Homoerotic Archaeology

Friday, October 16, 2020

Inches (October 1988), Part One

A protégé of Bob Mizer, David Hurles began the one-man enterprise Old Reliable Tape and Picture Company in the 1970s. Operating from a private mailbox and producing audio tapes, photographs, and videos, Old Reliable distinguished itself due to its subject matter. Whereas Hurles’ mentor and peers focused on professional athletes and bodybuilders, Hurles specialized in drifters, ex-convicts, and hustlers, which gave his work a rougher tone and became highly popular in alternative homoerotic publications like Drummer (who first published Hurles’ pictures in it January 1979 issue). This October 1988 issue of Inches (which has been broken into three parts) features three of Hurles’ models. In the first third, Hurles’ Casanova Jones is accompanied by Rink’s Christian Andrew, David’s Marc Carpenter, Hombre Production’s Raoul Gomez, and Surge Studio’s James Williams.

Friday, October 9, 2020

All American Man (October 1988), Part Two

In June of 1984, The Advocate, a serious publication of LGBTQ+ political and social issues, entered the realm of homoeroticism with its release of Advocate Men. Three years later, it furthered that presence with All American Man for international audiences, which abandoned the erotic short stories and other sensual material of Advocate Men and focused chiefly on sultry photos. The emphasis, though, was not enough to distinguish the publication and it only lasted three years. Such a factor, in turn, can be seen in this October 1988 issue (which has been broken into two parts), where the second half (see the first half here) features an impressive five models: Kirk Fitzgerald, Dale Greene, Don Hogan, Tony Lamas, and Derek Rohmer.

Friday, October 2, 2020

All American Man (October 1988), Part One

In June of 1984, The Advocate, a serious publication of LGBTQ+ political and social issues, entered the realm of homoeroticism with its release of Advocate Men. Three years later, it furthered that presence with All American Man for international audiences, which abandoned the erotic short stories and other sensual material of Advocate Men and focused chiefly on sultry photos. The emphasis, though, was not enough to distinguish the publication and it only lasted three years. Such a factor, in turn, can be seen in this October 1988 issue (which has been broken into two parts), where the first half features an impressive five models: John Davenport, Rick Giannini, Reon Rasheen, Ron Streetcar, and Michael Vincent.

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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.