Dave Draper Doesn't Get the Girl

Dave Draper, "The Blond Bomber," was the go-to guy for movie bodybuilders during the 1960s, when most of the bulkers had moved to Italy to do sword-and-sandal flicks.

He never appeared in the gay-vague Physique Pictorial or similar physique magazines; in fact, some of his magazine covers are rather heterosexist, sandwiching him between two women, who are lusting after his biceps.  Inside, however, we see some homoerotic subtexts, as when fellow bodybuilder William Smith gazes at Dave's biceps.

After a minor role as a guy who takes his shirt off in Who's Been Sleeping in My Bed (1963), he capitalized on the sword-and-sandal crazy anyway, showing old Steve Reeve movies as Dave the Gladiator on local L.A. TV (1964-65).

In 1966 he landed a starring role in Lord Love a Duck, a comedy about a gay-vague Mephistophiles, Alan Musgrave (gay actor Roddy McDowall), who concocts wild schemes, including murder, to grant the wishes of his friend Barbara (Tuesday Weld).  Dave was one of her wishes, but not the man she married. Alan is supposed to find him intimidating, but instead approaches him with barely-restrained eye-bulging desire.

After more minor roles as guys who take their shirts off and scare people in Three on a Couch and Walk Don't Run, Dave starred in Don't Make Waves (1967), about New Yorker Carlo Cofield (Tony Curtis), who moves to Southern California to "Turn on!  Stay loose!  Make out!"  and romance a skydiving model named Malibu (Sharon Tate).  Dave played her boyfriend, Harry Holland, who also befriends Carlo.  There's a significant gay subtext, as in most of Tony Curtis's movies.

In 1967, Dave appeared as musclemen on episodes of The Monkees and The Beverly Hillbillies.  No significant gay subtexts, though it is interesting to watch the lesbian actress Nancy Kulp pretend that she is swooning over his physique.

Disillusioned at always been cast as bullies, objects of derision, and guys who don't get the girl, as if the bodybuilder was somehow inadequately masculine, Dave retired from acting to concentrate on bodybuilding and writing, and on managing World's Gym in Santa Cruz.  His personal website features many interesting articles on the history of bodybuilding, but doesn't mention gay people.

From Muscle Beach to the Cimarron Strip: TV Westerns

By the time I started watching TV in the 1960s, the Western was stale, outdated, staggeringly unhip; my friends and I could stomach only those few that involved a flashy new gimmick, like Wild Wild West or Alias Smith and Jones.  But for the Boomers growing up in the 1950s, they were as iconic as Pinky Lee and Father Knows Best.  

The Western heroes were usually the discovery of gay talent agent Henry Willson, so they were gay, bi, or at least gay-friendly.  They usually wore full leather, buckskin, or other less-than-revealing garb, but they were not averse to revealing stunning physiques for the movie magazines, and even for the AMC’s proto-gay Physique Pictorial.  Guy Madison (who went so far as to pose nude) in The Adventures of Wild Bill Hickock (1951-56)

Rugged movie star Hugh O’Brian in The Life and Legend of Wyatt Earp (1955-61);

Clint Walker of Cheyenne (1955-63).

William Smith of Laredo


Plus:
Richard Boone of Have Gun, Will Travel (1957-63)
Robert Horton of Wagon Train (1957-65)
Rory Calhoun of The Texan (1958-60)
George Montgomery of Cimarron City (1958-60)
Scott Brady as Shotgun Slade (1959-61)

The Western hero traditionally displayed little heterosexual interest: dames were characteristic of an emasculating civilization, along with government, education, opera, and church.  Instead, they had a  “sidekick,” a life partner of the same sex, usually someone of inferior rank due to race, age, or socioeconomic class, who provided an emotional or spiritual energy.  The sidekick is an essentially American phenomenon, and its homoerotic import has been noted for at least thirty years, since Love and Death in the American Novel.

Most of the sidekicks of the 1950s were elderly, corpulent, or buffoons, perhaps because clowns minimze the homoerotic impact of their devotion.  The fat, hee-hawking Andy Devine, later on Andy's Gang,  played “Jingles,” Guy Madison’s sidekick in The Adventures of Wild Bill Hickock.  

Or they were father and son, as in The Rifleman.

 But we can locate several same-sex partners whose homoerotic bond was not miminized:

Indian agent Tom Jeffords (future Days of Our Lives hunk John Lumpton), who fell in love with...um, I mean befriended...handsome, muscular Chief Cochise (Michael Ansara) in Broken Arrow (1956-57).

 John Bromfield as The Sheriff of Cochise (1956-60) with Stan Jones his faithful deputy.

John Smith and Robert Fuller of Laramie.

Yancy Derringer (1958-59), an ex-Confederate soldier turned gambler played by Jock Mahoney, and X Brands as his Native American companion.

William Smith: the Bodybuilder of Laredo

Before Arnold Schwarzenegger gave the bodybuilder a human face, there were two kinds of roles available for him: Italian sword-and-sandal, and American beach bunny, an object of ridicule, vain, silly, sexless.  How dare he try to transform his body into a work of art! Women's bodies were made to be looked at, men's to be ignored.  So bodybuilders who weren't playing beach narcissists had to keep their physiques under wraps.

William Smith worked to change all that.

Born in 1933, Smith graduated from UCLA magna cum laude, and was teaching Russian (one of several languages he spoke fluently), when he began modeling for Bob Mizner's Athletic Model Guild, which published  many other posing-strap-clad hunks (Gary Conway, Glen Corbett, Randy Jackson) for a mostly-gay male fanbase.  He was also a regular at Henry Willson's infamous gay-and-gay-friendly parties.

He was also acting intermittently, with roles in projects as diverse as Meet Me in St. Louis, The Boy with Green Hair, Wagon Train, and The Nutty Professor.  

When he signed on for Laredo (1965-67), he was already accustomed to presenting his body as an object of male and female desire.  It would not be one of the stereotypic Westerns of the period.

1. Other Western heroes were loners, or had unattractive, sexually unavailable sidekicks, but Laredo, like Alias Smith and Jones a few years later, was about buddy-bonding.  Two hunky Texas rangers, Chad Cooper (Peter Brown) and Joe Riley (William Smith), worked together, played together, and had eyes only for each other, in spite of Chad's occasional dalliance with the feminine.  The actors remained close friends for the rest of their lives.

2. Other Western heroes were often displayed nude or shirtless in movie magazines, but almost never on screen, especially if they were bodybuilders.  But Joe Riley had his shirt ripped off in practically every episode.  Usually when he was captured by the bad guys, to give him some vulnerability, so his massive physique wouldn't scare the audience.

After Laredo, Smith continued to work in Westerns (Daniel Boone, Death Valley Days, The Virginian) until the genre faded away in the 1970s, and then in cop shows and mysteries.  He had big hits in Rich Man, Poor Man (1976) as the villainous Falconetti, and in Conan the Barbarian (1982) as Conan's father.

His most recent project, Tiger Cage (2012), comes after nearly 300 movie and tv show appearances over a period of 70 years, not to mention producing, directing, bodybuilding, boxing, and even writing poetry.  But few of his accomplishments can match the simple power of demonstrating to the world that the male body can be a thing of beauty.

See also: Peter Brown, the Buddy-Bonding Cowboy.

Peter Brown: Buddy-Bonding Cowboy of the 1950s

I never saw this massive chest before yesterday, that I remember, and he has a pretty common name, so sorry if I get the pictures wrong.

He's Peter Brown, a heart throb to the first generation of Baby Boomers.

Born in New York in 1935, he graduated from UCLA and hit Hollywood in 1957.  Guest bits on swinging detective and Western shows landed him his most famous role, Lawman (1958-62)

It starred John Russell (the one with the basket) as Marshall Dan Troup of Laramie, Wyoming (the name Laramie was taken).  Peter played his partner, deputy, and close friend Johnny McKay.

Sounds like a lot of gay subtext potential.  No wonder the first generation of Boomers remembers it fondly.

Next came some Disney movies, the sexploitation Kitten with a Whip (1964), and the surfing-buddy movie Ride the Wild Surf (1964), also starring teen crooner Fabian Forte.

I've already discussed its many gay subtexts.

In 1965-67 Peter returned to the Old West to star in Laredo with bodybuilder William Smith.

Then came more guest spots, soap operas, sexploitation movies like Teenage Tease (1971) and Foxy Brown (1974), and bad horror movies like Piranha (1972).  He was very busy as an actor, but his glory days were obviously past.

Peter been married five times, so I'm going to guess he's heterosexual.  But back when he was playing cowboys, his beefcake and homoerotic buddy-bonding kept lots of Boomer kids interested.

You can see more pictures of Peter Brown on Fabian Forte on the Beach.