Honcho (April 1981), Part Two

Steven Zeeland, who has written several books on the gay community’s idolization of military men (Barrack Buddies and Solider Lovers, The Masculine Marine, Military Trade, and Sailors and Sexual Identity), claims this attraction spawns from the fact that gay men, much like most of society, perceive sailors and soldiers as symbols of the masculine ideal. Yet, as Zeeland attests, certain branches and rankings are often seen as more masculine and desirable than others: Marines rest at the apex of the hierarchy, since their training is the most rigorous, and lower-ranking soldiers outshine their superiors because they are closely related to work-class men. In this April 1981 issue of Honcho (which has been broken into two parts), the idolization discussed by Zeeland can be seen in the short stories “The Big Gun” (about the narrator’s sexual escapades on a Florida military base) and “Guinea Pigs Don’t Cry” (about a mercenary’s sexual adventures in the jungles of South American). The former appears in this second half (see the first half here), along with the short stories “The Rule” (about sex in a fraternity house) and “The Telephone Rings” (where a business executive is verbally abused by his master), an Alex cartoon, and spreads of models Mike Betts and Clay Russel. 

Honcho (April 1981), Part One

Steven Zeeland, who has written several books on the gay community’s idolization of military men (Barrack Buddies and Solider Lovers, The Masculine Marine, Military Trade, and Sailors and Sexual Identity), claims this attraction spawns from the fact that gay men, much like most of society, perceive sailors and soldiers as symbols of the masculine ideal. Yet, as Zeeland attests, certain branches and rankings are often seen as more masculine and desirable than others: Marines rest at the apex of the hierarchy, since their training is the most rigorous, and lower-ranking soldiers outshine their superiors because they are closely related to work-class men. In this April 1981 issue of Honcho (which has been broken into two parts), the idolization discussed by Zeeland can be seen in the short stories “The Big Gun” (about the narrator’s sexual escapades on a Florida military base) and “Guinea Pigs Don’t Cry” (about a mercenary’s sexual adventures in the jungles of South American). The latter appears in this first half, along with the short story “Tourist Attraction” (about a businessman’s trip which ends with a visit to a leather bar) and the artwork of Arthur Tress.

Numbers (April 1996), Part Two

This April 1996 issue of Numbers (which has been broken into two parts) features two of Kristen Bjorn’s models: Jorge Gonzalez and Brumby Jack. Both would star in only one film each for the studio (Brumby Jack in the 1991 Jackaroos and Jorge Gonzalez in the 1992 Manhattan Latin). In both Manhattan Latin and this photospread, Gonzalez is shown wearing sunglasses, a request he made with the studio to hide his identity, particularly from his wife and her family (Gonzalez worked as an executive for is in-laws’ firm). Along with photos of Gonzalez, the second half (see the first half here) contains a spread of model Buck Yeager.