All language subtitles for Daddy And The Muscle Academy

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(rumbling)

(faint static buzzing)

Hello.

Hello.

Hello.

Hello.

(whip smacks)

(sirens wailing)

(rock music)

(speaking foreign language)

(techno music)

- (club patrons talking faintly)
- (techno music)

(techno music)

MAN 1: Today was the day, I would
describe something as--

It is hot--
Wow, he's just like

a Tom of Finland drawing.

MAN 2: Am I a Tom's man?
(laughing)

You mean I've been wearing
this gear all these years

and not being one?

- Bet your life I'm a Tom's man.
- MAN 3: I'm a Tom's man.

- MAN 4: I am a Tom's man.
- MAN 5: I'm Tom's man.

MAN 6: I am one of Tom's men,
proud to be.

TOM: I need a certain atmosphere,
a certain mood, it gets me excited.

I often work dressed up in special outfits.

It inspires me when I'm developing a fantasy.

Leather is a living material.
It's organic, not like plastic.

It's stimulating, it has
an exciting smell and softness.

It gets better with age —
like many other things.

Leather has lots of lifelike qualities
that kind of rub off on its user.

I don't think leather is worn
so much for practical reasons —

but more for the contact
between leather and skin.

MAN: Police boots with motorcycle officers

are just a real special turn-on.

- MAN 2: Tom's drawings--
- MAN 3: I think the word you mean--

MAN 4: It's a harmony that I
feel when I'm in leather--

MAN 5:
Anything I knew about a man

who liked another man
was always very negative.

- Very feminine.
- MAN 6: The leather is

- not something that's outside--
- MAN 7: It's just part of me.

MAN 6:
So it's an expression of ourselves.

- MAN 8: Musclebound gods.
- MAN 9: In leather.

- MAN 10: Doing what they felt like doing--
- MAN 11: In bed or not.

MAN 12:
They're enjoying themselves.

MAN 13:
You always try to be like you heroes.

(somber rock music)

MIZER:
I think it was in the late 50s.

I sent some sample drawings
to Physique Pictorial in the USA.

MIZER: And I was very impressed
with his draftsmanship

and the spark and vitality in his work.

The editor was really enthusiastic.

To him, Finland was somewhere
far away and exotic.

MIZER:
He would sign his letters Tom.

I had no idea what name to use.

I only knew that
I couldn't use my own.

MIZER:
We knew he was from Finland,

so that was the logical
thing to say, Tom of Finland.

There's a nice, wholesome, clean-cut name.

Unpretentious, masculine.

And his subjects that he drew
were obviously Finnish types.

The physiognomy, the structure
of the bodies and all

were Finnish types of bodies.

It seemed that that gave it a
definite character of his own

to say Tom of Finland--

It bothered me, because I'm not
an official representative of Finland.

It's a personal thing for me.

(slow music)

(sighing)

(distorted music)

- (explosions booming)
- (gunshots booming)

(intense music)

Those years that for most people
are among the best in their lives —

years you spend studying and enjoying life,
learning about yourself and the world.

For me, that time was during the war.

It was a harsh and brutal time —

but it pushed me into
new fantasies and visions.

All of my contacts
during those five years —

were related to uniforms
in one way or other.

Civilians were
suspect in some way.

There must be
something wrong with them —

because they weren't
accepted into the army.

We were full of
naive patriotism.

Everybody had to join the army —

and fight for the holy cause,
all sorts of nonsense.

Quality requirements
also started creeping in —

like a well-built body
in a tight-fitting uniform —

so they looked like real he-men.

It was more effective than
a guy in a baggy uniform.

They were increasingly
looking for an ideal.

That was of course
on a different level in Germany.

When the war ended,
things changed radically.

I felt rootless.

I had no traditional contact
with my surroundings, no family.

I felt a tremendous need for
something more sensitive —

more 'alive' in contrast to
killing people in the war.

My parents gave me a pair
of brown leather boots.

The first few days I wouldn't
take them off, even in bed.

My mother made me
take them off —

but when she left the room
I put them on again.

I wore them all night and
no doubt had pleasant dreams.

Already then I had this strong need
for contact with leather and boots.

I was born in 1920,
70 years ago.

Living conditions have changed
a lot since then, in one lifetime.

I was born in Kaarina
in southwestern Finland.

Both my parents were teachers.

We lived at the school,
there was plenty of space.

But life was very primitive.

I was already at school —

when the first cars
appeared in the village.

It became fashionable to have a car,
and my father bought one too.

It was a Chevrolet,
model 25, a cabriolet.

The roof didn't work.
It wouldn't come down.

But to us it was a great automobile.

- (children chattering)
- (somber music)

I studied music at
the Sibelius Academy.

I also graduated from
Advertising College.

I got a fabulous job at
a big advertising agency.

There was a great shortage
of graphic artists.

I started as a trainee drawer.

I was there for 15 years,
and advanced rapidly.

- MAN 1: Musclebound gods.
- MAN 2: Liking each other.

Doing what they felt like doing.

- with each other.
- MAN 3: In bed or not.

MAN 4: Enjoying themselves.

(orchestral music)

- MAN 1: I'm a Tom's man.
- MAN 2: I'm a Tom's man.

- MAN 3: I am a Tom's man.
- MAN 4: I'm Tom's man.

MAN 5:
I am one of Tom's men.

(orchestral music)

When I first started all this —

my characters were
exaggeratedly beautiful.

Long eyelashes and red cheeks.

To make them acceptable,
I made them young and fresh.

This was not really my style —

but I did it to please other people.

- MAN 1: They loved him.
- MAN 2: They wanted more all the time.

Gradually the prettiness fell away
and was replaced by masculinity —

which I personally felt was
more interesting and appealing.

MAN 1:
He was able to put sensuality

- into his drawings--
- MAN 2: Just to what degree

he could exaggerate the anatomy
without it being unbelievable.

Make it idealistic
without making it unreal.

I was much influenced —

by American body-building
magazines of the time —

that depicted their he-man types.

MAN:
With Tom's characters you could believe

that they could exist.

They were just perfections of type.

They couldn't happen very often,

but at least you knew
there was a possibility.

(orchestral music)

MIZER: The name of the magazine
was Physique Pictorial.

We didn't start the magazine until

about six years after the business--

There were lots of famous guys —

who were not professional
body-builders —

but did regular modeling jobs.

I copied them.

Usually with permission,
sometimes even without.

MIZER: He had his own ideas of
what he wanted to draw,

but he didn't like particularly
being told what to do.

A heavily built,
well-trimmed body.

Short hair, friendly,
sometimes over-friendly smile.

No frightening, nightmare types.

MIZER:
He would see our films and our photos

and it would give him
an idea for a drawing,

so it was a wonderful exchange
of ideas between the two.

And we saw his drawing
set called Circus Boys,

of a farm boy getting a tattoo.

And we turned that into a little film

we called The Tattooed
Sailor and the Hoods.

I primarily borrowed
a strong, healthy type.

I found it attractive.

(upbeat music)

- (motorcycle engines rev)
- (sirens wailing)

BLAKE:
A lot of the leather and rubber fetishism

that we know today originated
in Britain after the war.

The role that Tom played in all of this

was that his drawings were connected

to almost a sort of invisible network

of gay people throughout the
United States and Europe,

who were all linked together
by smaller magazines

like Physique Pictorial magazines,

and Physique Art.

I was living in a little
bitty town in Texas.

But apparently the town
homo ran the drugstore

and he carried the Athletic Model Guild.

I was only 12, so they wouldn't sell

something like that to me, not in 1957.

But I stole that very first issue

that had the Tom of Finland
drawing on the cover.

TOM:
It did not pay very well.

But I had another job,
so money was not so important.

But getting drawings published
was rewarding to me.

I wanted to make them
as natural as possible.

Sometimes there was a nose
or waist or something —

that had to be corrected a little.

I added elements to existing photos
and transferred them onto paper.

This automatically gave me
a photorealistic approach.

It had a special effect,
for me, at least.

I suddenly began seeing
the figures as being almost alive —

not just outline caricatures.

(acoustic guitar music)

This is a typical example
of how I search for specific details.

I have used a photograph here.

This was done to order.
First there was this posture —

then I elaborated it
by drawing with exaggeration

Here we have
the same technique.

A living model is
transferred to a drawing.

This is a long mural,
although it's made on canvas.

The client wanted a racing scene.
In planning the composition —

I took this photo I had saved
a couple of years earlier —

because I thought it was great.

So I used it as a model
for one motorcyclist.

So, I either used an existing photo
or took a photo of a given motif.

Nowadays I use living models
as much as possible.

I like to choose them myself.

I take a photo of the model
and draw from that.

It gives me a visual image
of a living person —

and I recall their features
and gestures when I draw the picture.

Normally I use pencil.

One picture takes about a week.

I'd say I've made over 3,000 pictures.
Probably quite a lot more —

because that estimate was made
almost 10 years ago.

Of course, I'm not as
productive as I used to be —

but I must have done
a few hundred since then.

ANNOUNCER:
Lift-off.

(rumbling)

In the early '60s people
had got used to this type —

and started asking for
more exaggeration.

I also had a need to pump up things
that were important to me.

Another thing was that photography
had advanced a lot technically.

It was possible to depict muscular
super-types in photographs.

My problem was how to compete
with authentic photographs.

How to show more than the camera could.

That led to a period of exaggeration
and over-sized dimensions.

MAN:
My name's Kake, what's yours?

TOM: I wanted to make
a kind of universal type.

A guy who is open to anything.

One reason was that
I had met a lot of people —

who were very inhibited
in their behavior and preferences.

I was quite disappointed
with them.

Another reason was —

that I wanted to create
an ideal Finnish type —

as a counterbalance to
the American type.

MAN:
My name's Kake, what's yours?

TOM: Partly he was an embodiment
of my own unfulfilled dreams.

I took all the properties
that I myself did not have —

and put them into
this comic figure.

MAN 1:
Hi there, fella.

- I know what you need.
- (moaning)

MAN 2:
I've waited so long for someone. (moans)

- MAN 1: Time to get fucked.
- (moaning)

MAN 2: I never knew
that sex could be so terrific.

MAN 1: My dick's so fuckin' hard
I can't get the fly open.

- MAN 2: I'm getting all that?
- MAN 1: You sure are.

It's gonna be one terrific fuck.

MAN 2: Take me.

- MAN 1: Oh, tight fit--
- MAN 2: Fuck me.

MAN 1: This is where I make

- a real man of you.
- MAN 2: More!

MAN 1:
My balls are exploding, oh boy,

- it's terrific.
- MAN 3: What the hell

- is going on here?
- MAN 2: Father!

Hey, Dad,
I don't know who he is.

FATHER: Well leather fucker,
you came here for a fuck,

and a fuck is what you're gonna get.

MAN 2:
I didn't know you swing this way.

FATHER:
That's my boy, horny as hell.

I hope you've saved some
for your old dad.

- MAN 1: I'm a Tom's man.
- MAN 2: I'm a Tom's man.

- MAN 3: I am a Tom's man.
- MAN 4: I'm Tom's man.

- MAN 5: I am Tom's man.
- MAN 6: I grew up in a seaport.

MAN 7:
I always enjoyed high school.

- MAN 8: I was 19.
- MAN 9: Small town.

- MAN 10: Los Angeles, San Francisco.
- MAN 11: Chicago.

MAN 12:
In Europe.

MAN 13: LA.

(airplane roaring)

By the '70s I already had close contacts —

with publishers of erotic pictures.

I was able to express myself
in these pictures —

better than in campaigns
for a big advertising agency.

In 1973 I left my regular job
and focused on drawing.

Things had started to go
as I had hoped.

DEHNER:
They wanted to really put

the red carpet out for him.

And so they arranged a motorcade.

And there they are, you know.

A militia of leather guys waiting for him,

right there in the lobby of the customs

at the international terminal.

So he was really surprised, and

so in the end he goes into the motorcade

and off he goes into Manhattan
down to Greenwich Village

where the exhibition was
opening, it was opening night.

So he pulled out of his briefcase,

I mean out of his satchel,

his typical motorcycle leather cap

and he changed into his leather jacket.

And there was like a
typical New York opening

with lots and lots of people.

Very mixed, lots of women,
Robert Mapplethorpe,

men, straight, gay, Warhol.

(chatting and laughing)

MAN: When I was 15 I kind of
snuck into a buddy's room

and I was going through some of his stuff.

And I saw Tom of Finland's drawings.

I think that was the first time in my life

that I could see myself
in a gay situation.

You know, with men, 'cause I

could see myself in those drawings of his.

And so I was fascinated
about meeting Tom Finland.

I just thought to myself,
here's this incredible artist

and master drawer, and
he's just drawin' away

at this tree, and I said,
"Tom, Tom, don't draw the tree.

"Draw me," and he said, "All
right, just stay right there."

And he sketched me up, and that was it.

You know, so, he goes, "Okay, thanks."

I just thought well,
all right. (chuckling)

And it was fantastic, I mean,

it really was something
that I always wanted.

And for him to do that for
me was a real compliment.

TOM: All the years that I have worked
for the American market —

have given my drawings
a certain American look.

DEHNER:
Tom and I started the company because

other people were pirating
his work all over the world.

A good example of that was

when we printed our first
little book here in LA,

we went to a printer
that I was referred to

in North Hollywood.

The guy had been in adult business

for many, many years,
and boasted to Tom and I

that in fact he had paid
for his kids' college

education through the volume of Tom's work

that he had pirated and
sold over the past decades.

TOM: An Italian company sent
a contact to Copenhagen.

Whenever a new issue came out,
they had it in Italy a week later.

So we set up a partnership
and took back the control

so that he could in fact
publish his own work

and reap the benefits of it, financially,

and have control over the quality of it.

TOM: Setting up our own business
gradually cut down piratism.

DEHNER:
Now, eight, nine years later,

we've got a catalog with, I
don't know, maybe 60, 70, 80

different pieces of
merchandise that we sell.

MAN:
Kake in the Wild West.

He has not yet experienced the gay West,

so he gets on his bike,

and off he rides to a saloon

where lustful cowboys play
their games. (chuckling)

Fuck, his big rock-hard tits and juicy ass

fixate those cowboys' attention.

But they cannot believe
that the enormous bulge

in his shiny, skin-tight leather breeches

is the real thing. (chuckling)

Till it's pulled out.

Ooh, the monstrous gleaming,
throbbing tool.

Ready to make any cow-hand happy.

Then a big fuckin'

dirty desperado

came walkin' through
the doors of the saloon.

- (groaning)
- He had a smelly, itchy crotch

and a big fat dick that
needed some servicin'.

He was mean.

- Then--
- (gunshots booming)

MAN:
Kake put his head and dick together.

- (gunshots booming)
- MAN: To fix this dirty problem.

- (blows landing)
- (gunshots)

DEHNER:
Hearing so many stories of so many men,

leather and craftsmanship nation,

and so about 1986, I started
the foundation for him.

I sort through the archive catalog

and all of the slides and record prints

that we have supplied to
us from Tom of Finland.

I edit

our newsletter, which
comes out two or three,

hopefully four times a year.

And I do a lot of press release writing.

DEHNER:
We're cataloging all of Tom's work,

which is like over 3,500 finished drawings

and about another 2,000 rough sketches.

And so then we'll have a library of that.

And then we're collecting
all sorts of ephemera,

which are things that
have Tom's images on it.

And our goal is then to establish a museum

for Tom's erotic art.

(wordless vocalizing)

(slow rock music)

TOM: No matter how hard I try
I can't make them appealing.

I don't have the right
feeling for them.

If I try to copy a woman
from a sex magazine —

there is always something,
not negative but cold about it.

It lacks that feminine sensuality.

(film projector whirs)

(slow rock music)

Tom's work is an ideal image
of masculinity and sexuality.

It wasn't till I saw Tom of Finland's work

that I realized it was possible
to be gay and positive.

ETIENNE: The sense of fun, I
think, is very important.

It let people who were
disposed to this type of thing

realize that it didn't all
have to be dark and brutal.

Tom structures the drawings

around the ways in which various
people look at each other.

Rather than to just have a
sort of one-to-one interaction

- between the viewer.
- ETIENNE: His expressions

were very important, very erotic.

BLAKE:
There's always a situation where people

are looking back and forth at each other,

returning these looks, and
deriving pleasure from it.

TOM:
The first time I noticed this —

was when I saw some
superb oil paintings —

by a Mexican painter
called Quaintance.

But his figures never
made proper eye contact.

There might be two figures
close together —

but there was nothing
connecting them.

One guy's arm may be
on the other's shoulder —

but there was no sense
of human contact.

This bothered me a lot.
I wanted the eyes to show —

what they were feeling
and wanted to say.

(slow rock music)

ETIENNE:
We of course both were drawing

during the period when you couldn't

show too much happening,
so you inferred a lot

by the looks on people's faces.

Readers usually knew
only their native language.

So we couldn't use text
to express what the figures were feeling.

We had to use the face
and gestures and actions —

as a means of expression.

ETIENNE:
If you were going to draw this kind

of genre at all you were
going to do Greek gods

and people who were very inaccessible.

There was a transition from

the sort of image of the
homosexual past being

somehow linked to ancient
Greece and sort of

the figure of youths.

Instead, Tom situates that image

in the people around him.

He drew real people

in situations where they were having fun.

(wordless vocalizing)

TOM: I need a certain atmosphere,
a certain mood, it gets me excited.

I often work dressed up in special outfits.

It inspires me when I'm developing a fantasy.

The uniforms date further back.

They are from the period —

when I recognized myself
and my own preferences —

namely the war years.

BLAKE:
Some of his earliest sexual experiences

were with German soldiers
during World War II.

And he initially began
drawing his fantasies

of those encounters.

(fast rock music)

His work drew

some of the

representational tropes

that were favored by

sort of official artists
under Nazi Germany.

TOM: This urge to exaggerate
was quite obvious —

in images used in propaganda.

A striking outfit was used —

to accentuate authority and masculinity.

BLAKE:
Tom sort of took those influences

and moved past the sort of allusions

to sexuality

that they contained, on to a more direct

presentation of sexuality.

There was this guy there
who was head to toe leather,

I mean I just

fell in love with him
from the first moment.

I lit his cigarettes a couple times,

finally tried to talk to him.

He turned around, looked me up
one side and down the other.

He said, "Who the fuck is
this guy to be talkin' to me?"

I was devastated.

The owner of the bar,
who was a big huge woman

we all called Mother Marion,

she saw what was going on and she saw

that I was really hurt.

She said, "If that's the
kind of man you want,

"you've got to be that kind of man."

So that following week
I went out, got myself

a haircut and picked
myself up a leather vest

and went back in.

I had on black boots, tightest
jeans that I could find,

white T-shirt, my vest.

This same guy was there

and he lit my cigarettes a couple times.

And finally he just, he
invited me back home.

And I looked at him and said,

"Who the fuck are you to talk to me?"

He just looked at me like,

how dare you talk to me that way?

I said, "Don't you remember, that's what

you said to me last week."

Well the two of us did
end up goin' together,

we started a six-month romance.

But you know, hey, I was attracted to it.

And I went for it, and
I became a leather man.

(slow rhythmic music)

MAN: It's a resonance, it's
a ringing or a harmony

that I feel when I'm in leather.

TOM: Leather has lifelike qualities
that kind of rub off on its user.

I don't think leather is worn
so much for practical reasons —

but more for the contact
between leather and skin.

MAN:
It's just part of me.

It's nothing that's out of the ordinary,

it's nothing that's unusual.

And most of my friends know
me primarily in leather.

In bed or not.

TOM: It's like a substitute
for a partner —

identification with another role.

(rhythmic music)

MAN:
I dress like this because I know

I feel good in it and I look good in it.

Boots, chaps, bikers hats,

- gloves are real big for me.
- The feel.

The touch, the smell.

The ability to enjoy
oneself wearing leather.

To be with other people in it,

to know you have something in common.

You know, the more these guys
have on of these things or are

presenting themselves this
way the more I like it.

We pride ourselves on the way we dress.

TOM: In the early years, when
these things were new to me —

leather was only worn
by outdoor workers —

such as lumberjacks
and truckdrivers.

BLAKE:
One of the most powerful things

about Tom's imagery is
that it's very based in

contemporary images and ideas.

Tom really took as his subject matter

sort of proletariat men.

MAN: Well,

I was workin' for the Rio Grande Railroad

on a steel gang, traveling
from town to town,

repairing and replacing track.

So I was working with all
these guys, big bodies.

And I had a older cousin
who came to live with me

for the summertime.

And one day I went through his suitcase

and saw some of his Tom
of Finland drawings.

It reminded me a lot
of people I worked with

and I had always thought that
the railroad is really hot,

the guys are really hot.

It just was amazing to me to see

somebody who drew the things that I saw.

He showed me the same things
that I found attractive,

he emphasized.

MAN 2: His drawings basically
are blue collar men.

And seeing two blue-collar
men enjoying each other

made it more acceptable to me.

Up until that point,

coming from a very blue-collar background,

it was all I could see, all
negative associations with it.

When I finally did come
out, it just made me be

more comfortable with who I am,

be more comfortable with
the fact that I am gay

- and I like other men.
- BLAKE: Even when Tom

uses something, like cowboys,

it's constantly today's cowboys.

It's not really a
historical representation.

There's a clear sense
that they are actually

related to contemporary--

Perhaps it has been
more natural for me —

to develop my own fantasies and
freedoms around this type of people.

They have become the basic
types in my collection.

BLAKE: So that you are
presented with a situation

where there's a sort of world,

a universe of Tom's that we enter into.

(blues rock music)

(distorted rock music)

BLAKE:
Tom's work is very interesting

because it's almost a type of

blueprint for

the appearance of gay men

in the latter part of the 20th century.

They started to dress and comb their hair

and take the stances, attitudes

that were in his drawings.

MAN: When I met Tom, he
commented on my sideburns.

I said, you know, they are no accident.

That you did have a big
part in why I have them,

and why I've had them for years

when it was not a fashion statement,

and when people pointed and
said, "What the fuck is that?"

BLAKE:
Tom presented a situation in which

gay sex was linked to very real men.

(rhythmic music)

MAN 1:
Since I found that attractive

I thought it would be hot if

I made myself look as
close to that as I could.

- MAN 2: I'm a Tom's man.
- MAN 3: I am a Tom's man.

- MAN 4: I'm a Tom's man.
- MAN 5: I am Tom's man.

MAN 6: I am Tom's.

MAN 7:
In an interview that I heard,

Robert Mapplethorpe said
that he believes fully

that the image of gay men today

in leather and uniform is directly related

to Tom of Finland.

BLAKE:
The sort of gay macho look

that Tom was very responsible for

creating and disseminating

went on to become sort of

one of the major icons of
sexuality in our culture today.

Not only for gay men but
also for straight people.

And it's an influence that spread

through the continuing fascination

with the leather community,
through films like

Querelle, through the work of people like

Robert Mapplethorpe and Herb Ritz.

And through the images
adopted by rock stars

like Adam Ant or Madonna.

(rock music)

MAN: I'm in a sort of an
alternative rock band in LA

called Discipline.

I'd always had this
dream, 'cause certainly

there's nothing I can really
do to get my penis to be

as large as the ones in his drawings,

so I figured that when
I made lots of money

that perhaps I could
commission Mr. Finland

to do a portrait of myself

in his style and exaggerate the necessary

parts of myself to make
this kind of uber-man

for a record cover or
something. (laughing)

Tom's work actually served to undermine

a lot of the traditional images
of power in Western society.

It took the sort of macho figure

and sexualized it.

It's really an idea that is
exciting to me personally.

To imagine that an unyielding
wielder of power —

not necessarily an abuser —

turns out to be a soft,
very human individual.

Unleashing the fantasies
reverses the roles.

Take a policeman, for instance —

who abuses and exaggerates
his power.

Then a group of 'troublemakers'
comes along —

and subjects this
power wielder to a situation —

where he loses his power.

Yet he enjoys, or has to
enjoy the situation —

in a new, positive way.

(pop music)

MAN 1:
Just another day's work.

Just another day's work.

Just another day's work.

In the life of this policeman.

Just another day's work.

Just another day's work.

Just another day's work.

In the life of this policeman.

MAN 2: Many of the policemen
were sort of standard

figures for sexual attraction for gay men.

MAN 3:
Police boots with motorcycle officers

are just a real special turn-on.

And watching a cop going
down the street on his bike

is sort of akin to what the old West

and the sheriffs used to do.

They're the replacement, the motorcycle's

a replacement for the horse.

The cops with their knee boots

are replacing the sheriffs with
their cowboy boots or chaps.

So it's all part of a sensual experience

and the raw power that they have,

just being able to service
others and to be served.

That's a lot of fun.

DEHNER: Total maleness, in
regards to Tom of Finland,

I think, is masculinity.

Maybe there's a lot of brute force,

but it always ends up

with people having a sense
of camaraderie and laughter.

MAN 1 ON TAPE:
Yeah, that'd be cute, yeah.

Oh yeah, oh man, I'm
gonna stuff it down you.

Come on, I'm so hard man.

MAN 2 ON TAPE:
Okay.

MAN 1 ON TAPE:
Here it comes.

- MAN 2 ON TAPE: Are you coming?
- MAN 1 ON TAPE: Yeah.

- (groaning)
- BOTH: Oh, yeah.

- MAN 1 ON TAPE: Yeah, man.
- (groaning)

MAN 2 ON TAPE:
I'm comin'.

(groaning)

- (groaning)
- MAN 2 ON TAPE: That's right.

- (groaning)
- MAN 1 ON TAPE: Oh yeah.

- MAN 2 ON TAPE: You feel good to me.
- MAN 1 ON TAPE: Feel that.

- MAN 1 ON TAPE: Felt good.
- MAN 2 ON TAPE: Thank you.

(rhythmic music)

MAN: Tom managed to destroy
the idea of the third sex,

of the indeterminate sex.

Which was always the image of gay people,

that gay men were some sort of
cross between men and women.

You know, the other day a friend of mine

who's a black guy here in LA

told me a story about Tom,
and it goes like this.

Tom and I were out at a bar in LA and

Tom went up to this other fellow and said,

"Boy," he says, "I bet you could peel

"the skin off an orange with those lips."

And the guy, of course,
had beautiful, big,

thick black lips.

And the fellow was rather
insulted by Tom's comment.

And not until about six months later

when he drew this fellow

with these beautiful, luscious black lips

did the guy realize that
it was a compliment.

- Tom loves black guys--
- JULIEN: The white's eye

for the other is perfectly
described in Tom's drawings.

There's a drawing in particular

when black sexuality has been constructed

through kind of white
desire, white anxiety

and white fantasies projected upon

the black coven and I think, obviously,

kind of like S and M has its limitations

for most black people in
our historical relationship

to imperialism and
post-colonialism and enslavery.

(rock music)

Within this kind of symbolic imaginary

black men of course are
gonna have the largest dicks.

And in Tom's drawings that's
obviously a compliment,

I suppose.

(rock music)

TOM: In the early years
homosexuality was banned —

in Finland and
most other countries.

This resulted in feelings of guilt —

which prevented people from
showing their true feelings.

Although I had to
abide by these rules —

the situation was unnatural for me.

My preferences were genuine,
I was born with them.

There was nothing learned,
or sick, about them.

MAN:
He always shows his men

in the most natural settings,
in the most open areas,

whether it's out in the countryside

or on an open road or in the woods,

rather than in a dark, secluded place.

I wanted to give this group
a boost, a justification —

if only in the form of pictures —

to say that they can express
their feelings openly —

that smiling and feeling
happy is permitted.

I wanted to correct the injustices
of real life through fantasy.

This was a reflection of my own life.

I needed to experience
a human relationship —

as a warm, homely
constructive thing —

where pure sex is not
the overriding element.

MAN:
When I met him, he was in a relationship

of 28 years with a man,
whose name was Veli.

I also needed to show —

that a very masculine-looking
guy can have tender feelings.

MAN:
They had lived together I mean for

that length of time, and
they were very different.

There is this contrast.

The outside world expects you —

to look like a statue and
behave in a macho manner.

Yet, there is a living,
feeling person inside.

MAN:
Veli was not interested in Tom's leather

and uniform friends or his lifestyle.

But was really a true partner for him

in regards to protecting him.

TOM: There were some 'couple pictures'
and also some individual poses —

where I think I captured
the right way to express it.

DEHNER: It really was a very
stable base for Tom.

And after Veli passed away from cancer,

Tom was sort of vacillating

and actually came in closer

to the brotherhood of people
that were part of my family.

So then was when he
started coming to America.

And I'd ask him sometimes, I'd say,

"You know, why don't you wanna hang out

with older people your same age?"

And he'd say, "No," he
says, "A lot of my life

"is in being with people that are living,

that are vibrant, that are young."

(distorted rock music)

My drawings are mainly
aimed at individuals —

who may have experienced
misunderstanding and oppression —

and feel that their own lives
have gone wrong.

I want to give them encouragement.

I have never wanted
to classify people.

In my own experience —

everyone has something
of everything in them —

but in different proportions.

Nothing is totally
alien to anyone.

I want to encourage
this minority group —

to tell them not to give up —

to think positively about
their act and their whole being.

(slow music)

DEHNER:
Tom was, like, the guest of honor that year.

But he was like really, you know, shy

about going up in front of the stage.

And so my lover and the artist Etienne

had to sort of go up with him.

And all of a sudden this shy man

sort of started to feel the strength,

and pretty soon he was
sort of standing up there

with his arms raised,
and he was like proud.

(slow jazz music)