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254                                     Jack Fritscher, Ph.D.
               By 1990,  homomasculinity  had jumped into gender studies’ use
            within the bear movement in which Ron Suresha coined ursomasculin-
            ity; Les Wright, Ph.D., pioneering men’s studies in ways similar to femi-
            nist approaches to women, female identities, and femininities furthered
            “homomasculinities” by studying “gay men identifying as men more than
            as gay” at his Nashoba Institute research site ( and in his
            Bear Book: Readings in the History and Evolution of a Gay Male Subculture
            (1997), and Bear Book II: Further Readings (2001) with a timeline “Fore-
            word” explaining how the word bear became a homomasculine construct;
            homomasculinity and gaystream were both used by documentarian Ron
            Suresha in his Bears on Bears which included his Q&A titled “Bearness’s
            Beautiful Big Blank: Tracing the Genome of Ursomasculinity — An
            Interview with Jack Fritscher”; homomasculinity appeared in The Advocate,
            the “gay journal of record” in the article “Daring to Be Bears,” August
            20, 2002; it also debuted in the benchmark Village Voice (June 22, 2004)
            describing the life’s work of the legendary international artist Tom of Fin-
            land as the “artist whose drawings defined homomasculinity and S&M
            for the century”; Mary Louise Rasmussen and editor Eric Rofes — who
            was bearish, a professor, and part of San Francisco’s historical leather
            community — introduced  homomasculinity  to a new generation in the
            anthology, Youth and Sexuality, 2004.
                Homomasculinity  is a coinage easily illustrated in the manner of
            dictionaries where “one picture is worth a thousand words.” I have written
            about and published the homomasculine photographs of Robert Mapple-
            thorpe whose first ever magazine cover, previously mentioned, I commis-
            sioned, designed, and cast for the triumphal homomasculine “Biker for
            Hire” cover, Drummer 24 (September 1978). I have also promoted pho-
            tographers Arthur Tress in Drummer 30 (June 1979), Jim French (Colt
            Studio), Lou Thomas (Target Studio), Chuck Renslow (Kris Studio), Bob
            Mizer (AMG), and the man-defining films of the Gage Brothers, as well
            as the drawings of Tom of Finland, Rex, the Hun, and Domino. As a
            career photographer and videographer, I have shot and printed specific
            images of my interpretation of homomasculinity in magazine covers, cen-
            terfolds, and photo spreads as well as in my more than 160 feature-length
            homomasculine videos shot for Palm Drive Video since 1982 with box
            office at 250,000 units sold only in blue states. Doing the math: if four
            guys watched each unit sold . . . .  Palm Drive Video’s tag line is “Masculine
            Videos for Men Who Like Men Masculine.”
               Art critic Edward Lucie-Smith discussed the graphics of homomas-
            culinity in his “Introduction” to the fifty-five photos he chose from my
            portfolio for the coffee-table book titled Jack Fritscher’s American Men
            (Aubrey Walter, Gay Men’s Press, London, 1994). Lucie-Smith wrote:

          ©Jack Fritscher, Ph.D., All Rights Reserved—posted 05-05-2017
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