Homoerotic Archaeology: Playguy (July 1977), Part One

Friday, July 5, 2024

Playguy (July 1977), Part One

Eddy Calhoun had a brief stint in the world of homoeroticism, appearing in the December 1977 issue of Mandate, the 1978 Colt Studio and Mandate calendars, the September 1978 issue of Honcho, and the 1979 pornographic film The Grease Monkeys under the stage name of Tom Ross. He also appears here in this July 1977 issue of Playguy (which has been broken into two parts) along with a review of Michael Zen’s erotic film Falconhead and the short story “The Portrait” (where a man hooks up with a former model he once pined for as a teenager).

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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.