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.

Jay Richards and Karl Thomas (1990)

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):

  1. The Boys of New Jersey: 1982
  2. Friends Are Best: 1983
  3. Men Grip Tighter: 1983
  4. Cum and Get It: 1984
  5. Boys Do It Better: 1984
  6. Guy’s Just Can’t Stop: 1985
  7. The Young Stimulators: 1985
  8. The Wild Guys: 1986
  9. Men Who Dare: 1987
  10. Suckulent: 1987
  11. Addicked: 1988
  12. Raw Impulse: 1989
  13. Ultimate Desires: 1989
  14. Powerdrive 500: 1990
  15. X-Posed Images-The Naked Truth: 1990
  1. Untamed Seductions: 1991
  2. Uncensored: 1991
  3. Hidden Instincts: 1992
  4. Total Impact: 1992
  5. 19 Good Men: 1993
  6. It’s Raining Dicks: 1993
  7. Solid Intake: 1993
  8. Uncle Prion & His Young Men: The Best Of Robert Prion: 1993
  9. Up Close & Sexual: The Best Of Robert Prion 2: 1993
  10. What A Man’s Gotta Do: 1994
  11. Put It Where It Counts: 1994
  12. Men Matter Most: 1995
  13. Pushing The Limit: 1995
  14. Power Grip: 1995
  15. Everything A Man Wants: 1995
  1. Point Of Entry: 1996
  2. Natural Response: 1996
  3. Whatever It Takes: 1996
  4. Unexpected Persuasion: 1996
  5. Drive Shaft: 1997
  6. Every Man’s Desire: 1997
  7. Can’t Say No: 1997
  8. Nothing Else Matters:1997
  9. Don’t Hold Back:1997
  10. Pushover: 1997
  11. Stop At Nothing: 1998
  12. You’ve Got The Touch: 1998
  13. Make It Count: 1998
  14. Relentless: 1998
  15. One Way Or Another: 1998
  1. Shameless: 1999
  2. Any Way I Can: 1999
  3. Let’s See What Happens: 1999
  4. Aim To Please: 1999
  5. What Guys Want: 1999
  6. Best of Robert Prion 1 – Give and Take: 2000
  7. Best of Robert Prion 2 – Outdoor Seductions: 2000
  8. Best of Robert Prion 3 – Three In The Sack: 2000
  9. Best of Robert Prion 4 – Mix and Match: 2000
  10. Best of Robert Prion 5 – Video Virgins: 2000
  11. Best of Robert Prion 6 – Superstars: 2000
  12. Going Too Far: 2000
  13. Every Inch Of Him: 2000
  14. If You Dare: 2000
  15. So That’s How You Want It: 2000
  1. One Step Further: 2000
  2. Don’t Stop There: 2001
  3. Qualified To Satisfy: 2001
  4. I Want More: 2001
  5. Never Stop The Urge: 2001
  6. I’m Your Guy: 2001
  7. Over The Edge: 2002
  8. Take It All: 2002
  9. Natural Impulse:2003
  10. Doin’ The Nasty: 2003
  1. Return The Favor: 2003
  2. Teasin’ N’ Pleasin’: 2004
  3. From Every Direction:2004
  4. Access All Areas: 2005
  5. Standing Firm: 2006
  6. All Men Should: 2006
  7. Back Door Advances: 2007
  8. Prion’s 69 More To Cum aka That Sucks: 2007
  9. Can I See It?: 2008
  10. It’s Only Natural… Daddy: 2014

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

See also:
Gay Porn Stars We Lost (so far) in 2025
Gay Porn Stars We Lost in 2024
Gay Porn Stars We Lost in 2023
Gay Porn Stars We Lost in 2022
Gay Porn Stars We Lost in 2021
Gay Porn Stars We Lost in 2020
Alexis Arquette’s Lost Porn Flick
RIP Porn Star Turned Activist Terry DeCarlo
Costello Presley and 80’s Gay Porn Guilty Pleasures

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)

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.

Donald Windham, Saltaire, FI (1942)

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.

PaJaMa, FI, ca. 1944

See Also:
Provincetown PaJaMa Party
Fire Island Muses of George Platt Lynes & The PaJaMa Collective
Revisiting George Platt Lynes’ Fire Island Muses
Artist’s Muse: Wilbur Pippin
Artist’s Muse: Donald Windham & Sandy Campbell
Artist’s Muse: José “Pete” Martinez
Artist’s Muse: The Mystery Model
Artist’s Muse: Chuck Howard
Artist’s Muse: Ted Starkowski
Artist’s Muse: Randy Jack
Buddy & Johnny: A Historic Photo Shoot
George Platt Lynes: In Touch Magazine (1982)

We Got Hitched

The warmth of your love
is like the warmth of the sun…
This will be our year
took a long time to come…

“How come you don’t write about me? Or maybe you do.”

His eyes narrowed suspiciously. Or, I assumed they did. He texted this to me, so it was virtual skepticism that I sensed.

My partner of 9 years is artist/musician Toby Hobbes. He is also my editor/proofreader and the person who set up this blog 5 years ago and told me to get to work. While he does get an occasional mention from time to time (see Circle In Monkeyshines or Scenes From A Pandemic), any essays specifically about him or our relationship remain unfinished.

This was one piece I started:

It was our second date. We were heading out to dinner after a few pre-game cocktails at Nowhere Bar in the East Village. I pulled him over by the side of a building to get out of the First Avenue foot traffic. I had something that I needed to tell him and didn’t want to keep it a secret any longer. My gut was telling me that we were heading into a relationship, so there had to be honesty. And he was new to this – at 37, this was his first same-sex dating experience.

Summer, 2013

I took a deep breath and said; “Listen there is something that I need to tell you before this goes any further…” I was still holding onto his hand. He looked concerned.

I continued on, talking fast just to get it over with. “I know I told you I was 39 years old. Well I’m not. I am 44. I know. It’s stupid. It’s just a number. But 44 sounds so much worse and I didn’t want you to feel like it was too big an age difference. So now you know. And I hope it’s not a big deal.”

The concern faded into puzzlement. “Why would I think that was a big deal?”

I went off on a diatribe about gay men being ageist and that I had shaved off exactly 5 years when I ended up single again at 40, which seemed to be a big cutoff number for most men on Match and Grindr and Scruff and Growlr and Fluff and Squirt and…

Toby let go of my hand and took a step back. “I have to tell you something too,” he said. “I have a kid at home. Well, he’s my nephew. I’ve had custody since he was 10 and he’s 17 now. I didn’t say anything because I was afraid that you wouldn’t want to deal with all that.”

In that moment, my opinion of him – of his character, his heart – went right through the roof. He was a responsible adult.

Besides his nephew, there were also two dogs, a cat, and the long shadow of the ex-girlfriend that had left his finances in a shambles. On our first anniversary, we agreed to move in together. This was partly out of necessity and also because we felt like we were ready. For me, this meant leaving Manhattan after 22 years, as there was no way we could afford adequate space for our crew. We settled in Forest Hills, Queens, which I highly recommend.

At the time, people would congratulate me for being “selfless” or ask how I could take on so much responsibility. For me, there was no choice – no question about it. I realized that I loved Toby very quickly. And he loved me with a totality that was unlike any of my previous relationships. I felt like the last 4 years of frustrating dating experiences were just The Universe’s way of keeping me in a holding pattern until he showed up at my apartment with a six pack of Sam Adams.

________________________________________________________________

Fast forward to July 30th 2018: I proposed to him on The High Line above West 23rd Street with my family hiding in the bushes taking pictures nearby. We made no immediate plans for the wedding but assumed that we would be married the following year.

Then Toby got accepted into a program at the International Culinary Center (formerly the French Culinary Institute) and we decided to wait until he graduated. Then I was suddenly unemployed. So we waited again. And then there was the pandemic.

In the spring of 2021 we started to look at wedding venues. I was determined to get hitched before we celebrated our 10th anniversary as a couple. Besides, after this pandemic, we all needed a party. To celebrate LIFE. Also, neither of my sisters ever got married, and my mom was itching to finally have a wedding for one of her kids. We secured a venue and set a date: Sea Cliff Manor, May 19th, 2022.

About that pesky pandemic… I thought; “Ohhh – surely that will all be behind us by then! Just a masked blur in our rear-view mirrors.” Silly, silly fool. I failed to remember that objects in the mirror are closer than they appear.

In the months prior to the wedding, it became clear that COVID was not going to be gone, so we decided to specify on the invitations that attendees needed to be vaccinated. Imagine our surprise when this turned out to be a deal breaker for some, as a few formerly enthusiastic friends and family members suddenly ghosted us.

We went into planning this wedding with the awareness that, at some point along the way, we might encounter people who were a little more churchy than we realized and they might object to our Big Gay Wedding. Thankfully that did not occur. As it turned out, our big ethical divide was not religion. It was science.

Ultimately this was for the best. Better to know who people really are when their masks come off.

The three weeks before the wedding are bound to be stressful, as anyone can tell you. We were finalizing the guest list, DJ setlist, photographer, tuxedos, favors, seating charts, menus, programs, obtaining the marriage license and wedding rings. And the vows! We had to write the vows.

But then other stuff started happening.

On Saturday April 30th, Toby cut his finger on a meat slicer at work, requiring 12 stitches on his left pinky. Three days later, I got sick with COVID. The next day, while taking the final reception payment to Sea Cliff Manor, my mom & stepdad were in a car accident. Thankfully, nobody was injured. Two days after that, on his birthday, Toby got COVID as well. We were both vaxxed and boosted, so it was more of an inconvenience than anything else, although we were starting to feel like some homophobic anti-vaxxer was practicing voodoo shit.

We soldiered on. This wedding was going to happen whether we were ready or not.

The big day arrived and everything went off without a hitch. It was a family affair with Toby’s nephew as his best man and my sister as my best woman. My mom & stepdad walked me down the aisle.

We asked my friend Merri to sing The Zombies’ This Will Be Our Year. When I chose the song last year, I thought it was a pretty obscure choice. Turns out to be a wedding standard as well as the jingle for Target’s “Back To School” ad campaign. Ah, well. The chorus of “This will be our year / It took a long time to come” certainly struck a chord with us.

While the planning was crucial and paid off in the best way, it was actually a spontaneous moment that I keep revisiting from that day. Luckily we opted to live stream the ceremony, so there is footage to look back on. When Toby and I joined hands to say our vows, he started to bounce up and down with excitement. It was the defining moment of the day. I turned it into a gif captioned “Life Goals: Marry someone who is this excited to marry you.”

And now it’s done. After nine years, we are hitched. Married. We tied the knot and jumped the broom. It took a long time to come.
Wedding photos by Glenmar Studio

See also:
The Tin Man & The Lion: Unanswered Prayers
The Lion In The Emerald City: Promise Of A New Day
1991: Homo Alone
Debbie At The World (1989)
My Mother, The Superhero
On The Life Of Brian…
Thursday At The Racetrack
Len & Cub – A Relationship In Photos

Your Nostalgia Is Killing Me: John Weir

John Weir is pissed off. Rightfully so.

He has a new book out. An award winning book. It’s called Your Nostalgia Is Killing Me (Red Hen Press). It is described on the cover as “linked stories” and won the Grace Paley Prize for short fiction. God forbid you call it a memoir or a short story collection. But we’ll get to that later.

This month, his two previous novels: 1989’s The Irreversible Decline of Eddie Socket and 2007’s What I Did Wrong are back in print with Fordham University Press. You can easily order any of these titles on Amazon or Barnes Ignoble. However, if you want to throw your business to an indie book seller, or more specifically a gay bookstore, it appears that you will have to go to one that he has personally walked into and asked them to stock his books. He’ll come back and sign them, too.

The Strand also does not have copies in their store. He went there and asked. Something to do with distribution, although you can order them from their online warehouse.

John Weir on the cover of The Advocate (1990)

I have been a fan of John Weir’s work since Eddie Socket‘s original release. I purchased a copy at, uh, Barnes Ignoble, and was thoroughly captivated by this groundbreaking book – winner of the 1990 Lambda Literary Award for Best Gay Debut Novel and one of the first to address the AIDS crisis.

The book kept me company on a miserable theater tour in the fall of 1991. I strongly identified with the protagonist, and when he contracted AIDS halfway through the book, it scared the hell out of me.

I wrote some of my favorite quotes in my journal:

Though he didn’t think that God existed, still, it was nice to just sit somewhere with people who believed that he did.

And

My feelings are clichés and that bugs me, so I try to hide it with other slicker clichés, and with everything in quotes, at least I can remind myself that I know better than my feelings, which are really the drippiest, most sentimental, self-pitying things.

I pored over it for so long that one of my cast-mates finally said “What the hell is with you and that book?!”

The many editions of Eddie Socket

John Weir was working with ACT UP on The Day of Desperation in January, 1991 when he and other activists (including fellow writer Dale Peck) interrupted the CBS Evening News with Dan Rather:

It’s interesting to hear him mention his mother in the clip above, as she is the subject of several stories in Your Nostalgia Is Killing Me, written 25 years later, after their relationship had evolved into an adult child/caregiver situation.

In the intervening years, Weir was Contributing Editor at Details magazine and published nonfiction pieces in The New York Times, Spin, and Rolling Stone, among other publications. In addition to his writing, he has been an associate professor of English at Queens College since 1993.

I have been following John on Facebook for years. He would sometimes post new material and share extended witty, hysterically funny conversations with his mother. I also followed Sukey Tawdry, Mrs. Weir’s beloved pooch who had his own Facebook profile and passed away just days after she did in 2018. (John’s tribute is posted here.)

For all of the platform’s faults, John’s connection to Facebook is evident: he dedicates Nostalgia to his 5,000 followers.

Weir has a crankier social media alter-ego, whom he refers to as “The 3am Guy.” This allows him to rant about various topics at all hours of the night and then perhaps soften the edges or clean up the mess the following day – a tactic more people should adopt, IMHO.

It was Weir himself and not The 3am Guy who posted the following – a stinging encapsulation of what it is like to be a gay author of a certain age, on the first day of Gay Pride Month, just trying to get his work in front of its target audience.

This is his entire post, which I have reprinted with his permission:

The Self-Pitying Author Asks: Why Are None of My Books on the LGBTQ+ Pride Table at My Local Groovy BKNY Bookstore, Next to *The Town of Babylon* and *The Guncle*?

It’s LGBTQ+ Pride Month, and I plan to spend the month ashamed! Mostly because I have this new book out and I haven’t done enough to promote it. Here’s a funny thing about the book:

John Weir Photograph © Beowulf Sheehan

What’s its genre?

Is that like asking a book its pronouns?

Maybe!

Well, *Your Nostalgia Is Killing Me* calls itself “linked stories” on the cover. That’d mean it’s a collection of short stories: fiction.

Somebody said maybe it’d get more notice if I had called it a novel, “because it reads like a novel” (presumably because the same dude is the narrator of all 11 stories, and the stories follow him – not in order! – from like 1974 to 2014); and the thing is:

It got published because I submitted it to a writing contest – the Association of Writers & Writing Program’s (AWP’s) Grace Paley Prize for Short Fiction.

I submitted to a contest, which I’d never done before, because: my agent wasn’t interested in the manuscript, which meant I no longer had an agent; and of the *12 agents whom I queried to see if they’d represent me* – well: None. Of them. Even. Replied. Not even their harried assistants wrote back to pretend they were the agent and say, “No thanks.” No one. Not an email, not even a form-rejection email.

Then in fear and self-loathing I sent the manuscript to a friend, who is also an agent (generally, I don’t think it’s a good idea to have an agent who’s a friend), and they said, “Love this, can’t sell it.”

So I submitted to a contest.

Which specified: “Short Fiction.”

Author Grace Paley, photographed by Jess Paley

Like the kind of stories Grace Paley wrote. A prize in her name! And I was all, “Well, I’m not Paley, and not that the judge has to pick a Paley-esque collection, but: I do sort of do the thing Paley does of writing stories as if they were just what happened that day.” (Not to put myself on her level of genius!)

A lot of Paley’s stories are written as if they were unstructured suit jackets, they fit fine but without the expected ribbing: her work feels impromptu, copied from everyday ordinary life (even if that ordinary life is extraordinary); and so but then you realize that every word is deliberate, she has a distinct aesthetic and a project, her writing isn’t random, nor is it cinema verité, though it’s often presented as if a quirky documentarian were given a camera to record whatever is in front of her.

So my collection got picked for the Grace Paley Short Fiction Prize, the reward for which was its being published by a small press that partners with the AWP: Red Hen Press.

So it won a Story prize, so it’s Stories.

I guess it was my idea to use the phrase “linked stories,” because short story collections don’t sell that well, and I thought maybe people would be more likely to buy it if they thought it was gonna feel like a novel.

I don’t think it’s a novel. I don’t really care if it’s a novel. I don’t know what it is; but then some people have been:

It’s a memoir. It’s autobiography. It’s a series of essays with a dude in the middle saying “Ow.” It’s nonfiction misnomered as fiction!

“How dare you misgenre me!” it’s thinking, sitting un-bought on a low shelf in the Fiction section at your neighborhood Barnes Ignoble.

Well, but back to Paley: I can’t call it nonfiction because I lied about stuff; compressed 6 real people into one fictional character; took scenes from real life and put them in a different month, with other weather; invented conversations; collapsed 8 different events into one; made shit up; gave all my best lines to other people; left things out that’d make me look bad if you thought I committed them; mis-remembered the past; manipulated my mis-remembered past to satisfy narrative arcs. Gave stuff tidy endings that, in real life, are never-ending.

I used techniques of fiction, in other words.

But I wanted it to read as if it were happening right in front of you, happening *to* you, right now, in this moment that you’re reading it.

I wanted it to read like nonfiction. Or like a Frederick Wiseman documentary, maybe.

I wanted you to think, “He must have just written down what happened.”

Robert Lowell & Elizabeth Hardwick

“Why not say what happened?” Elizabeth Hardwick said to Robert Lowell, when he was stuck on a poem; and then he emptied all her letters into his book! Her aggrieved, enraged letters about his leaving her for another woman.

Sleep with a writer, wake up in print.

So I can see a person’s assigning my book in a course in, like, I dunno, “Personal Narrative?”

Argh, I think the term these days is “Autofiction,” which I hate. I always hear, under that name, the accusation that all a particular writer ever did was obsess about themselves; and that an “auto-fictionalist” was deficient because they could not make shit up.

Is there a notion lately that a “writer” is a person who works entirely from “imagination,” and that to base a story on true events is somehow not to be as glorious as a person who works solely from imagination?

As if “saying what happened” did not involve using your imagination.

As if “autofiction” is somehow ethically suspect because you’re invading the privacy of people whose lives your work is based on. But there is such a thing as an emotional autobiography, where the arc of feeling is lifted from your own life, if not the events. And even a science fiction writer is surely modeling characters on people they know in real life (see Philip K. Dick’s books where one of the main characters is clearly based on Bishop James Pike of California).

Argh, anyway.

John Weir Photograph © Beowulf Sheehan

And then there is this thing of, If you’re a homo-dude like myself over age like 55 and you’re writing about stuff that happened in the first 15 years of the global AIDS crisis, 1981 -1996, you are automatically *historical*, and your writing is going to have no useful application to stuff that is happening today, it’s gonna be retrograde at worst, merely “interesting” at best, yet another traumatized recounting of an era that properly belongs in a theme park, AIDSWorld.

O and alas. Call my book what you want, it doesn’t have a genre. But if it reads like nonfiction, that doesn’t mean it’s without an aesthetic; and if it reads like a novel, that doesn’t mean it’s not a series of stories carefully revised and assembled in a particular order; and if it reads like memoir, don’t expect it to be telling the truth about everything; and if it’s just some Wicked Aging Sodomite not letting go of the past, well:

Maybe we live in a country and moment when we are deeply aware of having *let go too quickly of the past*; and maybe the refusal to account for the past is a right wing strategy; and maybe the past is not even past, as Faulkner says; and maybe a book is not a weighted blanket, maybe it’s not meant to help you fall dreamlessly to sleep, maybe its point is to fling you into a stage of inconsolable grief at 3 in the morning.

Follow him on Facebook. Follow him on TikTok. He’s @jwierdo on Twitter.

Buy the fucking book.

See Also:
Homo Alone (1991)
The Tin Man & The Lion: Unanswered Prayers
The Lion In The Emerald City
Debbie At The World (1989)
If You See Something, Say Something
Zombie Divas
Fax You & The Horse You Rode In On
Bindle Zine #1: Summer 2023
Bindle Zine #2: Winter 2024
You Know The B-52’s Song “Roam” Is About Butt Sex, Right?

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.

See Also:
Kenn Duncan After Dark
In Touch For Men: Disco Danny (1979)
Costello Presley & 80’s Gay Porn Guilty Pleasures
Blueboy 1980: Gays of NYC
John Waters in Blueboy Magazine (1977)
New York City: In Touch For Men (1979)
San Francisco: In Touch For Men (1979)
Revisiting Blueboy Magazine (1980)
Armistead Maupin in Blueboy Magazine (1980)
George Platt Lynes: In Touch Magazine (1982)
Keith Haring In Heat Magazine (1992)

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:
The 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.

Prince Paul Chavchavadze

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:

The Lion In The Emerald City: Promise Of A New Day

Eagle’s calling and he’s calling your name,
Tides are turning, bringing winds of change
Why do I feel this way?
The promise of a new day…

Paula Abdul still reigns supreme on Lite-FM, if my trips to the pharmacy and grocery store are any indication. Her #1 hits from the Forever Your Girl LP are still in heavy rotation there, yet her chart-topping follow up album, Spellbound, seems to have been forgotten along with its two #1 hit singles: “Rush, Rush” and “Promise Of A New Day.”

“Promise Of A New Day” – the lead track on the album – was my unofficial theme of the Summer of 1991. Not the edgiest choice, but it perfectly captured the energy I felt as I moved into my first New York City apartment. I picked up a used promo CD of Spellbound at St. Marks Sounds and played it as I hung posters and organized my books and records on unstable milk crate shelving units.

So I wasn’t a rebel through and through, but I loved the East Village. I felt like I belonged there more than anyplace else, even if I was content to spend most nights in my apartment getting acquainted with Robin Byrd and leased access television rather than going over to Avenue B to watch GG Allin roll around in his own poop.

I previously wrote about my first professional theatre job as the Cowardly Lion on a children’s theatre tour. It was a big adventure with a little romance and a lot of angst as the tour drew to a close. Most of the other cast members had theatre jobs lined up for the summer, while I was about to wake up on the black and white side of the rainbow with no prospects other than crawling back to Carle Place Tower Records and asking for my job back.

I had to get to Manhattan. It was looming in the distance like the Emerald City. As I wrote in another post about this period… Dorothy may have been happy to go back home, but the Lion, with his newfound courage, stayed in Oz.

It turned out that Glinda the Good Witch didn’t have a job lined up, either. She lived in a women’s hotel on Gramercy Park South but was ready to make a move. When she suggested that we find an apartment together, I jumped at the chance.

I knew this might not be a perfect fit. Glinda’s nickname on the tour was Eeyore – partly because she carried the stuffed animal around with her, but also because it matched her personality. She was a lumbering sad-sack with a constant cloud of doom over her head. It was much more amusing when we were on tour than while apartment hunting in the summer heat.

We looked at one apartment after another – she would hem and haw and say that she needed to think about it. Any halfway decent place was taken by the time she made up her mind. In the meantime, she continued to live in the women’s hotel while I kept schlepping into the city from Long Island. This went on for almost two months.

By the time I found the apartment on East 6th street and Avenue A – a converted 2 bedroom in a 5th floor tenement walkup for $750 a month – I felt that this was our last chance. If she didn’t go for this one, then I needed to come up with an alternate living situation. Perhaps she sensed that this was the end of the line, because she agreed fairly quickly and we got it.

There was a clause in the lease – a standard apartment lease – that says something about the tenant being responsible for carpeting 80 percent of the floors to reduce noise for the downstairs neighbor. When we asked the landlord about this on the day of the lease signing, he started to laugh. A little too long. Then he simply said; “Don’t worry about it.”

Our first night in the apartment, we were startled awake by the blood curdling screams that sounded like a woman being attacked. This quickly escalated into a shrieking, incoherent babble that echoed inside and outside the building. I immediately thought of Kitty Genovese and the nightmare of urban apathy. It abruptly stopped before we could find the source. We soon learned that the neighbor right below us had frequent schizophrenic episodes – usually in the middle of the night, although they would happen at any time. So no, we did not need to carpet our floors to limit our noise for the downstairs neighbor.

Despite its flaws, I loved that apartment. It was above this derelict bar called the Cherry Tavern. 20 years later, the NYU kids were lining up to get in. We had no door buzzer so visitors would have to call from the pay phone on the corner – this was pre-cell phone, of course. One of us would have to walk down all those flights to let them in. The floors in the apartment were so slanted that we had to put a 2×4 under one end of the kitchen table to keep it level. The ceiling leaked. The exposed brick wall in the living room was actively crumbling. Anything placed near it was subjected to a coat of debris.

Our living room furniture was purchased by chance at a garage sale on moving day for a total of $8: a $3 wood coffee table with a wobbly leg and a $5 foam couch which folded out into a bed. Suddenly, we had a guest room.

Unfortunately, the couch would collapse sideways if you leaned on the armrests. Our heavy foot lockers were placed on either side to act as end tables as well as bookends.

Before the move, I had started working in the city. Technically, it wasn’t a telemarking job, but it was pretty close: trying to persuade doctors to take part in phone conferences sponsored by drug companies. My friend worked there and made tons of money in commissions. He loved it.

Two weeks after the move, I was fired. My success rate wasn’t high enough.  I didn’t have a strong, assuring voice that was able to convince doctors that spending an hour on a conference call talking about Cardizem was a particularly good use of their time.

I tried not to panic. I had bills now. REAL bills. Shit. What the hell was I going to do? Hit the Village Voice want ads. I applied at St. Mark’s Sounds, which would have been my dream job if the $4.25 an hour they paid would cover my expenses.

My next job was a temporary night time position filling laundry carts at the Midtown Sheraton Hotel. I was in charge of the 36th through 50th floors, filling housekeeper’s carts with freshly laundered sheets, towels, little shampoos and soaps. I climbed a lot of stairs. I never saw any guests or housekeepers. It was solitary work but it paid well.

Although this was supposed to be a three month position, I was let go after three weeks. Was it my earring? It had been suggested that I not wear it to work, as the head of housekeeping would not approve. But I never SAW anybody while I was working, so I left it in. I crossed paths with her one day, and was let go at the end of my shift.

On the plus side, I had acquired a linen closet full of Sheraton sheets and towels and a year’s supply of sundries.

I had to remind myself that I didn’t move to Manhattan to be a housekeeper or telemarketer. I continued to audition but that went about as well as the employment prospects.

Meanwhile, Glinda was having her own issues. She was in full Eeyore mode: Unhappy in her day job. No theatre job prospects. No social life.  She would stay in bed all day watching television with the lights off in her windowless room. I tried to include her when I went out with my college friends, but she complained that we all talked about the past and she felt left out. She became increasingly petty and jealous.  She was not the kind of person who would be happy for me when I got a job or a callback audition or went on a date. Her first response was always some variation on “Why don’t I have that?” She also seemed quite pleased when the job, callback or date didn’t work out for me. Years later she was diagnosed as clinically depressed and went on medication, but we didn’t know about that at the time.

One day I came home, opened the apartment door and walked into the Amityville Horror. She had painted the 5’x5’ entryway high gloss blood red. But she didn’t do it carefully. There were red spatters on the black and white tile floor and red smears along the ceiling. It looked like a slaughterhouse. If she had ever mentioned that she wanted to paint, I certainly would have helped… first and foremost by explaining that a simulated bloodbath in the vestibule might not give guests a favorable first impression.

In late August, I got the call from the children’s theatre company that had done our Wizard of Oz tour. They were lining up their Christmas shows – would I like to do a New England tour of Babes in Toyland? Hell yeah. Of course, Glinda was not happy, because they didn’t call HER. And now she would be living with a subletter.

I needed two months of employment to get me to the start of the tour. My sister worked in the main office of the Petland chain of pet stores and directed me to an open position at their 14th street location. I would clean out the bird room every day – scrubbing bird shit off the cages with a wire brush. I learned how count out bags of 20 live crickets, and how to hold mice by the tail, flick them on the head to knock them out before feeding them to the snakes. Every day I acted like this was my career choice – nobody knew I was just biding my time.

I was barely making enough money to get by. I still feel a little queasy when I see those cheapo Table Talk individual dessert pies, which were 50 cents each. The Wendy’s dollar menu was also a big treat. And I was in New York City! I was sitting in Union Square eating my sad little lunch rather than a suburban mall parking lot. One day I watched Harvey Keitel film a scene from Bad Lieutenant and then went back to work and sold a bag of live crickets to Ellen Greene. Besides, I knew I would be back onstage and out on the road again soon. I was a New York City Actor now, with my own apartment to come back to.

One of my favorite memories of this period was a hot summer evening when I took my dinner plate of spaghetti out on the fire escape to catch a little breeze. I was wearing cut-off shorts and a t-shirt, eating off of a paper plate, while five stories below was the rear garden of a pricey Swiss restaurant on 7th street – an early sign of how the neighborhood would eventually change. A string quartet serenaded the outdoor diners.  Every once in a while, one of them would notice me, up on my perch. They would point and whisper to their dinner companions while I pretended not to notice.

In my head, I heard the tremulous voice of Billie Burke as Glinda the Good Witch saying “It’s all right… it’s just one of the little people who live in this land…”

I didn’t care. I was as happy as a clam on my city balcony with the Empire State Building off in the distance. I felt like I was exactly where I wanted and was supposed to be. I had come to the end of one road and felt a sense of accomplishment, knowing how hard I worked to get there. There was a whole other adventure up ahead, but for now I was in the East Village, and I was home.


See Also:
The Tin Man And The Lion: Unanswered Prayers
1991: Homo Alone
Debbie At The World (1989)
A Stroll Though 1980’s NYC
Madonna’s Lost 1980’s Megamix Video
David On The Robin Byrd Show
If You Meet Me In The Bathroom, Be Sure To Shake My Hand
The Life Of Brian… During The Pandemic.
Bindle #1 – Summer 2023
Bindle #2 – The General Slocum
We Got Hitched
My Mother, The Superhero

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.

See Also:
Kenn Duncan After Dark
Keith Haring In Heat Magazine (1992)
Costello Presley & 80’s Gay Porn Guilty Pleasures
Gay Times #69 (1978)
John Waters in Blueboy Magazine (1977)
New York City: In Touch For Men (1979)
Remembering Bob Harrington
Revisiting Blueboy Magazine (1980)
Armistead Maupin in Blueboy Magazine (1980)
George Platt Lynes: In Touch Magazine (1982)

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.

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.

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.

See Also:
George Platt Lynes models / bedfellows John Leapheart & Buddy McCarthy profiled here
Artist’s Muse: Donald Windham & Sandy Campbell
Artist’s Muse: William Weslow
Artist’s Muse: José “Pete” Martinez
Artist’s Muse: Ted Starkowski
Artist’s Muse: Chuck Howard
Artist’s Muse: The Mystery Model
Artist’s Muse: Wilbur Pippin
Fire Island Muses of George Platt Lynes & The PaJaMa Collective
Revisiting George Platt Lynes’ Fire Island Muses
Fire Island PaJaMa Party
George Platt Lynes: In Touch Magazine (1982)

Girl Group Heaven: Ronnie, Rosa & Wanda

Back in the summer of 2001, I was living up in Spanish Harlem when soul singer Aaliyah died in a plane crash. I was walking down the street and heard this guy on his cell phone saying “Aww man! All my divas are DYING!” Although I was not necessarily an Aaliyah fan, I felt his pain.

I thought about this recently with the passing of three key members of top 60’s girl groups: Wanda Young Rogers of The Marvelettes, Rosa Lee Hawkins of The Dixie Cups, and Ronnie Spector of The Ronettes. The latter two groups now have just one surviving original member.

It was Wanda who gave The Marvelettes their second act. Gladys Horton sang lead on Motown’s first #1 hit, “Please Mr. Postman,” as well as the classics “Beechwood 4-5789” and “Too Many Fish In The Sea.” As their chart success waned, Wanda transitioned into the lead vocalist position on more smooth and sophisticated material – usually written specifically for her by Smokey Robinson. At the time, she was married to Bobby Rogers of Smokey’s group The Miracles.

Robinson recalled, “In the groups I worked with, I always felt these ‘sleeping giants.’ I felt the same way about the Temptations with David Ruffin when I did ‘My Girl’ on him… I knew if I could get a song for her it would be a smash.” She sang lead on such Motown classics as “Don’t Mess With Bill” “The Hunter Gets Captured By The Game” and “Destination: Anywhere.”

Post-Marvelettes, her life was plagued by tragedy, addiction and mental illness. She recorded briefly for Ian Levine’s Motorcity label in the late 80’s. Wanda was 78 when she passed away on December 15, 2021.

The Dixie Cups did not have a distinct lead singer, but they had a sound: all three members usually sang in unison or tight harmony. Rosa Lee Hawkins was 1/3rd of the New Orleans trio, which also featured her petite older sister Barbara and their cousin Joan Johnson.

Phil Spector originally recorded “Chapel of Love” with Darlene Love and the Ronettes but was never satisfied with the results. The Dixie Cups version was chosen as the premiere single for Jerry Lieber and Mike Stoller’s Red Bird Records. Produced by the songwriters Jeff Barry and Ellie Greenwich, it was a smash – knocking the Beatles out of the #1 spot in June of 1964.

The combination of The Dixie Cups with the Barry/Greenwich producing/songwriting team resulted in girl group gold for Red Bird Records with classics like “People Say”, “Iko Iko”, “Girls Can Tell” and many others.

It was just last year when Rosa Lee Hawkins released her memoir Chapel Of Love, in which she wrote about her career in The Dixie Cups as well as the abuse she suffered at the hands of Joe Jones, their manager. She felt a great relief in finally telling her story. “I did not write my book to hurt anyone;” she said “I just wanted to get it all down on paper.” Rosa was 76 when she passed away of complications following surgery on January 11, 2022 in Tampa, Florida.

And then there’s Ronnie.

Meeting Ronnie at The Bottom Line, NYC, March 23, 1991

I waited to write about Ronnie Spector’s passing because I knew it would get ample press coverage, her career examined and appreciated with the florid language utilized by Professional Rock Critics. Why would I race to compete with that? Please don’t make me use the word “zeitgeist”.

Rolling Stone magazine posted a list of 15 Essential Ronnie Spector Recordings. Of course I disagree with some of the choices, which I envision being compiled on a post-it note-covered bulletin board with equally weighted choices from one old fanboy and four baby rock critics who had to Google her name when they got the assignment.

Here are five choices that I would have preferred to see on the list:

1) The Ronettes – “You Baby” (1964)
This Barry Mann / Cynthia Weil classic first appeared on the Presenting the Fabulous Ronettes LP. It was subsequently recorded by Linda Scott, Len Barry, Jackie Trent, Sonny & Cher and The Lovin’ Spoonful, just to name a few.

The Ronettes sing “You Baby” on Hullabaloo.

2) Ronnie Spector – “It’s A Heartache” (1977)
Ronnie’s recording of this song was released in the U.S. the first week of November, 1977 alongside competing versions by Bonnie Tyler and Juice Newton. Tyler ultimately won the battle with a #3 pop hit.

Ronnie Spector – “It’s A Heartache” (1977)

3) Ronnie Spector – “Any Way That You Want Me” (1980)
The Rolling Stone “15 Essential” list features no tracks from Ronnie’s first two solo LPs: the Genya Ravan-produced Siren and 1987’s Unfinished Business. This Chip Taylor composition from Siren was originally recorded in the 60’s by The Troggs and then Evie Sands, but Ronnie makes it her own.

Ronnie Spector – “Any Way That You Want Me” (1980)

4) Ronnie Spector – “Something’s Gonna Happen” (1989)
In 1989 Ronnie recorded a handful of Marshall Crenshaw songs with Crenshaw and his band backing her up. These Alan Betrock-produced tracks are among the best of her solo recordings – it’s hard to choose just one, as the artist and material worked so well together. Unfortunately, plans for an entire album were halted and the recordings stuck in financial limbo. In 2003, Ronnie was finally able to buy them back and released an EP with “Something’s Gonna Happen” as the title track. As blogger Denis Pilon recently wrote; “In a better world, the release of this EP would have marked Spector’s triumphant return to the spotlight.”

Ronnie Spector – “Something’s Gonna Happen” (1989)

5) Ronnie Spector – “Don’t Worry Baby” (1999)
Brian Wilson wrote the song for The Ronettes as a follow-up to “Be My Baby” but Phil Spector would not let them record it. 35 years later, Ronnie finally gave it her best on the Joey Ramone-produced EP She Talks To Rainbows. Entertainment Weekly wrote; “She sounds more fragile than belligerent now, and her bruised, cracked vocals work wonders on (the song).”

Ronnie Spector – “Don’t Worry Baby” (1999)

Brian Wilson hears Ronnie’s version of “Don’t Worry Baby”:

See also:
’60s Girl Group Survivors
Ronnie Spector – Siren (1980)
10 Forgotten Cher Moments
Dusty Springfield Sings Kate Bush
Tina Turner: 12+ Cover Songs You May Have Missed
Etta James: Advertising Zombie
Debbie At The World (1989)
The 60 Degrees Girl Group Christmas Show
The 60 Degrees Girl Group Halloween Show
A Christmas Without Miracles: The 1987 Motown Xmas Special