MINIATURE WARGAMING -Laserburn AAR -Who wants a broken anti-grav tank anyway? Well, everyone, that's who!

Science fiction miniature gaming is much more than Warhammer 40K. And while I have still not found the perfect set of rules, I haven't even tried all I own.
The pirate settlement
The settlement seen from a different angle

Having recently completed a large batch of wargaming scenery for science fiction gaming, and being interested in the classic skirmish rules LASERBURN, I decided to put the scenery on the table and do some solo gaming. (I write in the midst of the Covid-19 lockdown.)

Laserburn was first published and copyrighted in 1980. I somehow have acquired two copies, both badly battered and showing their age, but do not ever recall actually playing a game.

Being a skirmish game, I chose two sides. One side was five "Judges," as in the classic British comic "Judge Dredd." Some came from the old Games Workshop Judge Dredd line, others from the newer Warlord Games Judge Dredd range. (The metal Warlord Games line from circa 2014-ish, not the newer resin line from that company.) The Judges are basically hardcore super-cops of the future who enforce the law and punish law-breakers.  I'd considered classifying them as "Heroes" but decided "elite soldiers" was a more appropriate category. They were designated as carrying laser pistols and wearing light armor.

The other force was seven figures designated as "hardened space pirates." These came from a few different companies and ranges, including early GW Warhammer 40k space pirates, a RAFM post-holocaust range, a couple that I believe came from Grenadier Traveller line, and one guy with a mohawk and a laser gun who I could not identify. They were designated as wearing flak armor and carrying either laser rifles or laser pistols depending on the casting and how the figures themselves were equipped.


The scenario involved the judges trying to recover a broken anti-grav tank that the pirates had somehow acquired and were planning to repair. The anti-grav tank came from the Epicast WH 40K line and is some sort of Eldar design. I admit I forget exactly which model but the tank still exists in the WH 40K universe but now looks totally different. I had decided that the weapons could not fire and while the judges could fly it away no one else could make it move. (The judges had brought the keys to the vehicle.)


The Pirate lair with their salvaged grav-tank under repair



Another view

From Left to right, pirate thug (GW early WH40K), repair technician (RAFM), and pirate leader (RAFM).



Four space pirates


Because I have a long thin table, and also because I wanted to keep things interesting, I had the judges approach from two different ends of the table, with the basic plan being to divide the defenders and hopefully capture the grav-tank. 







And thus I began the game. Figures move their entire move one by one depending on their initiative, the higher the initiative the earlier they move. Initiative can change during the game depending on things like wounds and loads carried, and so on. In theory, as the figures move one by one, there is no reason one side would move all their figures before the other, but in this game, as the forces were chosen to be simple, all the judges had identical initiative ratings and each was higher than the pirates, who in their turn had identical initiative scores. While optional rules do allow for varying these a bit using dice to modify a base score, for simplicity I just stuck with the basic ratings, straight out of the book. 


I soon discovered the rules are, indeed, very primitive by modern standards in some areas and one of them is movement. One tabletop centimeter equals one real life meter. Figures walk 10cm a turn or run 30cm a turn Walking and "diving" (undefined) are other options. There are no rules for fatigue or terrain effects on movement that I could find in the 48 page little book. (There is a supplement, which I own, but I made no attempt to consult it. Perhaps they are there. One step at a time. One rulebook at a time. Learn the rules little by little.) 

Seeing no disadvantage to doing so, I had the judges run one by one from the edge of the table either as far as they could go or to the farthest piece of substantial terrain. 

On both sides of the table, groups of pirates reacted, moving towards the oncoming judges and seeking cover. 


Having mentioned that Laserburn has no terrain or fatigue rules, what it does focus on is detailed shooting rules. Therefore when shots began being exchanged, things became detailed. They also became very arithmetic heavy. 

Semi-automatic weapons, which to me included all the laser weapons in the game, are allowed three shots each turn, although I confess I had misunderstood the rules and only allowed them two shots per turn.  As this misunderstanding of the rules was applied uniformly it probably did not affect the outcome but it did slow things down a bit. Besides, it was a solo game so who's going to become upset?          +++++                                             Chances of hitting are determined using a formula, arriving at a number that is a base chance to hit, and then rolling percentile dice. There are multiple factors.                        +++                                                  Therefore a judge, as an "elite soldier," starts with a base chance of hitting of 130 percent change of hitting. Range is quite important, and if a laser pistol is fired at 18 meters range, 18 cm on the table, the percent chance is reduce 3 percent for each meter or 54%, making the chance of hitting 76%. Additional modifiers are applied for semi-automatic fire ( -6% per shot) and if the target or firer have moved. If the target is behind cover, there is also a modifier. If the firer has a serious and/or light wound, each wound also reduces the chances of hitting the target. If one does arithmetic easily, it's not a big thing, but as some players are not comfortable with that or find arithmetic intimidating, this system is not for everyone.                                      +++                                                                   If a hit is scored, three more dice rolls are required. One is for location on the target's body. The second is for armor penetration. The third is only rolled if a wound penetrates armor and is to determine the effect of the hit. Possible effects are instantaneous death, a serious wound, a light wound, or blindness. 
Obviously, this system is a bit time consuming and requires record keeping. 
When the hardened space pirates returned fire, they began with a base chance of hitting of 100 percent. 


The rules also include a detailed hand to hand combat system although no hand to hand combat occurred in this game. Therefore I did not get the chance to try it out. Next game, I'll have to make a point of putting combatants without missile weapons on both sides and see what happens. 




At this end of the table, shots were fired back and forth. Soon one of the space pirates took a serious wound to the body. In these rules, serious wounds are, for lack of a better word, "serious." The combatant became unconscious immediately. Each turn thereafter he remained unconscious unless he rolled a six on a regular dice. As his initiative was now lower, the roll to regain consciousness was done at the end of each turn after the other combatants on his side had been activated and moved.

Again, as the rules date from 1980, at times they show their age. The contents seem a bit disorganized and specific rules are sometimes hard to find. Other times rules or rules clarifications that one would expect in a contemporary set of rules simply aren't there. Therefore, it seemed to me that when a combatant regains consciousness, the first thing he or she must do, presumably, is rise from lying down to standing which takes a third of a turn. 

At one end of the table, two judges exchanged shots with two pirates. All had laser pistols, but armor and base chances of hitting were different.

At the end of the table, two pirates with laser rifles tried to take positions to intercept the three oncoming judges while the other laser rifle armed guard and the repair technician and pirate leader, each. While the judges had an advantage in terms of higher ratings and better armor, the fact that the pirates at this end of the table had heavier weaponry seemed to balance things out well.

Well, three out of the five anyway. The pirate leader and the pirate repair technician did not have any missile weapons at all, and therefore did very little throughout the scenario. In hindsight, the scenario could have been much improved if their role in things had been better conceived before hand. Without any missile weapons they couldn't join in any of the firefights so they didn't do much there. Although they did have melee weapons, one a sword and the other a cane (big stick? club? baton?), they were clearly not tough enough or numerous enough to be intended to be used in the scenario as missile troops. Looking back at things, the scenario would have been much improved if the leader and the repair technician had actually been given a chance to do what he eponymously was supposed to do, repair the anti-grav tank!  Tension and enjoyment could have been much improved if the repair technician were given a small chance (perhaps 2% as a starting point ) of repairing all or part of the systems on the anti-grav tank on the first turn and had the chance increase each turn perhaps by adding 2% each turn or even increase the chance exponentially (i.e. go from 2 to 4 to 8 to 16 to 32 to 64% ) . Perhaps a chart that randomly determines which grav-tank system begins to function first (movement, force screen, secondary weapons, main weapons, etc.) or, alternatively and, I think, preferably, to have them activate in a given sequence with the chance of making them working going back down to 2% each time one activates as the repair technician goes back to his starting point again. Alas!! Missed opportunities! Next time. Next time.


In the end, as the judges converged from two directions on the five remaining pirates, shots were exchanged for a couple turns. The results were two judges seriously wounded and one dead and two o he space pirates dead or seriously wounded.

At this point, the morale rules kicked in and became relevant. Once again, the rules began to show their age. The Laserburn morale rules take up take up half a page, half of page 18 to be specific. Not only that, in this half page they also lump up in the rules for unit organization. Basically, figures must be designated as part of a unit or else as a one man unit. If a unit takes serious casualties, in other words equal to half or more its members dead or seriously wounded, it becomes "shaken." This is automatic and there are no dice involved. Shaken units will not advance on the enemy. As the rules say nothing about whether they could fire or not, I assumed they could and the firing continued although the movement stopped.

[After reading these rules again, it became clear that I did not follow the unit rules properly. I'm not sure if this was a bad thing in a skirmish game with five figures versus seven figures, but, for the record, I should have grouped the figures into units more carefully.]

Eventually the last laser armed space pirate took a serious wound to the body and dropped. Although the leader and the repair technician were still conscious, they were unable to advance on the enemy and the enemy was unable to advance on them. The game ended in a draw.



In conclusion, Laserburn is a set of rules that a lot of people clearly have had a lot of fine with. There's no reason people could not have fun with it today. It has a loyal following and can still be purchased new today ( see: https://www.alternative-armies.com/products/lbr01-laserburn-rulebook and please tell them who sent you.) Clearly, it has its fans.

 On the other hand, to say "Well, surely it contains everything one might need or expect in a set of rules," is just not true. If one were to play it a great deal, one would have to invent house rules for some situations to bring them up to modern expectations (for instance, terrain rules and rules that produce some randomization to the morale results) or find a way to arbitrate and settle disagreements among players. (Ideally, players should meet to have fun and be able to trust each other while working things out in a friendly and cooperative fashion. Of course, this does not always happen.) The heavy dependence on one's ability to do and feel comfortable with long strings of calculations of simple arithmetic makes these rules not for everyone, and could slow down the flow of play for many people.

Still, the solo game was fun, and I hope to use these again some day for a simple skirmish game in the future. They seem like a fun little set of rules if the scenario and setting are well designed and chosen for the rules.

CURRENT EVENTS --ICE and Foreign Students


The United States ICE (Immigration and Customs Enforcement) has just announced a controversial policy affecting foreign students. I oppose this decision.
A very   quick, hastily produced introduction to the current US ICE (Immigration and Customs Enforcement) policy on foreign students who are taking classes through distance learning. Please note that this policy primarily affects foreign students who came to the USA to study in conventional programs but whose programs have switched exclusively to distance learning due to the on-going Covid-19 Pandemic. Not a final or complete study on the issue, and I created this merely as a starting point for those interested on this issue. Please feel free to share. Please feel free to contact me at plh25.0@gmail.com with additional resources. Thank you

Here is the official government press release from ICE.

Here are some stories of reactions from the media. This is not intended as a comprehensive survey but only a brief, quickly collected group of such stories although an effort was made to include different angles and viewpoints.







To better understand this issue, please keep in mind this action will not just affect foreign students, but also their landlords, local restaurants, the places they buy their clothes and groceries, and the many other businesses and services where they spend money. This is a report from NAFSA, a respected organization for professionals in the international education field, on the economic value of foreign students. (FYI, I have personally visited two different large NAFSA gatherings. They were expensive, but I enjoyed them.)




Here are some academic organizations that are working on this issue. By sharing these links, I am not endorsing these organizations or their approach to this issue. Again, this is quickly assembled and shared for informational and initial networking purposes.

The National Humanities Alliance  (both links)

Statement from the Associations for Asian Studies

Here is a list of academics who have signed an open letter. If you are an academic you can consider signing it.


Here is a Twitter feed discussion from an immigration lawyer that is well worth reading. Again, I do not endorse the man but am sharing for informational and networking purposes.

Here are a pair of petitions one can read and/ or sign if one wishes
Change.org

Whitehouse.gov

Thank  you,

Peter Huston, MA, MS,


Biker Films: Outlaw Riders, 1971

Outlaw Riders, 1971


“Outlaw Riders –They Take Whatever They Want –Whenever They Want.” And a bit on biker films and trash cinema in general.

When it comes to trash cinema, few can deny that there’s any trash quite as trashy among all the trash that is known as trash cinema as biker films. Yes, biker films! The pentultimate, quintessential trash cinema. This short lived, little respected genre flourished for about ten years starting in 1966 with Roger Corman’s “The Wild Angels” and lasting for about ten or so years until slowly fading out.

As a collector of such films, recently it struck me that it’s long past time that I did some writing on them. With that thought, I recently wrote of The Wild One, a film that preceded the biker film fad. The next logical film would have been  The Wild Angels, the one that started the fad, but, alas, I got side tracked and decided to instead of rewatching that classic, to check out a film, I had never seen before but recently purchased, Outlaw Riders. (note the absence of a “The.” No direct object on this film, it seems.)





First, some ground rules. While I hate trigger warnings and spoilers, for several reasons I’ve decided to include the dreaded trigger warnings and will let readers know if a film I write about contains rape, attempted rape, or torture scenes. If nothing else, such warnings help people choose the right mixture from among their films and their friends who they invite to choose friends. Sounds wimpy, I know, but I recently had a friend, a good friend, a female friend, complain in a completely serious fashion about being unable to unsee some of the scenes I’d exposed her to in some of the films I enjoy, and she meant it, and I like having her over for films and such so . . . the result is you, the reader, now get trigger warnings for rape, attempted rape, and torture scenes. Do with that knowledge what you wish.

Second, while it’s generally a horrible sin among movie reviewers to give away the ending of a film, well, let’s be honest, we’re talking about biker films here. A genre where the typical plot is often two groups of scumbags chase each other around for an hour and half on screen, stopping periodically to break things, fight each other, and rape people in a usually pointless fashion, and, then, about the time the audience begins to wonder when it’s going to just plain end and if they should get up and get some popcorn or go to the restroom, well, everyone dies for no good reason. And, once in a while, it may be dramatic and cathartic and so on, but, just as often if not more so, the result is it leaves you sitting there, thinking “Huh? I just wasted an hour and a half on this thing and THAT was the best ending they could think of?” So with that in mind, some reviews will include the line. “SPOILERS –TYPICAL SUCKY BIKER FILM ENDING.”   Which does not necessarily mean that everyone dies at the end, but it might. So make of that what you will. Whatever it means, it means I thought the ending was disappointing. Like they filmed, and filmed, and then realized that they had put together about an hour and a half of story and the food, drugs, and beer were gone and just basically slapped together an ending and, well, that was the end they came up with on the day they decided to finish the story and finish filming. “TYPICAL SUCKY BIKER FILM ENDING.” Remember that.

Which brings us to “Outlaw Riders” (no “The”)

“Outlaw Riders” starts out surprising well, with a nice, upbeat song and some really cool cascading still shots over some pretty good music. (More on the music later.) 






But we’re not too far into the song when we realize this film is likely to disappoint. For one thing, the copy of the film used by Peter Rodgers Organization, the company that released this video, is clearly not the best. Aside from the occasional scratch here and there, one quickly notices that credits don’t fit the screen. They spread off the edge, and, yes, I did try adjusting the image very possible way. The ends of the credits just aren’t there. 





Somewhere I read that this was not the fault of the company that released the DVD. This was merely the only copy they could get their hands on. Apparently there just aren’t that many copies of Outlaw Riders floating around waiting to be rereleased. Apparently no one thought it was terribly worth saving. Color quality, editing, and general level of camera skill and cinematography just aren’t there, it seems. (Gosh, it’s things like this that really make you appreciate Russ Meyer’s camera skills.)




Poor camera skills --even I know that when you are filming a woman
 dancing on a table, for goodness shakes, show her entire legs and her feet.
The whole scene was filmed without ever once showing her feet or ankles

No extras of any kind. No trailers, no special features, no commentary tracks, no subtitles, no foreign language sound tracks. Hey, those things cost money, you know.
Bike scenes. Really not that impress. The eponymous “Outlaw Riders” are a gang of about six guys and two women with half a dozen bikes between them. No fancy riding scenes here. No amazing, awe inspiring mass bike scenes as in some other films in the genre. (The Australian film “Stone” comes to mine.) The film starts out with the gang committing a robbery and then spending the rest of the film travelling around Arizona and Mexico trying to figure out how best to avoid the authorities and fighting among themselves. Rape, attempted rape, and getting back at men by hurting their women is part of the plot, so be careful who you watch this one with, and, yes, that is true of a lot of biker films now, isn’t it? Which is exactly why I mention it here, so ‘nuff said on that point.


What else goes on here? Without too much in the way of spoilers, the best parts probably include:

a)    The scene where the sheriff and his deputies show up. Okay, this part isn’t that great but you’ve got to see the “sheriff’s car” to understand just how low budget this film is.

Lest there be any doubt, note the sign that says "sheriff" taped on the door of the car.
That explains why the men inside have guns and try to stop the robbery. I mean, just in case you wondered.


b)    The scene where the guy brings a hurt biker to the convent where the nun’s can provide medical care and a biker guy and two biker chicks discuss the needs who help injured strangers.
“Weird people.” (says the biker guy.)
“Yeah, but they’re on our side.” (says biker chick #1)
“They’re on everyone’s side. Like that’s their thing.” (says biker chick #2)



Nuns can be groovy, man.



c)     The scenes where they meet the Mexican biker gang. One can tell they are Mexicans, by the way, because they speak with Mexican accents, wear serapes, and have tan skin. The Mexican biker chicks wear nice looking floral skirts and dance on tables. (in a very poorly shot scene). They yell Mexican things like “Hijo de una chingada!” and “I smell a gringo!”
The American bikers, in turn, after assessing the situation with “What’s with these dudes, man?” respond with clever retorts like “Screw you, you greasy taco vendor!”




Can there be any doubt in anyone's mind that these are, in fact, Mexicans?


Hmmm, can I really be accused of giving away important plot points by hinting that the plot might involve conflict and friction and ill will between these two groups? Things go on, events unroll, ultimately one gets A TYPICAL, SUCKY, BIKER FILM ENDING . . . Yawn.


For me the most interesting thing about Outlaw Bikers was the sound track. This seemed to be the only real attempt at quality in the picture. Not only did they use a band called Simon Stokes and the Nighthawks, one of the top film studio bands of the time for this otherwise completely lackluster film, but the sound track was released on MGM records a major label.

http://www.soundtrackcollector.com/title/36607/Outlaw+Riders#labels

https://www.amazon.com/Outlaw-Riders-Nighthawks-McDaniel-Horsemen/dp/B000FAZC8U

https://www.amazon.com/s?i=popular&rh=p_32%3ASimon+Stokes+%26+the+NightHawks&ref=dp_byline_sr_music_1

  

 It turns out the story of biker film soundtracks is very interesting, and I hope to explore it more. That’s the way things are sometimes. You dig into something, scratch the surface, and soon you find something completely unexpected, an avenue for further research. I stumbled across this link to an interesting article on the subject. 
https://www.peterstanfield.com/discographies








Other Reviews of this film out there




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PSEUDOHISTORY: Did George Washington really say, "When government takes away citizens' right to bear arms it becomes citizens' duty to take away government's right to govern."


Did George Washington really say, "When government takes away citizens' right to bear arms it becomes citizens' duty to take away government's right to govern."








First, this is not a polemic for or against gun control. I'll save my thoughts on that for a different time and place. I'm merely asking if this common meme is true, correct, and historically sound. Did George Washington say this?

Apparently not. Let's start with the most authoritative, politically unbiased source I could find.  Mount Vernon (George Washington's home) and his Presidential library and their website, https://www.mountvernon.org/



From https://www.mountvernon.org/library/digitalhistory/digital-encyclopedia/article/spurious-quotations/  :

"When government takes away citizens' right to bear arms it becomes citizens' duty to take away government's right to govern."
The library has yet to find an explanation for this misquote or a similar quote of Washington's that was confused for this statement.

This is further supported by Snopes that began with the same source and then did their own additional research.

https://www.snopes.com/fact-check/george-washington-arms-quote/

An organization called Politifact concurred but then went on to discuss Washington's attitudes on guns in general.

https://www.politifact.com/factchecks/2015/feb/20/facebook-posts/did-george-washington-offer-support-individual-gun/

In conclusion, it appears that George Washington did not say this. There is no evidence that he did and the quote does not appear to date back to anywhere near the time he lived.

Film History --Was Russ Meyer Gay? Could be . . .





Russ Meyer is legend among exploitation film followers. Frantic, unrestrained plots, odd humor, those amazing wild, out-of control women with their inescapably huge breasts, and despite the generally puerile tone of the films, surprisingly good technical skill with the camera work and editing. And with titles like “Faster Pussycat, Kill, Kill!” and the amazing posters and trailers, it was inevitable that I’d seek them out at some point.      

As I write, I’ve seen around a dozen of Meyer’s films, starting with the bigger, better known titles, then working through his lesser known creations as I find copies. I’m also working through an illuminating, well-researched biography called “Big Bosoms and Square Jaws –The Biography of Russ Meyer, King of the Sex Film.” (Written by Jimmy McDonough, copyright 2005, Three Rivers Press, New York)

And the more I see, the more I read, the more I find myself wondering “Is Russ Meyer gay?”

Strange question, some will say. Laughable, others will argue.  And everyone knows that one of the marks of the classic intellectual lightweight, pseudo-intellectual is that he or she pulls names of well-known historical figures almost at random and asks completely hypothetical questions to support absurd allegations of repressed homosexuality and an alternate sexual orientation.  But I can’t shake it. The more I see, the more I read, the more sense it makes.


For those who don’t know, Russ Meyer was, among other things, a former Playboy photographer who is known in film making for creating “The Immoral Mister Teas,” widely known as the first film that used graphic nudity with no pretense at being educational, in other words naked women being shown mostly to entertain an audience that liked to see naked women, a very, very shocking idea in 1959 when released.  When the era of the X-rated movie came along, an era better known for films like “Midnight Cowboy” (1969) and “Clockwork Orange” (1971), both seen as important, ground-breaking, cutting edge art films that stretched boundaries of discussion by using an X rating, few remember that it was Russ Meyer’s film “Vixen” (1968) that paved the way. “Vixen” was the first commercially released X-rated film. His 1964 film “Lorna,” a drama, also paved the way for the use of nudity and portrayal of sexuality and nude women in films. (“Lorna” did not have an X-rating as it was released years before the letter system for grading films was created. My guess is that if it had been released a few years later, it probably would have had an X-rating but today it would probably get an R, and that as much for the violence in the film as much as for the nudity. I hope to write a bit more on “Lorna” at some point.)  

If one picks up a good book on the history of pornography, you will find Meyer’s name in there a few times, usually for breaking ground and paving the way for people who came later. (I’ve included links to a couple interesting and entertaining such works below. Remember if you buy them through these links, you are supporting this blog.)

Not to mention that the man obviously has a thing for women with large, very large, very, very large breasts, the bigger the better. [1]

So, how in the world could one wonder if such a man is gay?

Well, for one thing, if you watch his films, while they simple ooze with unrestrained heterosexuality, after a while (and I’ve seen about a dozen of his films) you can’t help wondering if he’s just plain trying too hard to demonstrate and display his heterosexuality.

Second, after a while, it’s pretty obvious that he’s not very comfortable around women. The female characters in his films are often down-right frightening, the sorts of women who, through one means or another, would destroy a man’s life and then laugh about it as they survey the damage. Furthermore, throughout his films, these women when they are not victimizing someone else are inevitably being victimized themselves, and in a Russ Meyer film, both events happen with an unrestrained graphic brutality of a sort rarely seen on film, before or since. And worse, more than once when women in his films get raped or sexually assaulted, nearby men often cheer the assault on as if this is a natural and normal reaction. In fact, if you catch the sexual assault in the bar scene in “Up!”, you can spot Russ Meyer himself in the crowd cheering just as loudly as anyone there. (Of course, such things do happen in real life. On the other hand, I maintain they are an anomaly and a more normal male reaction would be shock and horror, leading ideally to finding a way to assist and intervene.)

Third, his men, the good men, not the villains, rarely seem to actually enjoy sex or have good relations with the stunningly built women around them. Often they are not able to sexually satisfy the women in their lives, and because of this the women abandon or hurt them.
Fourth, while depictions of actual homosexuality in his films are rare, the only one I can think of having encountered in his films occurs in the film “Up!” (1976) and the reactions of the female character is significant. “Up!” is a very strange film and begins with a geriatric Adolf Hitler living under an assumed name in a castle in the deep woods of the west coast USA. Geriatric Hitler with the assumed name is holding an orgy in his castle. The orgy features several women off different races and one man all being paid by Hitler to sexually humiliate him. The man engages in at least two homosexual sex acts with the geriatric and decrepit Hitler. While depicted quite graphically by the standards of the day, the acts would be considered implied by today’s standards (no male genitalia is portrayed for instance). Nevertheless, there can be zero doubt in the audience as to what is happening and what the man is doing to Hitler and what Hitler is begging to have done to him. Finally, the orgy ends and geriatric Hitler with the assumed name pays the man and sends him on his way. Which is all quite strange, graphic, and weird (and if one complains that I did not give “spoilers” all this occurs in the first five or ten minutes of the film BEFORE we have any plot or context for it, so, in my opinion, at least, it not exactly spoiling the film in any way to reveal this. I mean you turn on the film and this is what you see, suddenly and without warning. Surprise!). Now what’s truly significant for this argument is (and NOW we have some SPOILERS) the man’s wife’s reaction to all this. (SPOILERS)

The wife becomes jealous. She fears that these paid sexual acts that the husband commits with geriatric Hitler living under an assumed name could cause her husband to leave her.

Let me explain that again. And, again, SPOILERS,  a wife learns that her husband is engaging in gay sex for pay with perhaps the most evil man of all time (particularly in the eyes of Russ Meyer, world war two veteran) and she fears that he might end the marriage and leave her for Hitler. Ummm, okay. Ummm, no, I’ve thought it over a second time. It’s not okay. In fact, it’s just plain downright weird. Weird as in clinically significant weird. Sex with a wrinkled, ugly, and absolutely despicable man might be more appealing to him, she fears, than sex with her, despite, of course, that she is an extremely attractive woman in the classic Russ Meyer mold.

Reading the biography, there’s more hints. His relations with women usually were unstable and involved women who were more than anything else a trophy to impress his male friends. The way he seemed most interested in them was through the lens of a camera. His arguably most stable and intimate relationship was with his second wife, Eve, who, once described him as a “photosexual.” (p. 78) Page after page of the biography, describes how he would usually only become aroused with a woman after an hour or more of photographing them.

According to the biography, Eve probably had affairs with other women and once accused Russ of having a romantic or sexual relationship with one of his army buddies and business partners. (p. 142)  In the end, in his autobiography, Meyer included a multi-page photo spread of eve and at the end summed up his feelings for her with “And did I love her? Hell, yes! Maybe, I think so.” (p.147)  Obviously, not the clearest statement of his feelings for the person most consider the love of his life.

  Now, let me get this clear. I’m straight. Because of this I sometimes miss things involving homosexuality. I asked a friend, a gay friend. “Are the men good looking? That’s the key thing you need to watch for," he advised. "If he’s gay, but doesn’t know it, the men in his movies will be really good looking.” Well, next Russ Meyer film, I watched was “Lorna,” a tale of a beautiful and large breasted, not very nice woman, who cheats on her really good looking husband with a really good looking fugitive. ‘Nuff said. The question remains.

1.     Obviously, he judges the attractiveness of women by the size of their breasts, the bigger the better. If look at another way, perhaps he needs an easily measured metric to determine which women are attractive and which are not.

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For some reason, Russ Meyer films are difficult to find and there seems to be confusion about who owns what or something is going on. Regardless, aside from Beyond the Valley of the Dolls, whose rights are owned by a major studio, the others are not easily found and seem to become commercially available in a haphazard fashion. Therefore I just offer what's available and am not able to comment much on actual editions.   



This is the biography I have been reading. It's very well done. 



  

Two good books on the history of pornography


Finally, my books . . . 

Yeah, I've written books. Please check them out and see if they interest you.



  



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