Homoerotic Archaeology: Honcho (August 1981), Part One

Friday, August 21, 2026

Honcho (August 1981), Part One

On August 15, 1980, George Bosque, a security guard for Brink’s, robbed one of the trucks he was driving and fled with nearly two million dollars in cash. Having recently separated from his boyfriend, Bosque fled San Francisco, took the alias of J. R. Lewis, and reestablished himself in New York City, where he lived a lavish life with his stolen riches. Eventually, though, the law caught up with Bosque and he served fifteen years in a federal prison for his crimes, dying of a supposed drug overdose five years after his release. Upon his arrest, Bosque had only $34,850 left of the $1.85 million he stole, having spent most of the fortune on parties, furnishing his apartment, and financing an adult film. In fact, the movie is largely the reason Bosque is still remembered today, since his robbery has slipped quietly into the annals of crime history. Titled Centurians of Rome, the film centers around two farmers in ancient Rome who are forced into slavery and must trade sexual favors for their survival. With a $100,000 backing from Bosque, the production was fraught with issues as creative differences between director John Christopher, producer Bosque, and distributor Hand in Hand Films added frustrations to an inexperienced cast and crew. Upon its release in December of 1981, the film faced additional problems as Lloyd’s of London – the insurance company for Brink’s who paid the claim on Bosque’s robbery– sued for ownership of the film. Although the suit was eventually dropped, it added additional lore to the movie (which is touted as the most-expensive gay adult film ever made). Featured in this August 1981 issue of Honcho (which has been broken into two parts) is a review of the movie. Also contained in this first half are photospreads titled “Afloat” and “Hot Pink” and the short stories “Journey’s End” (where a desperate, unemployed carpenter tries to prove more than just his woodworking skills) and “Paradise” (about the narrator’s week of sexual passion at his father’s Florida apartment).

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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.