Calender Boys

WELLINGTON: New Zealanders are getting a little hot under the collar because of a cover-the-naughty-parts all male nude calendar being published in Wellington.

According to the NZ press the calendar, which will be sold by mail order-will have “six full-colour pages of naked young men.” One paper said: “Some show the models in a full frontal position.”

The company that’s publishing the calendar says it’s doing it because of the calendar’s artistic merits.

A spokesman for the calendar’s publishers said: “There is nothing indecent about our calendar. All the models are shown in natural poses.”

One interesting feature of the calendars is that they come equipped with strips of sticky paper to obliterate the models’ genitalia or any other parts of the body one might find offensive.

What the NZ papers are up in arms about is that the models on the country’s first male pin-up calendar are New Zealanders.

It is a spin-off from the New Zealand male nude book Sons Of The Southern Seas, which it’s said has sold well in Europe.

The publishers’ spokesman said: “We believe that women are getting over-exposed. Men have beautiful bodies too.”

NEW YORK: The usually staid Ladies Home Companion has entered the battle of the male calendars with its own tasteful, sepia variation on the theme.

The majority of the models in the LHC calendar look bored and some appear far from the husky masculine image the calendar strives for.

The LHC calendar may be full and nude but the last thing it is is frontal. Most of the models have found some way of turning away from the camera, giving an overall impression of coyness.

The American calendar is being imported and sold by Walton Street Stationers of London for £2.50

Enlightened Sentence

Picture has been edited as the age of the subject is not clear.ROCHESTER, N.Y.: An enlightened American Judge gets this month’s award for diplomacy. Faced with the problem of sentencing a gay convicted of first-degree assault he “reluctantly” placed him on probation because of fears that the man – 29-year-old Michael Dodd — would be “dehumanised if not killed” if sentenced to a term of imprisonment.

The case was dealt with recently by Judge David O. Boehm at Munroe County Court. Before passing sentence he asked prison officials about the potential danger to a homosexual inmate.

“They were very candid,” said Judge Boehm. There had been stabbings and fights over this situation yet all the prison officers could do was to give verbal instructions to the prisoners.

Judge Boehm said he just couldn’t see throwing Michael into that situation.

“It would be cruel and unusual punishment. He’d become an object of barter there, completely dehumanised, if he wasn’t killed.”

Judge Boehm placed Michael on probation on condition that he sought psychiatric help and stayed away from the victim of the assault.

He told Michael that if he violated any condition of parole, it “will be clear indication that you’re not concerned, as I am, with what might happen if you’re sentenced to prison.” Judge Boehm added: “I resent the fact that we have no alternatives. This is a heck of a thing and the public ought to know about it. I resent the fact that another person may come up who’s a homosexual and he may have a more serious crime and I’m stuck.”

Right on Judge Boehm and here’s hoping your views come to the notice of your English colleagues.

Gay Film Busted in New York

01-197205XX 6New York City police seized Fred Halstead’s SEX GARAGE, a gay porno film, at the 55th Street Playhouse on April 14th. It is called ‘seizure’, but if you saw it happening you’d probably call it by some other name.

What happened was this; NY city police served the management of the cinema with a subpoena made out in the name of Moon Enterprises, demanding that the film be shown to court officials to determine whether it was of a distinctly abusive and debasing nature, and therefore illegal and outside the broadly legal spectrum of pornographic film shown in dozens of theatres in NY. But Moon Enterprises is the former, not the current, tenant of the Playhouse, so the subpoena was invalid.

The judges reaction to all this was to throw up his hands and say, “Work it out with the District Attorney”. And that means de facto that the film can go on playing for months (or as long as the customers keep paying) before the jury ever gets hold of the case. In the meantime, the film is doing very well indeed at the box-office and in its first week grossed over $20,000 (over £8,000)

In their more or less regular raids of pornogrinds, police have been leaving the explicitly gay theatres untouched. But a perceptive look at Halstead’s Sex Garage, a sado-masochistic (S-M) film, and its co-feature L.A. Plays Itself which was not seized, explains the change in policy. Both are films which begin with a gay S-M consciousness toward their subject matter.

It’s not that homosexuals are anything new in movies. John Schlesinger’s films have frequently portrayed male homosexuals from the point of view of straights, or, worse even, from the point of view of homosexuals who look self-denigratingly at themselves through some imaginary version of heterosexual ‘eyes’. This can lend the films the air of reporting (in the true liberal fashion) on the cutting edge of changing sexual mores, while still holding up their characters as curiosities. Billy Wilder too has featured faggots in many of his films. Again, they’re seen from a straight point of view, but Wilder has had the decency to never hold his own characters up to ridicule. As a straight dealing with gays, he has consistently been compassionate or left well enough alone.

What Halsted has done is to make a radical demand; homosexuals must recognise that their own view of themselves is the only one with which they can comfortably carry on their lives. They must get over that self-destructive impulse to accept the thought-controlling prejudices of the straight world. Further more, they must begin to show the straight world that a homosexual consciousness is in fact part of their (the straights’) everday world too. It is present everywhere. It is interpreting the billboards which sell commodities and line the streets of Los Angeles (Birmingham) and every other American (British) city. It is giving new erotic meaning to casual gatherings in the city’s parks.

Sex Garage is like a homosexual La Ronde (the Ophuls film, remade by Vadim). In the butch environ of an automobile repair shop shop a girl seated in a Mazda gives a young stud a blowjob. Intercut with her sucking are shots of details oft are shots of details of the car. Can he be fantasising these while she works on him? The stud then turns around and screws the chick. This scene is intercut with shots of a Mercedes Benz. Now clearly a Mercedes is more desirable as a commodity than a Mazda.

Sex Garage and L.A. Plays Itself represent therefore a very radical threat to the heterosexual domination of Planet Earth. The films, apart from their arousing pornographic intent, (and God knows they could stimulate a myopic mule, including the one sitting next to me in the theatre… ‘Excuse me sir, thats my leg’) constitute a liberating rallying-cry to homosexuals.

Is Halsted implying that one type of sex-act is preferable to another in some absolute scale of sexual values? But the Mercedes actually arrives at the garage, and from it steps z another boy, a masochist. Roughly the stud fucks him, during which he entertains masturbatory fantasies of a motor-cycle, which in fact arrives on the scene moments later.

What is happening here is simple. Halsted has played with certain cinematic editing conventions, making unclear the function of the motor vehicles in the film. They can be representing either fantasies or actual vehicles by which people connect together in the far-flung parts of L.A. as they run from one orgasm to the next. All of this builds to the film’s final shot of masses of cars bumper to bumper on the freeway. All are driven by actively-fantasising men and women, passing their days linking orgasm bumper to bumper with orgasm.

The seizure of Sex Garage is based on a rather primitive notion of the effect that film has on viewers: that the viewers can accurately penetrate the metaphors which enshroud the ‘real’, that they are powerless to resist the ‘message’ that is hidden there, that once having received the message their behaviour (bereft of other stimuli) is determined by it and accords with its dictates.


The above article was written by Mitch Tuchman and is taken from a recent issue of Cinema Rising. Many thanks to them both.

What follows is a section of a letter (received by a member of the Gay News collective) which reviews the films in a different and possibly more personal context. Many thanks to Manus Sasonkin for his permission to print this part of his letter.


An Afternoon at the Cinema

‘In the afternoon, I attended, for the first time – ever – a cinema which was showing a double bill of gay ‘pornography’. The films, Sex Garage and L.A. Plays Itself, were virtually interchangeable, except that Sex Garage had been photographed (appallingly) in black and white, whereas L.A. Plays Itself had been photographed (no less appallingly) in glorious colour. There was no attempt made in either film to tell a story; neither was there any attempt made to create (let alone develop) any characters. Both films displayed extremely pretty young men, copious amounts of masturbation, detailed accounts of fellatio, and the occasional anal penetration. My favourite episode (which was from Sex Garage) involved a comely young stud standing in a shower-bath, masturbating, whilst the sound track issued Jesu, Joy of Man’s Desire in the piano transcription of the late Dame Myra Hess.

Elsewhere the bodies were all attractive. and the activities which the bodies performed caused me to feel wistful and just slightly covetous; but the impersonality of all the encounters – the total lack of human (as opposed to physical) contact – depressed me, and caused me to feel nobly justified in hailing declined the attentions of a Piccadilly Cruiser on my recent visit to London. Seeing the films helped to convince me that, for me at least, sex without human involvement is futile, barren, unrewarding, and – in the last analysis – more frustrating than gratifying.’

It is unlikely that either of these films will be shown in the British Isles, however, as is obvious here, different people react differently to ‘gay’ films. And it occurs to us, with further relaxation of censorship, if seems likely there will be more films with a more explicit ‘gay content’.

There have been in the last few year a number of films on general release portraying the homosexual stereo-types, and in the showing of Some Of My Best Friends Are… the first attempt to cash in on gay audiences in this country.

We of the collective have varying ideas as to the possible good that may come from these developments in the cinema, and would like to know how you feel about and react to this.