The Flowers of Evil: A Place Where Hercules and Christ are One

Back before there were shelves labeled "gay literature" in bookstores, when library card catalogs contained two books labeled "homosexuality," if that, you found gay books through key words in the title: something dark, dangerous, sinister was likely to be gay.

So one day when I was an undergrad at Augustana College, I found a copy of Les Fleurs du mal (The Flowers of Evil), by Charles Baudelaire (1821-1867).

A series of poems about a man who is an alien in his own society, searching for a beauty that the people around him cannot understand.  He remembers countless past lives of Arabian Nights opulence, living only for the pleasures of sight, sound, taste, and touch, surrounded by "nude, perfumed slaves." Male slaves, I assumed.

He longs for a "good place," the distant country portrayed by Michelangelo, where "Hercules and Christ are one."  Where they worship masculine beauty?

He tells the story of four boys charting out their futures. The first longs for the theater, the second, for God, the third, for women...and the fourth, for gypsy men "with enormous black eyes" who live together and make "astonishing music."

The fourth boy is obviously gay.

Turns out that most scholars disagree with my undergrad reading of Les Fleurs du mal.  Baudelaire was a precursor of the Symbolist Movement, whose main voice, Paul Verlaine, was indeed gay.  And he was a dandy, one of one of those flamboyantly feminine men who scandalized polite society in Paris and London.

But Baudelaire himself was apparently heterosexual.  He has a prurient, sordid interest in women's bodies, especially lesbian bodies -- his first title for Les Fleurs du Mal was The Lesbians.  But barely a glimmer of interest in male beauty.

No do we see any significant same-sex loves in his life.  He smoked and drank heavily, wrote in taverns, patronized prostitutes, and had a series of mistresses.

But we know that author's own identity is not necessary for a gay reading.  Nor is authorial intent.  The meaning arises in the interaction between the text and the reader's life experience, expectations, and desire. When you are erased from most literature and mass media, you find meaning where you can, and Les Fleurs du mal remains one of my favorite books.

See also: The Dandy and the Gay Cult; A Season in Hell

Zandor, Tor, and Chuck: Saturday Morning Muscle

When I was a kid in the late 1960s, it was hard to find beefcake on tv.  Wild Wild West and Tarzan were reliable, there were shirtless teens on Maya, and otherwise you had to hope that an episode of That Girl would have Ann Marie befriending a boxer, or Kirk would get his shirt ripped off on Star Trek.  

But Saturday morning cartoons more than made up for it, with huge numbers of teenage boys and adult men with muscular bodies on display (mostly spandex and open shirts, however; nothing like the semi-nudity of today).  In the fall of 1967, for example:

At 8:30, The Herculoids (1967-69), about a nuclear family of blond space barbarians who defend their planet from alien invaders.  The kid, Dorno, was about my age, but with an amazing build, like Tommy Norden from Flipper.  The dad, Zandor, was even hunkier.

At 9:00, Shazzan (1967-69), about two teenagers trapped in an Arabian nights world with the titular magic genie (not to be confused with Shazam, the Michael Gray series).  Shazzan wore a black vest and no shirt, and the teenage boy, Chuck, wore a white shirt unbuttoned to his navel.  Note: the girl was his sister, not his girlfriend.

At 9:30, you had your choice of Space Ghost and Dino Boy (1966-68), about a boy trapped in a prehistoric world with a cave man guardian, or Samson and Goliath (1967-68), about a boy and dog who morph into superheroic Samson and his lion, Goliath.  I preferred Samson, who wore another shirt unbuttoned to his navel, plus no pants.

At 10:00, The Mighty Mightor (1967-69).  about a prehistoric teenager named Tor -- super hunky already, and a member of a tribe of bodybuilders  -- who morphs into the superheroic Mightor. Unfortunately, the girl in this picture was his sort-of girlfriend.

  At 11:00, reruns of Jonny Quest.

Then a quick lunch, a bit of playing outside, and it was time for an afternoon of The Magic Sword or an old Tarzan movie.

See also: Bamm-Bamm Rubble: Gay Promise on The Flintstones.

The Mighty Hercules

Before He-Man, there was The Mighty Hercules, part of the 1960s sword-and-sandal fad. He appeared on Saturday morning and sometimes Sunday morning tv from 1963 to 1966, and occasionally afterwards, in five-minute segments with stiff animation that seemed amateurish even to little kids.  With his square jaw, expressionless face, and black curlicue hairstyle, he  looked exactly like the Filmation Superman, but in a toga so his muscles would be visible.

Unlike the Hercules of Greek mythology, this Hercules ruled the kingdom of Caledon along with his two sidekicks: a teenage centaur boy who repeated everything twice ("Be careful, Herc!" "Be careful, Herc!"), and a young satyr boy who only tooted his panpipes. Some commentators have found a romantic subtext in the interactions between Hercules and the centaur-boy, but I don't remember enough episodes to be sure.

But I do remember the thrilling theme song (sung by gay-friendly Johnny Nash).  It was a tad risque, and it summed up all of the characteristics gay boys in the 1960s were looking for in boyfriends.

Softness in his eyes,
Iron in his thighs,
Virtue in his heart,
Fire in every part,
Of the Mighty Hercules.

12 Fairytale Hunks of "Once Upon a Time"

Once Upon a Time is a pastiche of feuding figures from fairy tales (mostly Disney versions), mythology, novels, folklore -- you name it.  The main characters are Snow White, Snow's daughter Emma, her grandson Henry, Regina the Evil Queen (who turns into the Good Queen), Rumpelstiltskin, Prince Charming, Captain Hook, and Belle from Beauty and the Beast.

But many other recognizable faces from your childhood appear.

With physiques that are the stuff of legend.


1. Michael Socha as Will Scarlett, Robin Hood's chum.

2. Liam Garrigan as King Arthur, the mythical king of Dark Age Britain, seen here schtupping his bff Lancelot (just kidding)

3. Deniz Akdeniz as Aladdin (the one from the Disney movie, not the one from the 1001 Nights).

4. Charles Mesure as Blackbeard, the real-life pirate, aka Edward Teach (1680-1718)
























5. Sinqua Walls as Sir Lancelot from the Arthurian legends.

6. Hank Harris as Henry Jekyll, from the Robert Louis Stevenson novel (Sam Witwer as Mr. Hyde).





More after the break

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.

The Legend of the Heterosexual Hercules

The ancient Greek hero Heracles (Hercules in Latin) was half-god, super-strong, and gay.  He had female lovers, too, but myth and epic laud the male:

Iolaus, his charioteer.  The three great gay couples of the ancient world were David and Jonathan, Damon and Pythias, and Heracles and Iolaus.  Edward Carpenter named his anthology of gay verse Iolaus.

Nireus, the most beautiful man in the world.  It was quite a coups for Heracles to win him.

Iphitos, whom Heracles won in an archery contest in lieu of a princess. 

Hylas, whom Heracles won by saving the king from a barbarian invasion.

The list goes on and on. 

So what do contemporary filmmakers do with the ancient hero?

Right.

In the post-peplum era:

The Adventures of Hercules (1985) stars Lou Ferrigno romancing someone named Urania. 

Hercules: The Legendary Journeys (1995-99) sends surprisingly un-buffed Kevin Sorbo out with Iolaus.  But don't get excited: they're explicitly just friends and intensely hetero-horny.

Young Hercules (1998-99) sends Ryan Gosling as a teenage Kevin Sorbo to a hero academy, where he hooks up with Iolaus, Jason, and Lilith (from Jewish folklore?).  Guess which one he romances.

The Legend of Hercules (2014) stars Kellan Lutz as a shirtless gladiator Hercules trying to "win the woman he loves."  The whole plot involves hetero-romance.  Iphitos appears as Iphicles, his brother, who betrays him.

Hercules (2014) stars Dwayne Johnson as a mercenary leader who wins a princess.  Iolaus appears as his nephew.

Charlton Comics: More Gay Subtexts than Casper

When I was a kid in the 1960s, my staple was Harvey comics: gay-vague pacifist Casper the Friendly Ghost saving the world from science-fiction threats.  I liked the Gold Key jungle comics, Little Lulu, Archie, and occasionally a Marvel or DC title, but I hated the bottom-of-the-barrel Charlton comics: cheaply printed on bad paper, amateurish illustrations, horrible dialogue, stupid stories.

Until one day my boyfriend Bill suggested that I take another look: "They're all full of best men."

That was our word for gay romantic partners.

I wasn't convinced.  "No way.  Harveys are lots better."  I picked up the first on the pile.  "Abbot and Costello?  My Grandma talked about them -- they were on tv like a thousand years ago."

"The big guy has to rescue the little guy all the time."

A same-sex rescue was our main test of whether two guys were friends or "best men."

"What about Timmy the Timid Ghost? It's stupid!"

It was a blatant knock-off of Harvey's Casper the Friendly Ghost.  There was even a tough derby-wearing ghost, Manny, a blatant knock-off of Harvey's Spooky the Tuff Little Ghost

"Do Casper and Spooky live together?" Bill asked pointedly.

No.  Casper lived with his uncles, and Spooky lived alone.  Their paths rarely crossed in the vast Enchanted Forest.

Domesticity -- male characters living together -- was our second test of best men!

The only original characters made no sense, like Surf n' Wheels: good surfers vs. evil motorcyclists in one issue, then crime fighting surfer-motorcyclists in the next.

But Bill pointed out that they had their shirts off for about half of every issue, more than you ever got with Harveys.

Beefcake -- guys taking their shirts off, or even better, wearing only underwear or swimsuits -- was our third test!

Bill pointed out that some Charlton titles, like Hercules, Jungle Jim, and Robin Hood, were even more beefcake-heavy than the Gold Keys.

Beefcake, same-sex rescues, and domesticity.  What else could you ask for in a comic book?

Competent stories, interesting artwork, and dialogue that made sense.  I still didn't like Charlton.

Jamie Croft, the Australian Tom Sawyer

Speaking of Jeremy Lelliott, his costar in Disappearance, Jamie Croft, had several buddy-bonding projects as a child star in Australia.

In That Eye, the Sky (1994), the oddball outsider Ort (13-year old Jamie) lives in the Australian outback with his mother, his sister, his paralyzed father, and his frail, elderly grandmother. He's getting weird premonitions and questioning his belief in God.  Then the hunky American Henry (Peter Coyote) arrives and teaches Ort about the magic of everyday life. Meanwhile Ort gets his first crush.

The miniseries The Valley Between (1996) follows the Tom Sawyer and Huck Finn-like adventures of German immigrant Bruno (15-year old Jamie) in South Australia.

He has a crush on an older teenager, Eddie (Josh Picker).

No heterosexual interest in Mighty Morphin Power Rangers (1996).

In his guest spot on The Lost World  (1999-2002), about various people trapped in a sort of Land of the Lost in the Amazon, teenage Rob Dillon (Jamie) is kidnapped by a savage tribe and requires a daring rescue.  But he grins at a girl.

Then came Disappearance (2002), the gender-bending comedy Blurred (2002), and the teenage muscle hunk Hercules (2005; played as an adult by Paul Telfer). There is minimal girl-craziness in these projects, but unfortunately no shirtless or semi-nude shots, not even as Hercules.

More recently Jamie has moved into voice work, playing the 12-year old barbarian in The Legend of Enyo (2010) and Pablo in The Davincibles (2011).

In real life he is married with children; no word on whether he's a gay ally.

Alcestis: A God and his Boyfriend in Ancient Greece

During my freshman year at Augustana, I took a course in Greek Literature.  We had to read The Iliad, The Homeric Hymns, and plays by Aeschylus, Aristophanes, Sophocles, and Euripides.

Of course, the professor tried his best to eliminate all traces of same-sex desire, presenting the ancient Greeks as rampaging heterosexuals.

He wasn't successful with Alcestis (438 BCE) by Euripides.

The plot synopsis makes it seem entirely heterosexist: Apollo offers to let King Admentus live past his allotted life span, if he can find someone to die in his place.  His devoted wife Alcestis offers to go.

But what actually happens is: Apollo offers Admentus immortality because he likes him. A lot.

In Greek mythology, Apollo lives with Admentus for several year before this story takes place. The lyric poet Callimachus says that they were lovers.  Thanatos (Death) even taunts Apollo about wasting his time on short-lived mortals.

Admentus has a human admirer in Hercules, who arrives without realizing that Alcestis is about to die.  Admentus is supposed to be in mourning, but he's so happy to see his friend that they spend the night carousing.

In the morning, apprised of the situation, Hercules rushes off and wrestles with Thanatos in order to bring Alcestis back to life (this is a rather a buffed Alcestis).

So it's not about hetero-romance spanning life and death after all.  It's about a man turning over Heaven and Hell to help his friend.

I never thought that Greek dramas could be staged well.  They're too alien to modern sentiments. But Alcestis has been staged several times recently, usually with Ted Hughes' 1999 translation that avoids the homoerotic subtext -- text, actually -- to concentrate on the romance between devoted husband and wife.

Here the Ted Hughes version is performed at Bates College in 2009.

There's also an opera version, Alceste, by  Gluck (1767).

In 2013, a Cuban-American troupe performed Alcestis Ascending in New York, with script by University of Alabama professor Seth Panitch. It's in Spanish and English.

See also: Greek Mythology.

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.

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.