Gay collier nude
Doug Clark: Playboy was an important part of my juvenile life
Every now and then there’ll be a moment in the culture that will stop you in your tracks.
Johnny Carson’s last “Tonight Show,” for example. The death of Michael Jackson. And another bombshell rocked the Kasbah on Monday with the following news:
Playboy magazine will no longer publish nude photos.
What? This couldn’t be more shocking, especially to aging male members of my baby boomer generation.
With its centerfold and bawdy cartoons, Playboy provided titillation both real and imagined for a curious legion of adolescent lads.
Hugh Hefner claimed he created the magazine as a reaction against the repressive values of the 1950s and blah, blah, blah.
Teens of my era didn’t know anything about such sociological mumbo jumbo. The juvenile whisper campaign was focused on only one thing.
KID 1 – “Hey, you seen Playboy?”
KID 2 – “Yeah. They got pictures of naked women in there.”
KID 3 – “I’ll never look at National Geographic again.”
But Playboy without nudity?
That’s McDonald’s without the Large Mac.
In a Fresh York Times story, Playboy CEO Scott Flanders blamed the Internet for the magazine’s circulation plummeting from
Exhibition dates: 5th May – 13th August, 2023
Curator: Donald Albrecht
J.C. Leyendecker (American, 1874-1951)
Ivory Soap It Floats
Painting for Ivory soap advertisement, 1900
Gouache on board
Private collection
Image courtesy of the National Museum of American Illustration, Newport, RI
Featured in mainstream national magazines, ads for Ivory soap often depicted scenes of conventional domesticity. Some, however, were erotic, like this one by Leyendecker featuring a man in a floor-length robe, whose crotch is suggestively rendered.
The Eye of the Beholder
“Leyendecker’s subjects exemplify an elite white masculinity that was hardly representative of the diversity of the United States in his time, or since” observes Sonya Abrego. The artist’s subjects are white, cultured, privileged, “upholding racial, social and nationalist hierarchies”.
But how representations were and are understood depends on the eye of the beholder. At the time that Lyendecker was painting and illustrating commercial magazines his flirtatious subliminal erotic messages would have been all too decipherable to a knowi
For more than two decades, Ken Collier stood behind the decks of Detroit’s most momentous clubs, a white towel slung over his shoulder, a fresh bottle of poppers nearby and either a minute glass of cognac or a big milk carton full of vodka and orange juice at his side. Revered for his passionate and soulful mixes, access to the newest records, network of contacts and welcoming demeanor, Collier was the most solid draw on a scene that hardly lacked talent.
“Ken was our Larry Levan, our Frankie Knuckles, our Tee Scott and Ron Hardy all rolled into one,” says Stacey “Hotwaxx” Hale, who sought out Collier as a mentor early on and became his close ally. “People don’t recognize him now like that. But he had just as much influence over what you hear today as any of them.” Over his long career, until he passed away in 1996, Collier mentored or influenced dozens of DJs and music-makers like Derrick May, Kevin Saunderson, Delano Smith, Kelli Hand, Alton Miller, Terrence Parker, Allan Ester, Aaron-Carl, Mike Huckaby and others too numerous to list. He bridged the birth of disco in the early 1970s and the peak of 1990s house in Detroit, collaborating with producer Don Was to push t
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