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Why Old Guard? What does it Mean and where does it come from?
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UPDATE 23 December 2011 I have decided to include an excerpt about the Old Guard from a noted
anthropologist known as Gayle Rubin. Gayle Rubin is also an author of numerous academic articles, including "The
Traffic in Women: Notes on the 'Political Economy' of Sex," "Thinking Sex," "The Leather Menace," and "Misguided,
Dangerous and Wrong: An Analysis of Anti-Pornography Politics." I feel that this excerpt is relavent to the
history of the Old Guard.
I have problems with the way in which the distinction between "Old Guard" and "New Guard" is sometimes deployed. While there are many differences between leather/SM as it was practiced in the 1950s and as it is practiced today, the shorthand terms can exagerrate and oversimplify our past and our present. Most of the alleged differences popularly thought to differentiate "Old Guard" and "New Guard" -- formality versus informality, strict etiquette versus a more casual style of social interaction, deliberate training versus less organized acquisition of skills and knowledge -- are more a matter of degree than absolute distinctions. In fact, if one looks at "Old Guard" leather and SM communities from the late 1940s through the early 1960s, one can see that both tendencies were already present. Louis Weingarden, who opened one of the first leather art galleries at his Stompers boot store in New York City 20 years ago, identified two stylistic poles of traditional gay male leather. One was the military, with its strict formality, heirarchy, order, and discipline. The other was the world of bikers, associated with the celebration of disorder, rebelliousness, and individualism. Both tendencies were important to leather imagery and SM practice. In the 1950s there were those who eroticized and engaged in very formal interactions based on strict codes of courtesy in the military model, and others who preferred the look of dirty bikers and a more orgiastic kind of buddy sexuality. Of course, there were spit and polish bikers too, and others who looked like greasy bikers but preferred formal SM sex. Similarly, while many people in those days underwent formal training and apprenticiships, others entered leather communities via the bars, social clubs or parties, and absorbed their socialization in a more haphazard fashion. Today, while the leather/SM community's dominant styles of public interaction have changed, all of the "Old Guard" practices and preferences are still with us. Even now, there are those for whom leather and SM are formal affairs with strict codes and etiquette, and those who seek and find training through apprenticeship types of relationships. At the same time, there are others for whom leather means freedom from certain conventions and a way to chart an individual path. Across the different eras, many have found freedom in formality, individualism through observance of custom, and a sublime order in things non-leatherfolk might consider completely chaotic. There have certainly been many changes in leather and SM social life since the late 1940s, but these are more complicated than the simple distinction between "Old Guard" and "New Guard" can express. Many people today regard just about everything before the 1980s as "Old Guard," but by then, leather/SM had already undergone several social revolutions and "Old Guard" had already had several "New Guards." In the mid-1960s, classic leather styles began to give way to a kind of "hippie leather." People grew their hair, took psychedelic drugs, became less invested in 1950s formality and created new subgroups organized around different sexual styles, for example fistfucking. At one point, dope smoking leather guys and fistfuckers were in effect a kind of "New Guard," although that terminology was not yet commonly used. By the mid-1970s, there were several distinct leather styles and cultures, although individuals could move among them. After Stonewall, urban gay male populations grew, and by the late 1970s leather had become a kind of uniform for urban gay men -- most of whom would never experience the business end of a whip. This "clone" look included short haircuts, mustaches, tight 501 jeans, boots, leather jackets, and keys dangling from belts. The late 1970s are often seen as a kind of "golden age" of SM in San Francisco, but the large scale adoption of leather styles by non-leathermen diluted the signals and frustrated the hard core leather population. This situaton led to the founding of the 15 Association in 1980; the 15 intended to create a more reliable SM environment, in which people did not wear hankies or keys as fashion accessories. From a larger perspective, it is clear that many of the differences between "Old Guard" and "New Guard" are the differences between life in the US in the 1950s and life in the 1990s. These differences are common to many groups, not just leather/SM. For example, among surfers one hears laments about the loss of "serious" surfing as the activity has become popularized, styles have become commercialized, and communities have becomes more open. Much of what is described when people talk about changes in the the leather community comes down to more people, more money, and more commercialization. Leather public social spaces are less cozy. Communities are now bigger and it's hard to know everyone. People often make judgements about others -- and about what is important -- based on what they see at a distance on a stage, not what they experience on a daily basis or within the intimacy of a dungeon. In earlier days, people still had to take risks to be involved in leather/SM, and there wasn't much to be gained apart from the experience itself. Today, some people seem to care more about money and glory and their high profile than they do about the quality of their interactions. I began to notice some of these shifts in the mid-1980s, when the energy at public play parties seemed to change for the worse. Before then, many of the parties had been informal rituals of solidarity, pleasure, celebration, and connection. People cared most about having a good time. Even in casual or recreational play, the focus seemed to be on the quality of the connection between the players themselves and on building and sharing an energy that whole rooms could get high on together. At some time in the mid-1980s, it seems that many people began to care more about what the audience saw than what their partners experienced. Leather had become trendy and popular rather than despised and stigmatized. Others seemed to merely go through the motions -- SM too often became a mechanical exercise rather than an art form or a form of intimate communication. I'm not saying that there is no great public play today, but I often see a community that lacks some of its former style, grace, and values. Apart from increases in numbers, popularization, and commercialization, the gay leather community has had to deal with one unique factor that cannot be underestimated: the escalated rate of early mortality due to AIDS. The HIV/AIDS epidemic has damaged leather communities and social life in incalculable ways. Communities have experienced the loss, in a short period of time, of many of the men (and a few women) who made major contrinutions to creating and sustaining public leather life. Among these were Cynthia Slater, who did so much to build bridges between the genders and orientations; Mark Joplin whose spirit and soundtrack helped shape the great parties of yesteryear; Steve and Fred who made the Catacombs such a fabulous club; Kurt Woodhil whose brilliant dungeon design made the Hothouse and later the 15 Cedar Alley space so memorable; artists like Chuck Arnett, A. Jay, Cirby, Dirk Dykstra, and Robert Pruzan who decorated so many walls and lives; playwrights like Robert Chesley; producers and gallery owners like Peter Hartmann, Robert Opel, and Claude DuVall; doctors like Dick Hamilton who treated perverts and fistfuckers who couldn't take their injuries elsewhere; therapists like David Lourea who tended the same population for a different set of ills; club presidents and owners such as Louis Gaspar, Hal Slate, Jack Green, and Steve Maidhof; writers like Geoff Mains and John Preston; and hundreds of others. The collective absence of so many leather forebears is, I think, one of the main reasons why the social changes of the last decade seem to have produced so much more of a chasm than did previous ones. These people not only built and refined our institutions, but they also met and talked and played with innumerable others, all the while transmitting community values to newcomers. Their loss has damaged the social fabric of the leather community and has created huge gaps in the transmission of leather culture. Some of this culture has been irretrievably lost, and leather society has had to reinvent important pieces of itself as a result. Although much has been lost as leather/SM has evolved, new developments have brought positive changes as well as problems. I'm not proposing that we could or should go back to the 1950s. We should neither romanticize the past nor fail to value it. Today, there are many ways to acquire leather attitudes and leather knowledge, including open classes, books, structured programs such as the Journeyman II Academy, as well as more traditional apprentice relationships. We have only begun to systematically think about leather history. As more archival and historical material becomes available for study, the schema outlined here will undoubtedly be modified. But I suspect that as we learn more, the simple opposition of "Old Guard" and "New Guard" will be even more radically dislodged by increasingly nuanced and detailed accounts of different leather practices and populations. The early 1990s eruption of concern over "Old Guard" and "New Guard" will itself become a part of that history.
Some Related Writings by Gayle Rubin "Sites, Settlements, and Urban Sex: Archaeology And The Study of Gay Leathermen in San Francisco 1955-1995," in Robert Schmidt and Barbara Voss, eds., Archaeologies of Sexuality, (London: Routledge, 2000) "The Miracle Mile: South of Market and Gay Male Leather in San Francisco 1962- 1996," in James Brook, Chris Carlsson, and Nancy Peters, eds.,Reclaiming San Francisco: History, Politics, Culture, (San Francisco: City Lights Books, 1998) "Elegy for the Valley of the Kings: AIDS and the Leather Community in San Francisco, 1981-1996," in Martin P. Levine, Peter M. Nardi, and John H. Gagnon, eds., In Changing Times: Gay Men and Lesbians Encounter HIV/AIDS, (Chicago: University of Chicago Press, 1997) "The Catacombs: A temple of the butthole," in Mark Thompson, ed., Leatherfolk -- Radical Sex, People, Politics, and Practice, (Boston: Alyson Publications, 1991) (a revision of an article that appeared in Drummer 139. May 1990) "Music from a Bygone Era," in Cuir Underground, Issue 3.4 - May 1997. http://www.black-rose.com/cuiru/archive/3-4/musichist.html "Samois," in Marc Stein, ed., Encyclopedia of Lesbian, Gay, Bisexual, and Transgender History in America, (New York: Charles Scribner’s Sons, 2003) and reprinted in The Leather Times, Spring 2004 (at http://www.leatherarchives.org/resources/issue21.pdf)
I consider Myself a Master that follows the traditions of the Old Guard. There are several articles included here that explains My understanding of what it means to follow the traditions of the Old Guard. slaves considering a Master who identifies Himself as an Old Guard Master should take the time to learn about what that means for two very important reasons: 1) To determine whether the Master truly follows the Old Guard traditions. 2) To understand the things that will be required of the slave by an Old Guard Master because they are very different than the things that just any Master or a Dom will require of a slave. What it means to be an Old Guard Master now-a-days is not always clear. The phrase is bantered about the Internet as some sort of convenient catch-phrase for Masters and Doms. I take offence at this. Why? Because there are people on sites like slave4Master and Recon, to name a few, that are not authorized to use that phrase when they are referring to themselves. Well you might wonder "Who authorizes one to use that phrase?” The individual authorizes themselves by virtue of their behavior. What is the behavior of a person that would indicate that they are an Old Guard Master? In order to answer that question I have will have to explain a few things about the Old Guard; where the phrase comes from and describe the behavior of an Old Guard Master. To Me the bottom line is whether it can be proven that Old Guard actually existed or not, does not matter. What matters is that the Master who identifies Himself as such, seeks to define His life and the life of His slaves in a manner that utilizes a definite code of honor, respect, protocol and honesty. What could be wrong with that!? First of all: What is the Old Guard? Generally speaking most Masters who have had some experience with the Old Guard; either through an older friend or have lived in an area during a time when where there were leather bars that catered to Leather folk and/or gay motorcycle leathermen, will have a similar definition of an Old Guard Master. Historically, an Old Guard Master was a man that lived in a time between the 1950's just after World War II. Many gay men from different states in the Union and foreign countries were brought together as a result of World War II. Prior to World War II gay men lived without the prospects of finding one another except by some happenstance. These gay soldiers learned the protocols of the military. After the war these men returned to their respective states and countries. Many of them decided they wanted to continue their relationships along with the military protocols of living by certain rules, regulations and a system of honor. These men formed clubs all over the world. Most of these clubs were made up of officers and enlisted men who had returned from the war. Many of them drove motorcycles and formed leather motorcycle clubs. Aside from their desire to continue living their lives by the military regulations and honor system, many were kinky gay men. Some of these clubs still exist to this day. Some of the most famous clubs founded in the 1950's are Satyrs, established in Los Angeles in 1954; Oedipus, also established in Los Angeles in 1958, and the New York Motorbike Club. Early San Francisco clubs included the Warlocks and the California Motor Club. These gay clubs, like the clubs of straight motorcycle culture in general, reflected a disaffection with the mainstream culture of post-World War II America, a disaffection whose notoriety and therefore appeal, expanded after the sensationalized news coverage of the Hollister "riot" of 1947. The 1953 film The Wild One starring Marlon Brando wearing jeans, a T-shirt, a leather jacket, and muir cap, played on pop-cultural fascination with the Hollister "riot" and promoted an image of masculine independence that resonated with some gay men dissatisfied with a culture which stereotyped gay men as effeminate. To that end, gay motorcycle culture also reflected some men's disaffection with the coexistent gay cultures more organized around high culture, popular culture (especially musical theater), and/or camp style. Perhaps as a result, the leather community that emerged from the motorcycle clubs also became the practical and symbolic location for gay men's open exploration of kink and S&M. Old As Seeds For The NewThere is an ongoing controversy amongst leather folk whether the Old Guard actually existed. If one looks at it from the standpoint of comparing the Old Guard legends to mythology then the likelihood that some form of the Old Guard did exist. It is an accepted fact that the myths of old served the purpose of transmitting certain values and facets of history to future generations. My personal belief is that there are threads of truth woven into the legend of the Old Guard. Those threads of truth have passed down to us, albeit in perhaps some evolved form, but nonetheless, there are certain facets of the Master and slave relationship that are universally accepted. Where did they come from? I believe that whatever the Old Guard traditions were served to plant the seeds for future generations. Whatever protocols were developed during the years of the 1940's and 50's were directly related to the military protocols that those men brought back with them from World War II. I also believe that some of those protocols were adapted from ancient beliefs regarding the Master and the slave. Again, whether the Old Guard existed or not; whether its present day form is romanticized or not, is definitely not the issue, nor should it be an issue. The traditions that exist today began somewhere. When people try and justify some behavior based on historical facts or traditions there are those who want proof that such historical traditions existed. It does not matter what the historical facts are. We all know that certain protocols exist now. For example; a Master knows that when a man is wearing a collar, it is to be assumed that person is a slave and has a Master. Other examples might be that, a slave knows not to look a Master in the eyes, to keep his head bowed before a Master, or that a slave must address a Master in a certain way. These are universally accepted facts. Why and where did these traditions come from? Greek and Greek Love by James Davidson Amazon (Review)James Davidson is a history professor at the University of Warwick in Great Britain. His work, entitled "Greeks and Greek Love" is a monumental work that brings to light many misconceptions about homosexuality in the ancient world. One of the most important facets of this work is that it describes in detail the roots of the Master and slave relationship in the ancient world not only in Greece but in Thrace, Thebes, Crete, Boeotia and many other ancient cultures. In brief, one of the fascinating things Davidson reveals is that in the ancient Greek world, a father would prime his son for pairing with an older male. A father would send his son, escorted, to a gymnasium before he turned sixteen years of age. The boy would be exercised under supervision, to tone and build his body until it was beautiful. Then at the age of eighteen or so, the boy would be presented to select men who were called Erastes (ee-ras-teez). Erastes were the Masters; men who had proven themselves in the community and who were considered a Master. At this stage the boy was referred to as a cadet, which is where our word for a military trainee comes from. Once the boy was paired with an older Master (Erastes) the boy was then referred to as an eremonos which is akin to an indentured slave. The relationship between the Erastes and eremenos is very much like our modern day understanding of a Master and His slave. In Greek culture both the Erastes (Master) and eremenos (slave) could take wives in order to bear children and take care of the home. The pairing of the Erastes (Master) and the eremenos (slave) took place in a public ceremony where both exchanged vows. There were generally flowers, dancing and a banquet. So the customs of the Master and slave that leather folk observe today is not that much different than have been practiced for thousands of years. The Erastes was not merely some lovesick admirers of cadets or eremenos but "...an aggressive male who pursues and penetrates boys." (Chpt.4, pg.119, Greeks and Greek Love). So, again, whether the traditions of the Old Guard exist or not it is clear that these traditions have been around for a very long time. Many modern day military traditions stem from the ancient Greeks. Tracing back certain traditions will show that these have ancient roots. Since the Old Guard adopted many of their traditions from the military it is not a far stretch to see where those traditions had their beginnings in much more ancient times. TraditionsThroughout the history of the leather subculture, a variety of traditions have been observed, often diligently. While most or all are based on military protocols and ritual, these traditions varied widely between regions, causing much of the debate today over which traditions are the "original" or "true" traditions, or whether the "romanticized versions of leather history" ever existed at all. As time progressed and BDSM became more mainstreamed, the traditions of the Old Guard leather communities have adapted. The first major evolution has become known as "New Leather" or "New Guard". However, even this is the subject of some disagreement, as many noted authors and historians assert that there are little or no substantive differences. Today, the leather subculture is one of many facets to semi-organized alternative sexuality. Many individuals describe long periods of introspection leading to their choice to identify as "leather". Others do not necessarily associate their leather lifestyle with BDSM, and simply enjoy the sensory experience of leather. The more specifically homoerotic aesthetics of men's leather culture drew on other sources as well, including military and police uniforms. This influence is particularly evident in the graphical illustrations of leathermen found in the work of Tom of Finland. The pornographic films of one of his models Peter Berlin, such as his 1973 film Nights in Black Leather, also reflected and promoted the leather subcultural aesthetic. Aspects of leather culture beyond the sartorial can also be seen in the 1970 murder mystery novel "Cruising" by Jay Green. This novel was the basis for the 1980 movie "Cruising," with Al Pacino which depicted aspects of the men's leather subculture for a wider audience. Rob Halford, the lead singer of heavy metal band Judas Priest, openly identifies as gay and wears black leather. And lastly, perhaps no figure has more vividly represented the leather subculture in the popular imagination than the Leatherman portrayed by Glenn Hughes of the Village People. Association with BDSMIn recent decades the leather community has been considered a subset of BDSM culture rather than a descendant of gay culture. Even so, the most visibly organized SM community has been a subculture of the gay community, as evidenced by International Mr. Leather in the US (established 1979) and SM Gays in the UK (established 1981). Meanwhile, other subcultures have likewise appropriated various leather fashions and practices. GLBT (Gay Lesbian Bisexual Transgender)The Leatherman's Handbook by Larry Townsend, published in 1972, epitomizes the association of the leather subculture with BDSM. Townsend described in detail a community of gay males who wore leather and casually engaged in sadomasochistic sex with one another. Recreational drugs and alcohol were frequently used. Pairings were often just for one night or a few days. Participants often took a dominant role in one encounter but a submissive role in another (a practice known as "switching"). Townsend describes very little in the way of social hierarchy or organization within this culture, though he does convey a definite sense of community. Old Guard Leater CultureIn 1970s leather culture, the Old Guard leather culture is said to have existed as well. The Old Guard code emphasized strict formality and fixed roles (i.e. no switching). Other Old Guard practices emphasized discipline, honor, brotherhood, and respect, and are said to have promoted a stricter lifestyle, education, and intra-community privilege based on successive ranks or levels. Some of the Old Guard traditions adhered to the rule that a man would enter a leather family as a slave, then graduate to boy, sir, and finally Master. Rarely, if ever, was an individual allowed to "stay as a slave," although that might be the individual's leaning. In the early 1980s and perhaps before, there was a rebellion against the Old Guard role rigidity. There was a new emphasis on choices, or identity: A person might identify as a slave or a Master instead of being forced to start from the bottom and work up. Despite initial resistance, there was an acceptance of these individual identities in the eighties, an era of pushing the edge in BDSM play. Men who lived in leather during the 1980s called their leather culture "new guard" although that term has changed again in the 1990s. New guard, or new leather, which describes an era in leather culture that started in the early 1990s, embraced switching and a greater variety of approaches to eroticism.[citation needed] An increasing number of pansexual clubs evolved as well. DemographicsAlthough gay men are the most visible symbol of the leather community, in 2010 there are numerous women who identify as leatherwomen - and women have the International Ms. Leather IMsL) event as their corollary to International Mr. Leather (IML). One example of a visible female involved with leather pride is Joan Jett, who has a leather pride sticker prominently displayed on her guitar. Relatively few lesbian women or heterosexuals were visible during the early emergence of the leather subculture. Pat Califia, who was a lesbian activist in the San Francisco leather subculture, is credited for defining the emergence of lesbian leather subculture. In 1978, Califia co-founded one of the first lesbian S/M groups, Samois. Califia became a prolific contributor to lesbian and BDSM literary erotica and sex guides. Although Samois may have been the first lesbian BDSM group, lesbian BDSM groups emerged in Los Angeles and New York in the early 1980s. Leather and Lace, a woman's BDSM support and social group, was founded in Los Angeles in 1980. The women of Leather and Lace learned the "old guard" traditions from the men of Avatar. Leather and Lace had a code of conduct, a uniform that could only be worn once a member earned the right. In New York, there was LSM. Only members of the club were allowed to know that LSM stood for Lesbian Sex Mafia. In North America, with the possible exception of Quebec, gay men's leather culture continues to be associated with men above the age of 40.[citation needed]. As of 2010, this is changing. The kink/fetish/gear communities are merging with the leather community and there is an emergence of young leathermen and leatherwomen. In Europe younger men have combined the aesthetic and exploration of sexual power with the gay skinhead movement and social-fraternal organizations like BLUF. The Romanticization of the Old Guard Personally I take offense to anyone who refers to the Old Guard as a myth. Even if the Old Guard were a myth even modern day anthropologist and sociologists will agree that every myth has some foundation of fact. Today, while some may still use the term strictly in the old fashioned sense (i.e.), more than ever the leather subculture in the 21st century represents the activities of several major sub-communities. These include BDSM practitioners, whether high, low, or no protocol, and whether gay, lesbian, straight, bisexual, or pansexual. They also include people who have a preference for aggressive or masculine sexual styles; people who love motorcycles; people involved in kink or leather fetishism; and people who participate in large-scale cultural and marketing events such as Folsom Street Fair or leather-themed circuit parties. However you slice it, the Old Guard traditions did exist. The traditions that were created by the gay men of the late 1940's and well into the 1970's have survived intact. The reason that the Old Guard traditions have become romanticized is because the traditions that were created are still sought after by man gay men today. The traditions of the Old Guard were effective for men interested in a more structured life together. The Old Guard traditions are very effective for a Master and a slave. So why did the Old Guard traditions seem to die out or lose their popularity. Why does anything become romanticized? To romanticize something, according to Merriam-Webster's English Language Learner's Dictionary, is to think about or describe something as being better or more attractive or interesting than it really is or was : to show, describe, or think about something in a romantic way; to make romantic : treat as idealized or heroic. Regardless of whether the Old Guard existed as it is romanticized today does not matter. What does matter is the reasons that the Old Guard is romanticized. Which I believe is because the Old Guard of the 1940's and 1950's created a set of standards for gay men who were interested in living amongst peers that recognized a strict code of honor, respect and protocol. Perhaps the Old Guard is romanticized because those qualities are exactly what gay leathermen today seek, but do not know how to go about it. People generally romanticize something because they are unsatisfied with the way things are and tend to remember just the good things about something, i.e. the good aspects of an old relationship that is no more or the "good old days." There are men who exist that remember the good old days of the leather clubs and bars when things were simpler than they are today. Simpler? How? Well, personally I remember when there were not a hundred different hanky codes and people in the leather community did not seek to separate themselves from others in the community by creating so many different labels. Gay was gay, period. In the old days I could walk into the Power House, the Eagle or the Firehouse in San Francisco and easily identify the guys who were either a Master or a slave. With the disappearance of a lot of the leather bars and the proliferation of hookup sites on the Internet, it is not so easy anymore. Every Dom on the Internet thinks they are a Master and every sub thinks they are a slave. Why not just be a Dom or a sub? Why is there this propensity to want to identify oneself as a Master or a slave? Is it because identifying as a Master or a slave is a simpler way of identifying what one wants? Perhaps. More About Old Guard Here © Master Rick, Reno, Nevada 2011 |