target / Take it hip to hip rock it through the wilderness / Around the world the trip begins with a kiss

(at this point in the video, a banana goes through a hole in a bagel)

I would like to make it clear that I do not make these pronouncements as some sort of slander. Believe me, I am a big fan of butt sex and partake as often as possible.

In posting this piece, I realize that there are people who will get annoyed or upset that their favorite B-52’s hit is all about taking a ride on the Hershey highway, but really… if you think this is shocking or not possibly true then you never really understood the band and/or their sense of humor in the first place. People who only know them from Top 40 radio might not remember that they were/are a predominantly gay party band. They were messy, subversive and more than just a little punk. Fun punk.

If a clueless fan does not know that, it is akin to saying that you love John Waters because of the films Hairspray and Cry Baby, but have never seen Pink Flamingos or Female Trouble.

Like many other bands before or since, the B-52’s started out edgy and moved towards mainstream pop as their career progressed. While their current tour does pull heavily from their first two LPs, their bread and butter is still playing the hit songs. They are a business – not so much a band as a corporation like their contemporaries the Go-Go’s and Blondie.

Even if the B-52’s issued a statement today that “Roam” never was or is about getting popped in the pooper, the motivation would not be to tell the truth, but rather to protect their own livelihood. Case in point: The Village People, Inc. When faced with anti-gay protests for a gig in Jamaica back in 1998, their representative had the balls to issue a statement declaring that there was nothing gay about them. The fucking Village People, people. I would like to think that the B-52’s are still way too cool to ever do such a thing.

So… I just thought you ought to know. “Roam” is about takin’ it up the ass. Something to think about when you hear it wafting over the airwaves at the supermarket or when you are in line at the bank. I am not going to debate the evidence. It is what it is. I think it’s a hoot – it makes me chuckle whenever I hear it. But if you feel a strong opposition to the theory… may I invite you to hit the airstrip… and teach yourself the Electric Slide. Boogie woogie woogie.

UPDATE: Since this was piece was first posted in August, 2018, an expanded 30th Anniversary edition of the Cosmic Thing LP was released. The band did a considerable amount of press, reflecting on the songs and recording process. Not surprisingly, nobody mentioned that “Roam” is about butt sex.

“‘Roam‘ has many meanings, but it’s a beautiful song about death,” Cindy Wilson told Classic Pop magazine in 2019. “It’s about when your spirit leaves your body and you can just roam.”

Well, yes. Some would describe it like that.

Remembering Prolific Pornographer Robert Prion

I once heard Robert Prion described as “The Ed Wood of gay porn.” It makes a great punchline, but it’s not quite true. Prion was 69 years old when he passed away on March 28th at his home in Woodbridge, New Jersey. It’s a house that porn fans are well acquainted with, as he filmed over 70 full-length adult films there over the past 40 years.

Prion is survived by his lifelong partner, who appeared in his films under the name Jay Richards.

Robert Prion was born on July 1, 1952 and lived in Woodbridge his entire life. A 1970 graduate of Woodbridge High School, Mr. Prion was employed for many years in the meat department (how fitting!) at Foodtown.

In 1982 Prion released The Boys From New Jersey, the first of 12 films produced throughout the decade. The spirited performances of his skinny and hung cast shone through the muddy fidelity of the VHS home video recording. The films were also elevated by their kickass soundtracks featuring the songs of Depeche Mode, Erasure, New Order and other new wave groups of the day – copyrights be damned. There was plenty of spandex, stone washed high-rise jeans, crop-tops and mullets. Lots and lots of mullets. These movies act as a time capsule of 1980’s mall culture – you can almost smell the Drakkar Noir when you watch them.

Prion shot scenes in every room of his house, from the low-ceilinged basement to the vaulted attic. Additionally, he filmed in another structure on the property that appeared to be either an elaborate children’s playhouse or a bungalow for little people. Coupled with low camera angles, his performers always seemed to be in danger of hitting their heads in the claustrophobic spaces.

And yes, there was the pool area – a New Jersey approximation of the traditional California porn set, although the sun never seemed to shine on Prion’s pool and the tiki cabana appeared to be a season away from collapse.

Prion was aware of his place in the porn world: his studio was called New Jersey Trash.

His motto seemed to be “more is more.” Rather than the traditional porn layout of 4 or 5 sex scenes per feature-length film, Prion would cram in 7 to 9 – often starting off with a quick group oral scene before the end of the opening credits.

Bijou Video Catalogue Ads for Suckulent and Men Who Dare (1987)

*Prion with Chip Ryan in Powerdrive 500 (1990)*

Whether or not his performers identified as straight, they put that aside when the cameras were rolling and gave performances that (for the most part) were far above average. It is the quality (and quantity) of these scenes that kept fans coming back for more, despite low production values and questionable design tastes. Many of the models appeared in over a dozen Prion films, indicating that they were treated favorably and/or well compensated.

Prion retired from performing in front of the camera by the mid-1990’s, but his partner Jay Richards continued delivering versatile, if perfunctory, performances in all 70+ Prion films.

In January 1995, Prion formed his own production company, Galaxy Pictures. His first film for the new company was Men Matter Most. With the advent of DVDs, Prion repackaged and re-released his earlier films. With those and subsequent releases, he would take advantage of the “multiple angles” DVD feature to include whole other bonus sex scenes. Unfortunately, these “easter eggs” are now inaccessible with today’s DVD viewing practices.

His biggest discovery was Rick Thomas, whose real-life older brother Dane also appeared in a handful of Prion films. They were among his stable of stars who always brought their “A” game, including Eric Carter, Vincent DeMarco, Bryon Rogers, Antonio Vegas, Jon Dante, Alex Turner, Wicked, Cody Marshall, Titan, and Chris Collins, aka “The Mystery Stud” who appeared in over a dozen films and never took off his sunglasses.

Prion benefited from his close proximity to New York City. Big name adult film stars making personal appearances in the city could hop on a New Jersey Transit train and earn some extra cash for a day’s work. Some porn stars who ducked through the low Prion doors: Jon King, Joey Stefano, Karl Thomas, Marc Andrews, Terry DeCarlo, Eric Stone, Todd Stevens, Rick Pantera, David Grant, Storm, David Thompson, Kevin Alexander, Jason Nikas, Scott Matthews, Ryan Raz, Scott Spears, Brandon Aquilar, Tommy DeLuca, Chris Stone, Kurt Morgan and Aaron Lawrence.

Terry DeCarlo on the old Christopher Street Pier in Put It Where It Counts (1993)

Prion’s dizzying output of films began to slow after 25 years although he continued to repackage and re-release older titles in online platforms, where many are still available for viewing. His last movie was released in 2014. See below for a list of all his films.

Robert Prion Films (including compilations):

The Boys of New Jersey: 1982
Friends Are Best: 1983
Men Grip Tighter: 1983
Cum and Get It: 1984
Boys Do It Better: 1984
Guy’s Just Can’t Stop: 1985
The Young Stimulators: 1985
The Wild Guys: 1986
Men Who Dare: 1987
Suckulent: 1987
Addicked: 1988
Raw Impulse: 1989
Ultimate Desires: 1989
Powerdrive 500: 1990
X-Posed Images-The Naked Truth: 1990

Untamed Seductions: 1991
Uncensored: 1991
Hidden Instincts: 1992
Total Impact: 1992
19 Good Men: 1993
It’s Raining Dicks: 1993
Solid Intake: 1993
Uncle Prion & His Young Men: The Best Of Robert Prion: 1993
Up Close & Sexual: The Best Of Robert Prion 2: 1993
What A Man’s Gotta Do: 1994
Put It Where It Counts: 1994
Men Matter Most: 1995
Pushing The Limit: 1995
Power Grip: 1995
Everything A Man Wants: 1995

Point Of Entry: 1996
Natural Response: 1996
Whatever It Takes: 1996
Unexpected Persuasion: 1996
Drive Shaft: 1997
Every Man’s Desire: 1997
Can’t Say No: 1997
Nothing Else Matters:1997
Don’t Hold Back:1997
Pushover: 1997
Stop At Nothing: 1998
You’ve Got The Touch: 1998
Make It Count: 1998
Relentless: 1998
One Way Or Another: 1998

Shameless: 1999
Any Way I Can: 1999
Let’s See What Happens: 1999
Aim To Please: 1999
What Guys Want: 1999
Best of Robert Prion 1 – Give and Take: 2000
Best of Robert Prion 2 – Outdoor Seductions: 2000
Best of Robert Prion 3 – Three In The Sack: 2000
Best of Robert Prion 4 – Mix and Match: 2000
Best of Robert Prion 5 – Video Virgins: 2000
Best of Robert Prion 6 – Superstars: 2000
Going Too Far: 2000
Every Inch Of Him: 2000
If You Dare: 2000
So That’s How You Want It: 2000

One Step Further: 2000
Don’t Stop There: 2001
Qualified To Satisfy: 2001
I Want More: 2001
Never Stop The Urge: 2001
I’m Your Guy: 2001
Over The Edge: 2002
Take It All: 2002
Natural Impulse:2003
Doin’ The Nasty: 2003

Return The Favor: 2003
Teasin’ N’ Pleasin’: 2004
From Every Direction:2004
Access All Areas: 2005
Standing Firm: 2006
All Men Should: 2006
Back Door Advances: 2007
Prion’s 69 More To Cum aka That Sucks: 2007
Can I See It?: 2008
It’s Only Natural… Daddy: 2014

We extend our condolences to Jay Richards and the friends and family of Robert Prion.

Fire Island PaJaMa Party

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 Paul Cadmus later chose for this work, utilizing the first two letters of their first names: PaJaMa.

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.

Writer Donald Windham (with Cadmus & French), ca 1940

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)

*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.

In George Parlett’s 2022 book Fire Island, he writes of a PaJaMa photo of Donald Windham:

It’s composition seems to show us how remembering is an act, not a given. There Windham is, dragging the large net, collecting and carrying with him the various and unknown sediments of the shore while offering his gaze wholly to his beholder. There is a levity there, in the resemblance of the net to a gown or a veil, its slightly campy or drag quality, but also a quiet note of death, in how this black material evokes a shroud, or mourning garb. Fire Island has long been a place where such contradictions are brought together; youth and death, glamour and grit. This interplay can be felt, the image tells us, in the landscape of the place.

Len & Cub – A Relationship In Photos

A new book gives insight into a same-sex relationship in rural Canada a century ago.

*Tinted photo of Leonard “Len” Keith (1891-1950) & Joseph “Cub” Coates (1899-1965) on a trip to Jemseg, New Brunswick (1916)*

If it weren’t for the advent of the self-timing camera, we would not know anything about the relationship between Len & Cub. There are no surviving notes, letters or documents to provide any further evidence. Luckily, Len had an interest in photography and documented their intimacy in a trove of images spanning nearly 15 years. These photos serve to illustrate their story in the recently published book Len & Cub: A Queer History (Goose Lane Press) by Meredith J. Batt and Dusty Green.

Len & Cub features Len’s photos of the duo between 1916 and 1930 and tells the story of a relationship in early 20th Century rural North America. These photos provide the oldest known photographic records of a same-sex couple in New Brunswick, Canada.

The term “queer” seems a bit ill-fitting to describe the actions of individuals a century ago, when even the terms “homosexual” or “gay” were not part of the vernacular. The choice of language is explained by the authors, who dedicate the book to the queer youth of New Brunswick. As Green states in his preface, “… the record of their lives is a testament to the resilience of queer people and an affirmation that we belong in any place we choose to call home.”

Leonard “Len” Keith was born in 1891 in Butternut Ridge (now Havelock), New Brunswick. His family enjoyed a moderate amount of wealth as the owners of a match factory and later a grist mill. Joseph “Cub” Coates was born 8 years later, the son of a farmer who was a neighbor to the Keith family. Together Len and Cub shared a love of the outdoors and documented their outings in photos. The pictures taken during hunting and canoe trips with their arms around each other or lying in bed together make clear the affection they held for each other.

When Len was called to service during World War I, Cub signed up as well, and the two trained together in Quebec.

*Cub and Len in training at Saint-Jen-sur-Richelieu, Quebec (1918)*

Photos of the duo are less frequent in the late 1920’s. Len’s camera captures several other unnamed male companions that accompanied him on trips and other outdoor adventures.

Len was also a car enthusiast and eventually opened a garage, which he later converted into a pool hall. Cub continued to make a living farming and then as a butcher.

In 1931, Len was forced to leave Havelock, allegedly due to his homosexual activities. He signed over control of his business and finances to his sister Lucy and headed to the United States. He later settled in Montreal, where he resided until succumbing to cancer in 1950. His sister arranged for his burial in Havelock.

It appears that Cub was not caught up in the scandal that forced Len out of town. He stayed in Havelock until 1940, when he married Rita Cameron, a nurse from the neighboring town of Chatham. After he served in WWII, the couple relocated to Moncton. He would go on to become a prominent figure in New Brunswick’s harness racing circles before his death in 1965.

The photos were donated to the Provincial Archives of New Brunswick by John Corey, a local historian who purchased them at a Keith family estate sale in 1984. Corey’s father had been a classmate of Len’s and knew both families. When he donated the collection, John referred to Len & Cub as “boyfriends” and also identified a photo of an individual who was instrumental in driving Len out of Havelock.

As some of these photos began to circulate on the internet several years ago, curiosity about Len & Cub’s story grew. In addition to the recent publication of the book, the BeaverBrook Art Gallery in Fredericton, NB is featuring an exhibition of the photos from April 2 – July 29, 2022.

Click here to watch a short video about Len and Cub from the CBC.

Dusty Springfield Sings Kate Bush

It’s hard for me to believe that I am well past 5 years into this blog nonsense and I have never written a single post about Dusty Springfield. I am a huge Dusty fan – she’s my diva. When I had my public access show here in New York City, I ran performance clips of Dusty so often that I received condolence calls and letters from viewers when she died in 1999.

Back then, there was still much to discover: whole albums of unreleased material were unearthed and LPs that had been out of print for decades were remastered and reissued. But now the cupboard is bare, with even incomplete performances cobbled together to produce somewhat finished products.

I do appreciate collections that present the tracks in different contexts. A couple of nice recent compilations: Real Gone Music’s Complete Atlantic Singles (1968-1971) and Ace Records’ Dusty Sings Soul are welcome additions to my dusty Dusty collection. And then there’s Goin’ Back: 1964-1971, a 2-CD set of radio and TV recordings that is about to be released in the UK.

With a career spanning close to 40 years and hundreds of recordings in genres from folk to disco and everything in between, it’s easy to forget about some of the lesser known Dusty performances. I was recently reminded of the time she covered a Kate Bush song.

Yes, Kate Bush.

And I’m also a huge fan of Kate Bush. But somehow, I had forgotten about this.

It’s like artists converging from different dimensions. Or maybe not. We live in an age where Lady Gaga and Tony Bennett duets are a thing.

*Programme for the Drury Lane shows, 1979*

Dusty always had a great ear for music, whether choosing her own material or introducing the Motown Sound to the UK. She was also instrumental in getting Led Zeppelin signed to Atlantic records. It’s not surprising that she would have taken notice of Kate Bush from the very beginning.

Picture it: London, April 1979. Dusty has just turned 40 as she returned to the UK after living in the US for most of the 1970’s. Meanwhile, 20 year-old Kate Bush had released her first two albums within the previous year. Dusty was performing several shows at The Theatre Royal, Drury Lane. Unfortunately there are no official recordings of the performances but we do have a couple of bootleg audio recordings. Dusty introduces the song:

“When I came here last year, I was surprised and mostly pleased at the musical changes that had happened here. I like things like (Ian Drury’s) ‘Hit Me With Your Rhythm Stick’ just as much as you do…. anyway the thing that impressed me most was that so much originality was around. In particular one young lady came through with a song called ‘Wuthering Heights’…. Kate Bush has an immense amount of originality and I was absolutely staggered by her. I’d like to sing a song that I think is one of the prettiest ones ever written, certainly by her. It’s called ‘The Man With The Child In His Eyes.'”

She then goes on to, as Neil Tennant would later say, “Dustify” the song. It’s a beautiful performance of an unexpected song choice:

Dusty was not alone in her praise of “The Man With The Child In His Eyes”. Besides reaching the #1 spot on the UK pop charts, the song also won an Ivor Novello Award for songwriting.

Later that year, Dusty’s performance at Royal Albert Hall was properly recorded for posterity. Unfortunately, by that time the song had been removed from the set list.

Today would have been Dusty’s 83rd birthday. She is still sorely missed and I’d trade my eye teeth to hear her sing a duet with Lady Gaga.

Revisiting Kate Bush’s gayest songs.

Gay Times #69 (1978)

I recently came across a 1978 issue of Gay Times, East Coast Edition – Issue #69 (ahem).

The news section was dominated by California’s Briggs Initiative, aka Proposition 6 – the first attempt to restrict gay and lesbian rights through a statewide ballot measure. Thankfully, it was defeated that November with 58% of the vote, but the stakes were high when this issue went to press.

It was the importance of this vote which also inspired the centerfold:

*Caption: Register To Vote – Your right to live may depend on it!*

The photo is from Robert Bresson’s 1957 film A Man Escaped, a WWII drama based on a true story of a French resistance fighter portrayed by Francois Leterrier (center).

Elsewhere in the issue, an editorial calls for the continued boycott of Florida Citrus due to the anti-gay efforts of their spokeswoman, Anita Bryant.

Welcome to 2022, when it all seems painfully current, domestically and abroad.

Ah, but it wasn’t all politics and protests. Editor Pat Pomeroy interviewed The New York Man: Damian Charles. He’s described as an Aries ram, former school teacher, author of 49(!) books of erotica, and a centerfold model. He inspired orgasms in 17 countries! (I have to wonder who collects such statistics and where does one find the raw data?) And also – what quote could encapsulate the era better than “… as I have sex with a succession of lovers under the strobe lights at Studio 54”?

I reached out to photographer John Michael Cox, Jr. to see if he had any recollections of this dynamo. “Charles Herschberg was a very close friend & the writer I most used to conduct interviews – I didn’t like to transcribe interviews so I employed writers. For his nude modeling, he decided on the name Damien Charles, which I never liked. He never had the ambition to do much & mainly posed for me. He never did films but I did shoot some hardcore pix of him with his lover Richard Allan. Chuck died around 1990 in Florida.

“These photos are from the first session we did. I never worked for Gay Times, so Chuck must have given them the prints to use.”

I asked about Chuck’s work as a writer. “I met Chuck when he was writing a piece on (gay porn star) Roger. I came over to the Eros Theatre to photograph him and Roger’s manager Jim Bacon introduced us. Typical of Chuck – he never finished the article.”

Click here for the January 1977 Omega cover story on Jobriath – written by Charles Herschberg with photos by John Michael Cox, Jr.

Regarding the many porn books Chuck wrote: “He probably wrote under many different names. He worked for an outfit that used many writers. They churned out huge amounts of paperback porn.

“Harlequin offered him a deal to do books & said he could alter his porn stuff. $5,000 per book. He couldn’t bring himself to do it.

“Years ago I tried to do a tribute to Chuck on my website, which has since been taken down. Like everyone who knew Chuck, I adored him & also wanted to hit him over the head.”

*Charles Herschberg with Jayne Mansfield backstage at the Latin Quarter (1965)*

Thanks to John Michael Cox Jr. for his recollections of his friend.

Madame Spivy: I Brought Culture To Buffalo In The 90’s

Ladies and Gentleman, it is time once again to revisit that late, great dynamic lady of song, Madame Spivy LeVoe (1906-1971), also known simply as Spivy. A lesbian entertainer, nightclub owner and character actress, Spivy has been described as “The Female Noel Coward” – to which I add “…. if he had been born in Brooklyn as Bertha Levine.”

In case you missed them, these are our other Madame Spivy posts:
T he Alley Cat
The Tarantella
Auntie’s Face
100% American Girls
A Tropical Fish
I Didn’t Do A Thing Last Night
Why Don’t You?Madame Spivy: Movies & Television
Madame Spivy on the Good Time Sallies Podcast

Our latest offering is one of her signature songs: “I Brought Culture to Buffalo in the 90’s”. Curiously, on the recording Spivy introduces the song as “Intimate Memories of Buffalo In The 90’s.” This is the fourth side we have profiled from her 1939 album Seven Gay Sophisticated Songs. The lyrics were written by Everett Marcy, who also co-wrote (with Spivy) “Why Don’t You,” another song from the album. Marcy also had a few Broadway writing credits including New Faces of 1936.

The music is credited to Prince Paul Chavchavadze (1899-1971), a writer, translator, and deposed Georgian royal living in New York City. And with that nugget of information, I have to say… whenever I look into the eclectic array of international bohemians associated with Spivy, I am reminded of the party scene at the beginning of Auntie Mame. This is also a fitting scenario considering Spivy later played Mother Burnside in the Broadway production.

Oscar Wilde plays a part in the lyrics of the song, as a guest in the home of our fictional hostess. It should be noted that he did conduct several lecture tours across the U.S., including speaking engagements in Buffalo. One of the topics was “The Decorative Arts.”

I Brought Culture to Buffalo In the 90’s

I Brought Culture to Buffalo in the 90’s. When Wilde was there, he visited my home
I showed him all the glories I’d bought so cheap in Greece
and all the wonders I’d brought home from Rome.
He was spellbound at the splendor of my whatnot and the cigar butt Papa got from General Grant.
He couldn’t tear his eyes from my bay window and the maidenhair beneath the rubber plants.

I Brought Culture to Buffalo in the 90’s – the year I took the iron dog off our lawn.
In its place I put a Venus in a nightie and a rather naughty but authentic faun.
I completely reproduced the Versailles garden though the Erie claimed they had the right of way.
I swore I’d die before a tie was laid to desecrate Versailles. I made Buffalo the place it is today.

I was the first to have a Turkish corner though plenty followed suit, you may be sure.
I produced a pageant based on Jackie Horner and the deficit was given to the poor.
I Brought Culture to Buffalo in the 90’s. I made the natives conscious of the nude.
In my dining room I put “Boy Extracting Thorn From Foot” and my guests that winter scarcely touched their food.

The season that I gave my talks on yoga was one I felt I never could surpass.
I had a negligee cut like a toga and all my candelabra piped for gas.
I Brought Culture to Buffalo in the 90’s. When Wilde was there, he visited my home.
Filled with all the treasures of the ages and a nugget Uncle Nate had sent from Nome.

I showed him all the house right through the garret and said “What one thing does it still require?”
When Oscar looked at me, I could not bear it.
“A match,” he said, “Madame, a match to set the goddamn place on fire!”

This newspaper blurb (courtesy of the Queer Music Heritage page) mentions the song being “rented” to singer Bea Lillie:

Blueboy 1980: Gays of NYC

It’s not nice to stereotype. This may be especially true of homosexuals, who have borne the brunt of unkind pinpointing for so long that they believe it themselves.

…so begins an outrageously stereotypical article from the May, 1980 issue of Blueboy Magazine, titled “Is There A Typical New York Faggot?”

Now… before you lose your shit over the title, keep in mind that those were different times. The “F” word wasn’t taboo. Larry Kramer’s book by that name had been published just a year and a half earlier. So let’s put that sticking point aside. There’s plenty more to discuss.

Another caveat: This is from Blueboy. A gay porn magazine. It ain’t the Advocate or The Village Voice. Presumably author “J. Greller” was the pen name of a jaded queen with his tongue firmly planted in his own cheek and his head up his own ass. Who can say for sure? I wouldn’t want to, you know, stereotype… but Harold from Boys In The Band could deliver this piece as a monologue.

It’s mean and bitchy, but not in a fun way. It’s like the author had one martini too many and his New York City rant went to a dark place that was no longer funny or clever. The specificity of many of the “types” described gives the indication that he had an axe to grind with very particular unnamed individuals.

Have a read:

To be fair, the entire piece isn’t completely tone-deaf. There are glimpses that ring true, especially in the downtown neighborhoods. This is due in part to the quotes from others – Doley the Third’s observation on Harlem, for example.

I find the piece to be out of sync with the NYC neighborhoods as I have known them since the early 1990’s. But this is my perception over a 30 year period. I wasn’t there in 1980, but I have to wonder if the author has based his observations on, say, a 30 year period prior to that. Were there were really still old vamps & flappers on St. Marks in the CBGB era? Did 57th Street really have its own gay male type that needed dissection? Did nobody ever travel out of their own neighborhood to socialize? Were the streetcars not running?

Interesting to note that, for all this compartmentalizing of Midtown East neighborhoods: Kips Bay vs Turtle Bay vs. East Side… there is no mention of Murray Hill. At the time, according to older gay New Yorkers that I have known, it was referred to as “Mary Hill” due to the large number of gay bars and homosexual residents. J. Geller missed a golden opportunity.

Kudos to the graphic artist Favio Castelli, though.

Artist’s Muse: Randy Jack

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 skeptical 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.*

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.

Perlin later recalled, “I really am lousy. George commissioned me to do a drawing of Randy Jack. Randy and I had interrupted the drawing with some ill-advised smooching, which was in turn interrupted by Robert Drew, (my boyfriend) who lived directly downstairs from me. He was damn furious, and he left me. That was the end of it, of our thing.”

Soon after the 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.

The kid from Waukegan had come a long way.

The Comfort of Repetition & The Ultimate Christmas Playlist

*Department store Santas, 1948 (photo by Nina Leen)*

I am not alone in saying that I always take comfort in the annual repetition of the holidays – revisiting holiday-themed music, film, television… and now internet posts as well. In fact, this post is a reworking of one I posted last year, not to get meta or anything.

I find it interesting that we immerse ourselves in certain pop culture favorites for exactly 6 weeks of the year and then pack them up in mothballs with the ornaments until next year. I mean, Bing Crosby, Brenda Lee and Johnny Mathis are rock stars from Thanksgiving through New Years. Are any of them on your 4th of July playlist? They aren’t on mine.

The film A Christmas Story has an even shorter (Elf on the) shelf life. We binge-watch the repeated broadcast for exactly 24 hours each year. I own it on Blu-ray and I’m not sure why: I have never opened it. To pop it in at any other time feels like a betrayal.

In keeping with this revisiting, blog posts of Christmas past are back to haunt you like A Christmas Carol, Mr. Scrooge:

This was my Canine Christmas Tail – a true story about my dog Sunshine and her appetite for tinsel.

Here is my take on the 1987 Motown Christmas Special – which featured few Motown acts.

When March of The Wooden Soldiers celebrated its 85th anniversary in 2019, I posted 10 things you may not know about this classic holiday film.

Have you watched Christmas In Connecticut yet this year? How about that delivery woman?

Copyright issues kept my 60 Degrees Girl Group Christmas playlist out of commission but now it’s back! I plan to post other episodes of my old radio show in the new year.

If you prefer Spotify, I have this to share:

Way back in 2002, when Limewire was a thing and people listened to music on silvery discs, I started creating Christmas CD mixes that I would mail out or give to people. These were received with a combination of feigned delight, veiled indifference and deafening silence. None of these CDs had a pressing of more than 20 copies. I’d like to call them “much sought after” – but no, that’s not really the case, although every once in a while, someone really got into them and would ask for copies of other volumes.

And so, I’m offering this simple playlist…. for kids from 1 to 92. Unfortunately many of the tracks on these dozen CDs are not on Spotify, but I keep adding songs that would be on the current CD volume… if there was one. And now the playlist is over 14 hours of holiday tunes. I recommend listening on shuffle – there’s something to irritate everyone. Enjoy!