Elvira, Mistress of the Dark

When I moved to West Hollywood in 1985, everyone was watching Movie Macabre (1981-86), starring Elvira, Mistress of the Dark (Cassandra Peterson).  A throwback to the horror movie hosts of the 1950s and 1960s, Elvira was vampire-like being with a Valley Girl accent ("As if!") and a revealing Morticia Addams outfit.

She showed bad movies like The Fall of the House of Usher (with peplum star Mark Damon not taking his clothes off), Horror Hospital (with Robin Askwith threatened by gay psycho surgeons), and Werewolf of Washington (with Dean Stockwell, werewolves, hippies, and hippie werewolves).

In a tradition that would extend to Mystery Science Theater 3000, Elvira made snarky comments about the movies.  And in the tradition of drag queen performers, she made lots of self-referential jokes about her sexual escapades and cleavage ("I'm glad to see you're back...and you're glad to see my front!").  

Gay fans loved her, and she returned the affection, appearing at AIDS benefits and Gay Pride parades through the 1980s.

And not only gay fans.  She was everywhere, branding her image to sell everything from beer to Halloween costumes.

The feature film Elvira, Mistress of the Dark (1988) sends Elvira to the small town of Falwell (named after Jerry Falwell, the poster boy for 1980s homophobia), where she befriends all of the town's outcasts, butts heads with local bigots and romances an uptight theater manager (professional hunk Danny Greene).

Since Elvira is immortal, she continues to perform, cleavage and all.  She continually hosts new versionfs of Elvira's Movie Macabre., on cable in the 2000s and now on Amazon Prime.

See also: Bill Cable: 1980s n*de model and gay video performer, boyfriend of Elvira and Pee-Wee Herman, rock star in "Basic Instinct"

Danny Greene: Professional Hunk of the 1980s

Ken Clark: "South Pacific" Stewpot, Sword and Sandal Baddie, Bodybuilder on My Sausage Sighting List

I've seen live performances of the Rodgers and Hammerstein musical South Pacific (1948), about American sailors in love with South Pacific islanders during World War II, but never the 1958 movie. Until now.

Colonialist, imerialist, and highly heteronormative plotlines.  I already knew that.

But I didn't know that beefcake abounds -- and sausages.  Wait until the minor character Stewpot leads the sailors in a paeon to heteronormativity, "There's Nothing Like a Dame."

There ain't a thing that's wrong with any man here

That can't be cured by putting him near

A girly, womanly, female, feminine dame

Was I really seeing what I thought I was seeing?

Fast forward to Stewpot's only other scene, a weightlifting contest.  Darn, he's wearing grapes.

But when you see him in jeans, his beneath-the belt gifts are obvious.  Maybe he was even cast for them.  Henry Slate played a skinny, fully-clothed Sttewpot on Broadway, but for the movie, director Joshua Logan wanted to reflect the 1950s muscle craze, so he cast 31-year old bulging bodybuilder Ken Clark. 

I checked some of Ken Clark's other works, to see if more sausages were evident.

He was born in Neffs, Ohio, a tiny town near the West Virginia border, in 1927.  After high school he enlisted in the Navy, and then worked jobs as a coal miner, construction worker, and model while trying to break into acting.  

The modeling included some of those nearly-n*de photos published in "fitness" magazines like Physique Pictorial.  We have a backside, but I couldn't find any frontsides.

His acting career begins in 1955, with a string of two-fisted man's man roles: The Proud Ones, The Last Wagon, the True Story of Jesse James.

South Pacific did not propel Ken into stardom, in spite of his physique and sausage.  The guest spots continued: A cop in Suspicion, an FBI agent in The Shaggy Dog, a cop on Alfred Hitchcock Presents (left).  But at least he got a chance to showcase his talent.  And stuff.

He starred in Attack of the Giant Leeches (1959) as a Florida game warden who teams up with a local physician (Walter Kelley).  They take off their shirts, fight giant leeches, and win the Girls.  

More after the break

Guy Madison: the Strong Silent Type

Hollywood hunks of the 1950s were often gay or gay-friendly; whole cadres hung out at talent agent Henry Willson's infamous all-male parties in the Hollywood Hills.  In a studio attempt to quell gay rumors, Willson gave them "manly" names consisting of  a single-syllable (Van, Rock, Tab, Nick, Guy) followed by a recognizable Anglo sirname  (Williams, Hudson, Hunter, Adams, Madison).

Born in 1922, former physique model Guy Madison (second from left) stood out from the crowd of Hollywood hunks by displaying his physique whenever possible.  He had no qualms about shirtless and swimsuit shots and even full frontal nudity.  In fact, he was the inspiration for the term "beefcake," first introduced in 1949.

As an actor, Guy played the strong, silent type in many Westerns of the 1950s, but he is best remembered by the first Boomer generation for The Adventures of Wild Bill Hickok (1951-58).  There was a real Wild Bill, a morally ambiguous lawman and gunfighter who died in 1876, but Guy's Wild Bill was a strictly white-hat proponent of law and order.
Andy Devine, who played his hefty, braying sidekick, went on to star in Andy's Gang on 1950s children's tv.

Hickok was immensely popular among the Ovaltine set.  There were feature films (spliced from the tv series), a radio program, toys, games, and lots of advertising tie-ins.  I haven't seen it, but apparently Wild Bill did a bit of 1950s Western buddy-bonding and wasn't particularly interested in girls.

During the 1960s and 1970s, Guy starred in some Italian sword-and-sandal movies, such as Slave of Rome (1961) and Blood of the Executioner (1963), plus some Westerns and actioners.  He played James Bond-style secret agent Rex Miller in the anti-counterculture LSD: Flesh of the Devil (1967).  But mostly he appeared as himself, a Western icon fondly remembered by millions of Boomer kids.

Although rumored to be gay, Guy was married and divorced twice.  He died in 1996.

An Old Steve Reeves Movie

20 years before Arnold Schwarzenegger personalized the bodybuilder, a decade before William Smith brought bodybuilding Western heroes out of the closet, Steve Reeves became an icon for gay and straight men -- but mostly in Italy, with his voice dubbed in by someone else.

Born in 1926 in Montana, Reeves developed a massive physique during the 1940s, when it was still considered a weird affectation.  After minor roles in U.S. movies and tv sitcoms -- and physique shots in Bob Mizner's pro-gay Physique Pictorial -- he moved to Italy, where the peplum or sword-and-sandal genre promoted Italian nationalism through man-mountains in togas who wandered around the ancient world, fighting oppressors.

Reeves' Hercules (1957) became a sensation, even after it was released in the U.S. in 1959, and spun Reeves into a sequel, Hercules Unchained (1959), as well as a Hercules fad in comics and on tv.

 Soon Reeves was playing every ancient hero the studio could dig up or invent, 15 in all: Goliath (not the Biblical Goliath), Glaucus (from The Last Days of Pompeii), Morgan the Pirate, The Thief of Baghdad, Agi Murad,  and Phidippides  (I've never heard of most of them, either).

The plots were similar: Hercules, or Goliath, or Agi Murad fights to help a civilization throw off the yoke of a tyrannical oppressor, gets captured and tortured, rejects the advances of an evil black-haired woman and rescues and marries a good blonde-haired woman.

His lines were dubbed in English in post-production, so no one heard his real voice except in two American movies, the bodybuilder-exploitation Athena and the police drama Jailbait.

There is minimal buddy-bonding, as in the original Hercules, where the demigod tags along with Jason and the Argonauts.  But both Hercules and Jason fall in love with women, and at the end of the movie they part.

In Romulus and Remus (Duel of the Titans, 1961), Romulus (Steve Reeves) and Remus (Gordon Scott) are raised as brothers, and fight the evil oppressors together.  But then one becomes good, and the other evil, and they must duel to the death.

Gay fans had to make do with Steve Reeves' superlative musculature, which was displayed extensively in every movie.

He retired in 1967 after an injury,  and devoted the next 33 years to promoting fitness and raising horses on his ranch in central California.  No information on whether he supported his gay fans, but since they were an integral part of his fame, one imagines that he enjoyed  the homage in The Rocky Horror Picture Show , where Dr. Frank-N-Furter tells Brad and Janet:

If you want something visual, that's not too abysmal,
We could take in an old Steve Reeves movie.

Bob Hover/ Richard Harrison: Muscle Buddies

During the 1950s, when Muscle Beach bodybuilders were being snapped up by the Athletic Model Guild to pose in the burgeoning gay-vague physique magazines industry, buddies Bob Hover (right) and Richard Harrison (left) sometimes posed together.

Born in Salt Lake City, Utah in 1936, Richard Harrison hit the beaches of Southern California in 1954, just after he graduated from high school.  Bob Hover was two years older, but he arrived that same year, after a stint in military (he was a boxer in the Marines).  They became close friends, and maybe lovers (if you believe the sly hints that the muscle mags used to sell copies).

Soon Hollywood came calling.  Bob had several small movie roles in 1956-58, usually with some of the other gay or gay-friendly actors of the 1950s, such as Lafayette Escadrille (1958) with Tab Hunter, and No Time for Sargeants (1958), with Nick Adams.


During the 1970s he starred on several soap operas, including Another World and As the World Turns.  He retired from acting in 1985, and died in 2013.

Richard first appeared on screen in 1957, and in 1961 moved to Italy to become one of the sword and sorcery peplum heroes.  Between 1961 and 1965, he donned the toga nine times, growing a beard in the process.  When the peplum craze ended, he stayed in Italy to make spaghetti Westerns and spy dramas.













In the 1980s Richard returned to the U.S. just in time for the man-muscle craze: Golden Ninja Warrior, Ninja Hunter, The Ninja Squad, Ninja Dragon.  He was over 50 years old, but age never kept a true bodybuilder from flexing and taking out enemy squadrons.   He also moved into writing, directing, and production.

Both Bob and Richard married and had children, but they made an indelible impression on gay men of the first Boomer generation.

Ed Fury

On January 5th, 1955,  My Little Margie  (1952-56) featured the first bodybuilder on prime time television.

Like I Love Lucy and I Married Joan in the 1950s and I Dream of Jeannie and Bewitched in the 1960s, My Little Margie was about a stable, conventional man befuddled by the madcap antics of a woman.  In this case the man was investment manager Vern Albright (rumored-to-be-gay actor Charles Farrell), and the woman his adult daughter Margie (Gale Storm).  

This episode had Margie going to work as a fashion model, getting a crush on the oblivious photographer, and trying to make him jealous by flirting with an oblivious muscleman (Ed Fury).

It promotes the two main myths about bodybuilders in the 1950s: 

1.  They are self-absorbed, shallow, and narcissistic.

2. Women do not find them attractive.

Ed Fury was a bold choice for Hercules, even more gay-coded most of his bodybuilding peers.  Born in 1928 as Edmund Holovchik, the former Mr. Muscle Beach was one of top models for such gay-vague studios as Bruce of LA and the Athletic Model Guild, and for fitness magazines as Physique Pictorial, Today's Man, Vim, and Adonis.  

He was even filmed in a posing strap for home distribution in the days before gay porn.  No full-frontal nudity, but some rear shots.

After several small roles in movies, including one of the shirtless Seabees singing "There's Nothing Like a Dame" in South Pacific (1958), he went to Italy to participate in the sword-and-sandal craze, playing Ursus, Maciste, and similar peplum heroes, often paired with fellow bodybuilders like Rod Taylor.

Then it was back to the United States for guest spots on tv series, including The Odd Couple, Colombo, The Magician, and Police Story.  He continued to work as a physique model well into his 50s, but retired from both acting and modeling during the 1980s to devote himself to quieter pursuits.

Ed has  never made a public statement about his sexual identity -- few men of his generation would even consider such a thing.  But he inspired a generation of gay men, so it doesn't really matter.

Samson Burke: the Villain of 1960s Bodybuilding Movies

If you saw The Three Stooges Meet Hercules (1962) -- and every Boomer kid did -- you probably that Joe DeRita, the most flamboyantly feminine of the Stooges, was trying his best to appear afraid rather than excited during his scenes with the super-muscular Hercules.

This was a rare example of a villainous Hercules, played by 6'6", 275 lbs Samson Burke (born Samuel Burke), a Canadian-born Olympic athlete, bodybuilder (a former Mr. Canada), pro wrestler, and budding peplum star whose Vengeance of Ursus had just been released (1961).

He went on to specialize in more rare examples of villainous bodybuilders: King Blo-Edin in the German Nibelungen series, Khemal in Three Green Dogs (1967), and Polyphemus the Cyclops in an Italian tv version of The Odyssey.  After a minor role in the Italian comedy Satiricosissimo (1970), he retired from acting.

He moved to Hawaii to pursue his interest in fitness (and incidentally joined the crew of Magnum P.I. when it was filming in Hawaii during the 1980s).  The Three Stooges film brought him his greatest popularity, and he still appears at fan conventions, where his bicep is still capable of crushing heads.

On his personal website, he advises: "once you're finished browsing, get out from behind your computer and exercise!  Taking care of your body is something you will benefit from for the rest of your life."

Good advice from a 84 year old bodybuilder.

Burke  has never married.  I don't know if he's gay or not, but on Hollywood Teen Movies, the interview keeps feeding him openings like "that actress you worked with was very beautiful" and "that actress was very attractive," but Burke won't own up to any heterosexual interest, limiting himself to evaluations of her physical fitness:  "yes, she was fit and healthy."

See also: The Three Stooges; Sword and Sandal.

The Dandy and the Gay Cult: The Last Days of Pompeii

When I was a kid, my church didn't like anything "worldly," not even literature.  Novels were at best a waste of time, and more likely they would promote heresies like atheism, Catholicism, and witchcraft.

But they made an exception for historical dramas set in or around the time of Christ: Ben-Hur, Quo Vadis, The Robe, The Big Fisherman,  Barabbas, and even Sir Edward Bulwer-Lytton's Last Days of Pompeii (1834).

Later I discovered that Bulwer-Lytton (1803-1873) was gay, and a member of the Dandy movement, about well-sensitive, highly refined gentlemen who obsessed over fashion and grooming, swooned over opera arias, enjoyed hedonistic vices, and wrote poetry.  During last days of the Romantic Era (1770-1830) and the first days of the Victorian, "dandy" was code for "gay."

Most of the Dandys weren't great writers; in fact, Bulwer-Lytton gave his name to a contest every year to see who can write the worst opening for a novel.  I only got through a few pages of the purple-prosed Last Days of Pompeii. But apparently, if you slog through the romance between Roman citizen Glaucus and the "beautiful" Ione, you'll meet the evil Egyptian sorcerer Arbaces, who seduces and "destroys" Ione's brother Apaecides -- he sings a song of "love" and then leads him to "a curtain on the other side of the chamber."

Now Apaecides is a priest for the evil cult of Isis, which engages in all sorts of decadent activities.  Not to worry, he renounces Isis and converts to Christianity before Arbaces murders him.

At least the destruction of Pompeii is not caused by God's wrath against the sodomites.

There have been several film versions, mostly skipping the gay subplot.  In the 1959 peplum version, Glaucus (bodybuilder Steve Reeves) gets a gay subtext with his best friend Marcus (Mario Berriatua), but the character of Apaecides, renamed Antonius (Angel Aranda, left, from a Spanish movie) is insignificant.

In the 1984 tv miniseries, Nicholas Clay (left) plays Glaucus, Ernest Borgnine Marcus, and Benedict Taylor Antonius, in a minor plotline that gets him a girlfriend.  There's also a new hunk, the gladiator Lydon (Duncan Regehr, top photo, posing with phallic symbol).

See also: The Flowers of Evil

Sword and Sandal

Steve Reeves didn't invent the genre of Italian peplum ("toga")  or sword-and-sandal, about a toga-clad demigod fighting oppression in a vaguely ancient Greek or Roman setting.  But he introduced it to the world.  Between 1957 and 1967, peplum was the most popular Italian movie export, even more popular than the artistic masterworks of Fellini and Antonioni.  

The hero was always a legendary muscleman: Goliath and Samson from the Bible, Hercules from Greek myth; Maciste from ancient Rome; Ursus from the movie Quo Vadis (1951).  Alan Steel (right) played both Samson and Hercules. Samson Burke was a rare bodybuilder who played mostly villains.

  But the plots didn't worry about historical accuracy.  Hercules fought the Mongols; Maciste found his way to the 16th century Aztec Empire; another Hercules (Giuliano Gemma) visited the Incas; an Arabian Nights setting involved Samson, who was born 1500 years before Mohammed.  There were even science fiction and horror movies; the hero fought vampires and moon men.


Many Mr. Universes (such as Ed Fury, right) were hired to play the mythic hero, giving bodybuilders their first roles other than self-absorbed beach-bunnies, and giving millions of gay boys their first crushes.

Kirk Morris (left), discovered while working as a gondalier in Venice, played Hercules, Maciste, and Anthar.  His villains included headhunters and the Tzar of Russia.

The peplum hero was a man-mountain, able to destroy entire enemy armies by flexing his superheroic biceps.  He was usually tied up and tortured two or three times, so he could struggle, his muscles glistening in the firelight of the Tzar's dungeon.  Sometimes other parts were clearly visible, as when Gordon Scott, a future Tarzan, played Maciste.

But buddy-bonding was conspicuously absent.  Men were sometimes comrades, but more usually competitors and back-stabbers.  Plots rarely involved rescuing men or sailing into the sunset with men.  Instead, there were always two women: an evil brunette (whom the hero spurned) and a virtuous blonde (whom he fell in love with).

The heroes were nice to look at, but they offered no glimpse of a "good place."

The very informative Peplum blog gives a rundown of many of the movies.