Homoerotic Archaeology: September 2019

Friday, September 27, 2019

In Touch (September/October 1978), Part Two

In Touch experienced a prosperous career that ran for over three decades and witnessed the creation of Jerry Mills’ comic strip “Poppers” and the rise of John Calendo as an editor. Akin to its peers in the 1970s, including Blueboy, Honcho, Mandate, and Playguy, In Touch focused on the development of a gay culture through articles concerning community issues, showcases of artists and influential figures, and displays of a uniquely gay fashion; however, during the 1980s and 1990s, the magazine, like its counterparts, abandoned much of these elements in favor of longer photo spreads and fuller classified advertisements. The September/October 1978 issue, which has been broken into two parts, presents the publication in its earlier stage as, along with its brethren, it aimed to establish and maintain a gay cultural identity. In the second half (see the first half here), photos of model Juan Estiban are accompanied by articles on the art of Leonardo da Vinci and the music of the Alessi brothers, a glimpse into Los Angeles’ Pride Parade, and advertisements for In Heat magazine, Lube lubricant, and the film Ramcharger.

Friday, September 20, 2019

In Touch (September/October 1978), Part One

In Touch experienced a prosperous career that ran for over three decades and witnessed the creation of Jerry Mills’ comic strip “Poppers” and the rise of John Calendo as an editor. Akin to its peers in the 1970s, including Blueboy, Honcho, Mandate, and Playguy, In Touch focused on the development of a gay culture through articles concerning community issues, showcases of artists and influential figures, and displays of a uniquely gay fashion; however, during the 1980s and 1990s, the magazine, like its counterparts, abandoned much of these elements in favor of longer photo spreads and fuller classified advertisements. The September/October 1978 issue, which has been broken into two parts, presents the publication in its earlier stage as, along with its brethren, it aimed to establish and maintain a gay cultural identity. In the first half, photos of models Ted Dukane and Peter Hollister are accompanied by the short story “The Emperor’s New Jockey Shorts” (a comedic twist on the classic fairy tale), an article on New York discos, and an exhibition of Victor Arimondi’s photography.

Friday, September 13, 2019

Jock (September 1994), Part Two

The collaboration of Donald Embinder, who launched Blueboy, and Casey Klinger, who started Torso, Jock began in 1985 and enjoyed a two-decade run as a publisher of nude models who, like its title, were predominately athletic and regularly depicted in sports-themed scenarios. The September 1994 issue, which has been broken into two parts, features four such spreads, two involving water and one the outdoors, with the second half (see the first half here) showcasing models Johnny Diamond and Doug Forbes along with artwork by Kent.

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What is Homoerotic Archaeology?

In 2016, I discovered several discarded boxes at an estate sale. Under their flimsy flaps were hundreds of well-worn issues of homoerotic magazines from the 1970s, 1980s, and 1990s. I purchased them out of mild intrigue and, as I perused their pages, I was startled to realize that something commonly disregarded as pornographic smut earnestly chronicled the evolution of gay culture: the social and sexual liberation of the 1970s, the crushing devastation from AIDS during the 1980s, and the gradual strengthening of the community in the 1990s. As a gay man, I was touched by the subtle narrative these publications told. As a historian, I was motivated to digitally preserve their content. And, as an educator, I was driven to create a platform to share that information freely with others interested in the progression of gay society. Homoerotic Archaeology is that venue. Here you will find the advertisements, articles, short stories, and (of course) pictures found in these magazines lovingly preserved and presented for future generations of gay men to enjoy and study.

Why Preserve Homoerotica?

As early as the 1970s, scholars such as June Rook have stressed the need to preserve homosexual history in an effort to combat repression and establish a cultural background for future generations. Much of the preservation process admirably focuses on the substantial works of homosexual artists and thinkers; however, it sadly ignores other elements quintessential to the community’s history, particularly homoerotica. Although frequently labeled obscene filth, homoerotica has, just like the significant creations of artists and thinkers, been a prevalent part of the group’s culture and has played an integral role in shaping identities and perceptions (consider how influential Tom of Finland’s hypermasculinity has been in molding the body ideals of modern gay men). Due to this factor, the conservation of homoerotica is just as essential as the preservation of major artistic and theoretical homosexual works.