After her father’s death, she found Ditko’s phone number and called him. She wanted to know if he had any memories he could share. He couldn’t remember anything, she reported, and he denied that her father had anything to do with creating Spider-Man. Stanton seldom saw his erstwhile studio-mate in the years after they broke up the studio. He continued doing work until his death March 17, 1999, as “the most famous fetish artist in the world,” as Seves puts it. He began his fetish comic work in the late '40s and early '50s, producing strips for Irving Klaw's Movie Star News, after working for the Will Eisner Comic Book Studio. Eric Stanton -- whom he'd met while attending Burne Hogarth's School of Visual Arts -- may have first introduced him to Irving Klaw. He largely set the standard that other fetish comics illustrators followed. As with many of the Movie Star News artists, the strips from the period he is best known for are few and far between, scattered among the hidden collections of his fans, as few of the originals have survived. He also drew for Fantasia, Exotique and Nutrix, and did forced-feminization art for the latter, although his bondage work is best remembered. Tracing his life from childhood in Los Angeles to his vocal group days with The Mellow Tones and the Basin Street Boys, to his sudden rise as a “bizarre art” rebel in New York City, GENE BILBREW REVEALED presents a vibrant overview of his work for renegade publishers Irving Klaw, Leonard Burtman, Edward Mishkin and Stanley Malkin, while also exploring his sometimes contentious, love-hate relationship with fellow art pioneer Eric Stanton.

a b c d e f g h i j k l m n Pérez Seves, Richard (2019). GENE BILBREW REVEALED: The Unsung Legacy of a Fetish Art Pioneer. New York: Fethistory. ISBN 978-1072487548. Hugo Paul was a pseudonym of Paul Hugo Little (born Paul Hugo Litwinsky). Little supposedly began writing soft-core porn when he was 48 using hundreds of pseudonyms... he is referred to as the man of 1000 pseudonyms. It is claimed that he wrote over 700 of these pulp fiction novels. The book’s only scholarly flaw is Seves’ failure to caption the illustrations; they are usually explained in the adjacent text, but you have to look hard for it. A photograph of an attractive middle-aged woman we determine is Stanton’s mother only because the text nearby is about her.Eric Stanton & the History of the Bizarre Underground by Richard Pérez Seves. Atglen, Schiffer Publishing, 2018. ISBN 978-0764355424 Mitchell, Tony (2018). "Eric Stanton and the History of the Bizarre Underground". The Fetishistas. Archived from the original on December 5, 2018 . Retrieved December 4, 2018. Ditko, asked years later how he and Stanton met, said, “I liked the way he drew women.” More about their relationship anon. Island of Captive Girls, Prison for Women, [1] :205 The Whip Artist, [1] :88 High Heels in the Heavens, Madam Adista, Dangerous Years [1] :90 Satin Satellite, [1] :103 Exotique magazine [1] :120–122 Seves quotes Ditko about the full-face mask: “I did it because it hid [Peter Parker’s] obviously boyish face. It would also add mystery to the character and allow the reader/viewer the opportunity to visualize, to ‘draw,’ his own preferred expression Peter Parker’s face and, perhaps, become the personality behind the mask.”

When she asked him what was so unbelievable, he confessed that he’d helped another artist, naming Steve Ditko, create the character. And he told her what he’d contributed. According to Pérez Seves, later that year, at age 19, Bilbrew would evade the draft due to psychiatric reasons [1] :8 and become a founding member of his first vocal group, The Mellow Tones. [1] :9 Career [ edit ] A forced feminization drawing from Women Bind and Dominate Male Maid by Bilbrew https://www.theguardian.com/artanddesign/2015/mar/04/cult-of-the-spankers-pulp-fiction-times-square-smut Says Seves: “One could only imagine how gratifying Ditko’s presence must have been to Stanton after his time with Grace; from being around someone who was repulsed by art to being around someone whose very waking moment was consumed by it. ‘There were times Steve would spend twenty hours straight doing a comic,’ Stanton remembered.M y interest in these stories began as early as I can remember. One early example was a story I read in Loony Tunes comic #113 in which Bugs Bunny was forced to dress as a girl (bunny). Note that Bilbrew still is true to his fetish roots. The boys wear exotic clothing including corsets, high heels, garter belts and tight panty girdles under their panties to ‘keep them modest'. The sorority girls in contrast look rather normal, almost plain compared to the cross-dressed boys.

Gene Bilbrew (1923-74) was one of the finest artists in the genre. Immediately following the Second World War he worked for the Will Eisner Comic Book Studio. He then enrolled in Burne Hogarth's School of Visual Arts where one of his fellow students was Eric Stanton. In 1952, perhaps at Stanton's recommendation, he began drawing bondage art for Irving Klaw. His Klaw bondage work is of little interest to the Petticoat Punishment enthusiast, but can be found in the Bizarre Comix series by Belier Press. His text is accompanied throughout by lots and lots of illustrations, many in color, and Seves gives the histories of several of Stanton’s serials and tells their stories. The book is virtually an extensively annotated bibliography of Stanton’s life work. But it’s more than that. It’s also a detailed biography, a sketchy history of “the bizarre,” and an exhibition of Stanton’s ladies. Reproduction throughout is high quality.Rich and spoiled, she was bored stiff with her wet sponge boyfriends, but when she met the magnificent negro, Don, her longings changed to lust and the sexual lid was blown off!"