“WAGNER’S JEWS”— A Strange Brotherhood

wagner's jews 

“WAGNER’S JEWS”

A Strange Brotherhood

Amos Lassen

From what we know of history, Richard Wagner was a notorious anti-Semite.  His writings about Jews were important to and embraced by Hitler and the Nazi party. However, this film teaches us something we did not know about Wagner and that is that many of Wagner’s closest associates were Jews – young musicians who became personally devoted to him, and provided crucial help to his work and career. Even more interesting is that as Wagner called for the elimination of the Jews from Germany, many of his most active supporters were Jewish.

I am sure that some of you are thinking what I thought when I first learned this— why were Jews drawn to him and with all of the hate for Jews that he harbored how could he accept them? These two questions are what this film answers and it is, incidentally, the first film to look at Wagner and his personal relationships with Jews (I almost feel like using the word Jew here is an anti-Semitic act). I remember all to well the volatile arguments that went on in Israel when I lived there as to whether or not the Israeli Philharmonic could play Wagner’s music.

The film was made in Germany, Switzerland, and Italy, and through the use of archival sources, re-enactments, interviews, and performances of original musical works by Wagner’s Jewish colleagues, we get a different look at Richard Wagner. The film also looks at the controversy in Israel and Zubin Mehta; the conductor of the Israel Philharmonic is interviewed here, as is Leon Botstein. The questions remain the same throughout history: “is it possible to separate the art from its creator? Can sublime music transcend prejudice and bigotry, and the weight of history”?

Directed by Hilan Warshaw the film is an intense look at the Wagner situation and does so evenly. The issue is still as complex as it has always been and because the director himself is a musician, he is able to look at the issue “polyphonically, pursuing many different voices and balancing contradictions, without once taking the floor himself at all.”

Wagner changed the face of the music of the west and he was without doubt a musical genius. But Wagner was also a hateful man—egotistical, selfish, a betrayer of friends, and a liar. His writings about the Jews are disgusting and vile and he was the personification of anti-Semitism. His essays were vitriolic rants that often crossed over into the delusional. Later Hitler adopted his writings and they helped cause even more hate in Germany.

How could it have been that Wagner had many rich Jewish supporters and admirers? He had Jewish musicians and conductors working for him, some who considered Wagner their mentor. Who were they? Why did they work for him or give him money? This documentary looks into stories of Jews who worked with Wagner or were tutored by him— Carl Tausig, a piano prodigy who was 16 when Wagner mentored him; Joseph Rubinstein, pianist and composer, and, most tragically, Herman Levy, a proud and accomplished conductor, the chief conductor of the Munich Orchestra, who was bullied and belittled by Wagner yet conducted the first performances of the Ring Cycle and Parsifal. We learn of the history of Wagner and the Jews as well as whether Wagner’s music should be banned in Israel. The eternal question pops up again and again— can or should we separate the person from his art? Wagner is the ultimate test of this question.

The DVD has several extras: Extended Interviews • Musical Performance: Rubinstein’s Parsifal • Deleted Scene: Death in Venice • Filmmaker Interview

“A PEOPLE UNCOUNTED: THE UNTOLD STORY OF THE ROMA”— The “Gypsy” Holocaust

a people uncounted

“A PEOPLE UNCOUNTED: THE UNTOLD STORY OF THE ROMA”

The “Gypsy” Holocaust

Amos Lassen

Many associate the Holocaust with the attempt at annihilation of the Jewish people and we forget that others were also destroyed at the same time. The Roma (Gypsy) appear almost only as an afterthought when we look at the darkest period of history in the existence of the world.

 The Roma (Gypsies) faced annihilation during the Nazi ‘Final Solution,’ yet have been relegated to a footnote in history. The Roma are still victims of extreme and often violent racial persecution. This film is the story of Europe’s largest minority group.

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A People Uncounted is a powerful journey exposing the tragedy of Europe’s largest minority group. Director, Aaron Yeger, visited eleven countries and interviewed many Roma (artists, historians, musicians, Holocaust survivors) and we see here the very rich and the very difficult lives led by the Roma. Through their music, words and poetry we see their story and learn that once again that in Europe there is racism and genocide for some ethnic minorities. We must never forget the lessons of history and be aware that it can, indeed, happen again. This is the first nonfiction feature dedicated to Romani victims and it consists of visual evidence, historical commentary and survivor testimonies.

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The Roma migrated northward from India during the Middle Ages, landing everywhere from Russia to the U.K. In some places they were forbidden to settle or own property and in other places they were segregated into ghettoes. Vlad the Impaler, Henry VIII and Maximilian I were among those who authorized their exile, persecution or outright murder. Nonetheless, a romantic popular stereotype of footloose freedom persisted. Today they are Europe’s largest minority as well as the European Union’s most discriminated against. They are widely associated with theft and miscellaneous other misdeeds and this gives right-wing politicians and ethnic nationalist groups a license to brand them undesirables and encourage hate crimes against them. We see one woman here that is so afraid that her educated, successful children will be tainted by association that she’ll only discuss her heritage while being photographed in silhouette. 

The Nazis targeted them and because their skin was somewhat dark and they lived in isolation they became easily identifiable. The Nazis had every intention of erasing them from the face of the earth and referred to them as “gypsy scourge”. Many perished in concentration camps; while countless others were simply shot or starved to death in their homelands. Survivors of this holocaust, which claimed up to 90% of Europe’s Roma population, tell frightening stories here, including one man who was subjected as a boy to Mengele’s experiments.

The catastrophe of the Roma was not hardly recognized after the war. There was no information about or mention of them at the Nuremberg trials and until recently they have not had academic or political voices.

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“A People Uncounted” primarily looks at the genocide of the Roma and Senti people during World War II. Yeger and also touches on parallels with the American Civil rights movement as well as genocide that has taken place in more recent years. There is a lot of ground covered within an hour and a half, maybe a bit too much for a film of that length but it is better to have a film that tries to say too much, than a film that essentially says very little.

There is no accurate count of Roma and Senti people who died in death camps or the various round-ups, but it estimated that the population loss was close to 90 percent. We see the historical perspective as well as current laws, in places such as in Italy where Roma people are registered and have been forced to move from cities such as Milan, where municipal laws are able to circumvent European Union rules. A montage of clips from movies and television shows touch on how “Gypsies” have been portrayed in popular culture with a mix of both prejudice and fanciful romanticism. It is the first person accounts that make A People Uncounted worth watching, both for providing some added historical perspective on a minority people, but also as an antidote to those who insist on trivializing history for their own dubious purposes.

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 Genocide is defined and the modern white power movement is deconstructed, giving a broad overview of the many issues and secondary indicators of ongoing discrimination and hate. The intent is to give a bigger picture idea of how the persecution of the Romani people that we see as an umbrella term that encompasses a wide range of different cultures — has persisted throughout history and is perpetuated in modern society.

 The modern motto of “We must NEVER forget, lest it happen again” reminds us that we do FORGET and in many cases, “we” do not even know or adequately acknowledge the existence of genocide being perpetrated against so many groups throughout the world – the Turkish genocide of Armenians, Stalin’s purges and Holodomor against 10,000,000 Ukrainians, the recent and various “ethnic cleansings” within the former Yugoslavia and Rwanda’s decimation of Tutsis by the Hutus – to name but a few. Yeger’s film is superbly researched and emotionally wrenching. We see the Roma as a people who have been “uncounted”.

“Calvin’s Head” by David Swatling— Homeless in Holland

calvin's head

Swatling, David. “Calvin’s Head”, Bold Strokes Books, 2014.

Homeless in Holland

Amos Lassen

First off I want everyone to know that I am well aware that the real name for the place I refer to as Holland is The Netherlands but I was looking for something more alliterative for this title therefore I used the “H” word. Now on to the book— The Netherlands is a beautiful country but unfortunately being homeless there detracts from the beauty, at least for Jason Dekker who had come there because of his thesis on Van Gogh. Now, he and Calvin, his dog are on the outskirts of Amsterdam. While there he had fallen in love with a Dutch artist, Willy Hart who convinced him to stay past his original plan to be there. Now Willy is off somewhere and Jason is having a hard time of things. In fact Jason is very distraught.

One morning in the park, Calvin discovers the victim of what had obviously been quite a horrible death. Jason sees this murder as a chance to perhaps solve their financial problems but what he does not realize is that he is now in the sights of Gadget, a cold-hearted murderer.

In the beginning of the book we are given a great deal of information as Jason basically narrates the story (although Gadget and Calvin have something to say as well) but once past that I found myself in the thick of the plot and despite the beautiful prose I was turning pages as quickly as I could. You may notice that I mentioned that the dog also has his say but we must keep in mind that it was Calvin who found the body and being a dog owner myself (Sophie, my Jack Russell Terrorist), I was not surprised to see that Calvin indeed has his own point of view. Calvin is not just a dog; he is also a character in the story.

What might surprise many is that this is a very scary story replete with twists and turns in the plot. Because it is a thriller, it is hard to review without giving something away. Above all else and that includes plot and character, it is the beautiful language of the story that keeps it going. I mentioned that I read it quickly but at the end when I sat down to write this review, it was not the plot but the prose that I remembered. Yet the characters are well developed. We tend to sympathize with Jason probably because he is a “good-guy” while Gadget is the opposite. We can visualize them as we read and there are times I felt that we were in the same room—I even found myself looking over my shoulder more than once to make sure I was alone as I read.

There is something for everyone here—romance, action, murder, art history and a dog and there is no way you can go wrong reading “Calvin’s Head”. This is author David Swatling’s first novel but I can tell that we shall be hearing more from him. Some may not care for the ending but I think it is perfect.

“Homecoming”, (The Châtelaine Book 1) by Cooper West— A Paranormal Mess in an Overdone and Stale Genre

homecoming

West, Cooper. “Homecoming”, (The Châtelaine Book 1), Cooper West, 2014.

 A Paranormal Mess in an Overdone and Stale Genre

Amos Lassen

The paranormal has been milked so much that there is really nothing new to write about and we really see that here in Cooper West’s “Homecoming”. Now that I think of it, I realize that in the past I have given West entirely too much credit with her books. Not only is this poorly written but the plot is a mess and the kindle formatting is way off. Nonetheless I tried to be fair—as fair as I can be when reviewing something that is so below other books so I have decided to say what I really think this time. My first thought is to tell you to save your time and money because that is really nothing I can say good about this overblown tale that has nothing to offer us. In fact I wonder why West published it at all. I notice that this is self-published which in itself is interesting because West usually writes for Dreamspinner but I guess that press did not want it. I am surprised that she did not get her pal Ryan Field to publish it—it is on the same level as the barely passable romances that he publishes.

Ursula Price (Sula) is a werebear and her life is instable. It is hard for her to live with the idea that she is feared. She thinks that she might be the last one of her kind that is alive today. Before her mother died she gave her a bracelet that has the power to keep her werebear nature under control.

She has had to travel alone but that she meets Lisbeth, a lone werewolf who would like to settle down with her. Lisbeth also meets a fellow werewolf, Tony who is a member of a pack that includes gay Daniel and Cal and they are attracted to Sula and very much in love with each other. They then have to deal with the love they share and the love they suddenly feel for a female. So with this premise of a plot and poorly constructed prose we get a look at what west thinks a “werefamily” should look like. Personally I would rather go feed animals at the zoo. This is book one of what I take it is to be a series. I am sure that with homosexuality, weresexuality,  and bisexuality, the only thing left is a “transwerebear” that we will probably get in book 2.

“Thirteen Days in September: Carter, Begin, and Sadat at Camp David”, by Lawrence Wright— The 1976 Camp David Conference

thirteen

Wright, Lawrence. “Thirteen Days in September: Carter, Begin, and Sadat at Camp David”, Knopf, 2014.

The 1976 Camp David Conference

Amos Lassen

President Jimmy Cater persuaded Menachem Begin, prime minister of Israel and Anwar Sadat, president of Egypt to come to Camp David and sign the first peace treaty in the modern Middle East, the same one which still is in force today. 
 Lawrence Wright takes us through the thirteen days of the Camp David conference and shows us issues that have made the problems of the region so difficult. He also looks at the scriptural narratives that continue to frame the conflict. He gives us detailed and vivid portraits of the characters who were there— including Moshe Dayan, Ezer Weizmann, Osama el-Baz, Mohamed Ibrahim Kamel and Zbigniew Brzezinski, Cyrus Vance and writes of the work that went on behind the scenes. Many do not know of the role that Rosalynn Carter played and this comes through here as well. We really get a look at the peace process and how Carter persisted to get an agreement pushed through and how the participants, some of who had been enemies seemingly forever, managed to get a peace treaty. We become very aware of the difficulties inherent in the process and its outcome, not the least of which has been the still unsettled struggle between the Israelis and the Palestinians. 
 Wright gives us a look at history and some very fine reportage that gives us a timely revisiting of this important diplomatic triumph and an inside look at how peace is made. Wright’s research is meticulous and he goes beyond the main events and takes into consideration the historical events of the time and how they factor in.

We also get some wonderful details—“Rosalynn Carter spontaneously suggesting to her husband that the intransigents should come to the beautiful and peaceful Camp David to revive stalled talks; Begin startling his hosts on a brief outing to the Gettysburg battlefield by reciting Lincoln’s entire address from memory; Carter dramatically accusing Sadat of betrayal and, at one point, thinking to himself that Begin was a “psycho”; Israel’s fiercest warrior, Dayan, by then going blind, bloodying his nose by walking into a tree; Begin bursting into tears as Carter presents him with conference photos inscribed to each of the prime minister’s grandchildren”. These personal touches make everything wonderfully human.

Wright puts everything in context and that is what makes this book so fascinating. We are reminded that Carter’s Camp David was an act of surpassing political courage and Jimmy Carter full credit for all the lives his inspired diplomacy saved.

TRY IT FOR 99¢

“BALLET BOYS”— Dancing Boys

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“Ballet Boys”

Boys Dancing

The Norwegian documentary “Ballet Boys”  follows Lukas, Syvert and Torgeir, who are all in the same class together at a ballet school, where they’re the boys among many girls. To be honest, while early on the documentary asks questions about why the boys want to do ballet, it quickly realizes there’s no better reason than ‘why not?’ After all like anything else, once you realize you have a talent, it’s no surprise you’d want to pursue it. However there are undoubtedly reasons to stop, not least the time, passion and dedication needed, especially knowing that there are no guarantees of a successful dancing career at the end of it.

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“Ballet Boys” introduces us to  young dancers and the bonds that have grown between them over their years together. The  main drama in the this documentary film comes with the dancers  approaching the end of their schooldays and they must decide what to do next. Do they want to continue with ballet at another school, and even if they do, what would going to different places to dance do to strong bonds between them?

The core is a story that could be told about many young people as they finish school and have to decide what to do next, although the stakes here are a little higher, especially for the Lukas who’s been invited to audition for the Royal Ballet School in London, which wouldn’t just mean he leaves Syvert and Torgeir behind, but has to move to a whole new country, all by himself, at just 16-years-old.

Thanks to the fact it allows you to get to know and care about the teens, “Ballet Boys” is surprisingly effective and watchable. There is a slight sense that the film might have found a better way to tie together what is universal and what it unique to the world of ballet, but it does ensure that those who aren’t that interested in dance will be pulled into what is essentially a coming of age tale about three young men.

One thing that I did not really care for was that the documentary does seem to have a slightly uncomfortable interest in showing the boys in their changing room. It tries to explain it by saying this is where they are most themselves and where they relax, but after a while it starts to feel a little voyeuristic.

This is a well-made and interesting documentary which may find its core in a story that’s pretty universal, but still offers plenty of interest for those who like dance.

 

“BRUNO AND EARLENE GO TO LAS VEGAS”— Coming Soon

 

“BRUNO AND EARLENE GO TO LAS VEGAS”

Coming Soon

Bruno-Earlene-Go-To-Vegas-dvd-cover

 

Headstrong Earlene (And Then Came Lola star, Ashleigh Sumner) meets the handsome and mysterious Bruno  at Venice Beach. These outsiders quickly become friends and when Bruno’s latest scam goes wrong, it forces them to go on the run.

On their journey, they meet a sexually confused carjacker, a pair of Scottish ex-strippers and a tap-dancing drag queen, all of whom settle into a little place deep within the Nevada desert. This gaggle of runaways and rebels teach Bruno and Earlene that it is not about the destination, but the getting there that counts.

An exciting debut feature from queer filmmaker Simon Savory, “Bruno & Earlene Go To Vegas” is a road movie like never before.

I

“Eichmann Before Jerusalem: The Unexamined Life of a Mass Murderer” by Bettina Stengneth— Another Look at Evil without Banality

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Stangneth, Bettina. “Eichmann Before Jerusalem: The Unexamined Life of a Mass Murderer”, translated by Ruth Martin, Knopf, 2014.

Another Look at Evil without Banality

Amos Lassen

Hannah Arendt shocked the world with her idea that evil could be banal. It is quite scary to think that something as horrible as genocide could be perpetrated by simple people who are not evil or bad intrinsically. Arendt claimed that there was another moral category after she observed the trial of Adolf Eichmann as he was questioned about his role in the Holocaust and this is what eventually became her theory that caused a tremendous backlash from which she was never able to recover. I just finished teaching a course in which I maintained that much of what Arendt had to say has since proven to be true and now I am eating humble pie. Of course this new book was not yet published and, in fact, I had not heard that it was even in the process of being written. When Arendt published her book some 50 years ago, critics assumed that by trying to understand Eichmann’s particular kind of evil, Arendt was somehow excusing his actions. Since then there have been ongoing debates as to whether evil can indeed be banal and it seemed that Arendt had the last word on the subject. She had shaped the way we understand man. Now Bettina Stangneth, an independent German philosopher living in Hamburg, has just completely overturned conventional wisdom about the man Arendt observed  in Jerusalem in the glass cage.

Her book, “Eichmann Before Jerusalem,” shows that Eichmann was a hugely successful liar and a performer who managed somehow to convince Arendt and many others that he had no motive other than advancing his career and that he was simply following orders. Stangneth has uncovered Eichmann’s own writings from before his capture in Argentina that prove him to have been deeply anti-Semitic and very committed to the Nazi’s war on race; that he was, indeed, an ideologue who knew and understood exactly what he was doing. What we see here is damning new evidence that will change the way we think not only about Eichmann but also about Hannah Arendt, one of the brilliant minds of the modern age.

Every book that has been written since the Eichmann trial has been a dialogue with Hannah Arendt. Arendt was the only observer of the Eichmann trial in 1961 in Jerusalem who saw the fundamental ethical problems it presented. What she discovered is very important when looking at evil. The term “banality of evil” is an important concept in modern times. Her discovery of an important concept of evil — the banality of evil — is indispensable for discussions about modern crimes. She provided us with what we need to know to understand evil and that alone is a tremendous contribution. We cannot, by any means, ignore what she had to say.

Arendt’s characterized Eichmann in this way: “Except for an extraordinary diligence in looking out for his personal advancement, he had no motives at all. And this diligence in itself was in no way criminal….” Arendt could not find any sign of ideological convictions or specific evil motives in Eichmann. We now know that he had a strong ideological conviction as well as criminal motives. How could anyone claim that a man who would not deny that the clear decision to kill millions of people and continued to lecture about anti-Semitism to his colleagues and create institutions that had no aim but to realize mass murders are could be anything less than evil and criminal? What is disturbing about Eichmann is that he had the ability to use great diligence so that others would realize that he was indeed a murderer. He understood that the “inability to think” was something very useful. Without it, crimes of the state would be impossible, because one would never find enough convinced helpers. Eichmann understood that he had to use normal men and women. It seems that Eichmann understood the concept of the “banality of evil” very, very well.

It is possible to have people who are simply parts of an evil and murderous machine and seek just a regular life and are not concerned with the larger picture of which they are part. However a machine that murders is more than just the sum of its parts; engineers must make the machine run. When the crimes are completed, the engineer can then pretend to be just a worker and hide behind those that actually made the machine function.

Arendt was obviously very taken with Eichmann at the trial and this also says something about others who watched it. There were those who saw Eichmann as a sad and pathetic weak man. Another reporter saw him as a buffoon and many agreed with these two depictions. Arendt repeated these descriptions and people were aghast. In 1961, Eichmann seemed to be a man without his own thoughts and convictions. When Arendt restated this in 1963, it provoked a scandal. This tells us that Arendt was not willing to deny the public astonishment of the year 1961; she wanted to understand it.

Some of us seem to have forgotten that Life Magazine published Eichmann’s memoirs in 1970 that included statements he made while living in exile in Argentina. But we could not discern his true nature from them. There seemed to be some kind of camouflage. There is the statement that in 1950 he told a reporter that he met in a bar in Buenos Aires and the world who he was and it was regarded as nonsense. In the newspapers of Argentina there was the testimony of a large project conducted by a group of Nazis to bring the idea of National Socialism back to power. Eichmann, himself, was a part of this group and he was consulted because of what he knew firsthand about the “Jewish question.” Members of the group wrote their own drafts for discussions, and Eichmann planned to publish his own book together with Willem Sassen, who was the head of this supposed club of historians. Right there in the Argentinean Press is the portrait of a radical Nazi group with incredible international connections, as well as Eichmann’s thoughts and eloquence that he did not mention in his trial in Jerusalem.

We cannot deny that Hannah Arendt’s “Eichmann in Jerusalem” is a brilliant report of the trial. However, Arendt was a political philosopher, and philosophers cannot write about anything without philosophical interest. Some called this a kind of weakness or a mistake but it is an excellent way to write history.

In this new book, Eichmann, the man is secondary to evil and to the lies he told. Stangneth states that it was not her goal to write about Eichmann— she had agreed with Arendt and had read everything about him up until the year 2000. It was then that many unused sources were discovered and she began to consider the man, but from the philosophical point of view. She attributes her ability to write this book to the great philosophers that preceded her—and she includes Arendt along with Aristotle and Kant. We must understand that thought is unlike any other subject studied. Thought cannot be isolated in a laboratory or left behind and then picked up again. Thought enters the mind of the thinker and he studies it. With Eichmann there was a bit of a tremendous difference. Philosophers must examine dangerous thoughts of dangerous people and in this process we arrive at Eichmann before Jerusalem and a duel of philosophies and a breakdown of philosophical power.

“YOU AND THE NIGHT” Revisited— The Slut, The Star, The Stud, The Teen & The Transvestite Maid

you and the night

 “You And The Night” 

The Slut, The Star, The Stud, The Teen & The Transvestite Maid

Amos Lassen

Here’s an unusual film, which bends to edge of gender and sexuality while taking us into a dream-life, hyper-stylized world!

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Ali (Kate Moran) and Matthias (Niels Schneider), a young couple and their maid Udo (Nicolas Maury), a transvestite, prepare to host an orgy. The guest list consists of The Slut, The Star, The Stud and The Teen. The couple is quite mysterious and the idea of hosting a pansexual orgy is delicious for them. As the orgy progresses, the private lives (as well as the private parts) of their guests are exposed.  The sex is explicit and this is the party not to miss this year. We immediately sense the couple’s need for affection as they await the arrival of their guests. The Slut (Julie Bremond) is the first to arrive. She is a young woman that loves sex and awaits the orgy. She is followed by The Stud (Eric Cantona) who is reputedly very well sexually equipped. Shortly afterwards The Teen (Alain-Fabien Delon [the son of the French movie star]) comes full of sex appeal and youthful vigor. Finally, arriving last as stars do is The Star (Fabeinne Babe) who comes with her own rules and regulations.

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 As the evening progresses, we learn of the pasts of the guests. Things get heavy right from the start. As we hear the life stories of the characters, we become aware of how superficial they are. In fact even the nudity does not enhance what we see. Here is a group of unhappy people making each other even less happy. By the time we reach the end of the film after having heard some very intense stories, something happens and what began as something of an erotic look at some young people becomes one of those pretentious art house films. The ending is very disappointing. I wish we could see this as a work in progress instead of a sexual curiosity. There is a lot of good here and I can only hope for better things from the director, Yann Gonzalez, who tries very hard to give us an erotic film. The seeds are there for a really could film. They just do yield flowers.

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There is a lot of campy humor and a wonderful electronic music score by M83 and this is quite an audacious film that is also an affecting meditation on much more than sex. As one can imagine, opinions are quite mixed about the film.

‘Writer-director Yann Gonzalez’s sensual and erotic debut played to critical-acclaim during Critics Week at the 2013 Cannes Film Festival, and stars former international footballer, Eric Cantona and cult legend, Beatrice Dalle (BETTY BLUE) in this kitsch ode to love and lust.

‘With electrifying music by M83, helmed by Anthony Gonzalez, ‘YOU AND THE NIGHT, evokes the style and substance of Almodovar, Ozon and Lynch.’

“Deliriously theatrical, flagrantly cinephilic, unabashedly provocative, Yann Gonzalez’s ‘YOU AND THE NIGHT’ is the kind of movie that restores your faith in auteur filmmaking.” 

2015 Calendars from Bruno Gmunder

 

Calendar 2015

 

 

 

 

CockyBoys

COCKYBOYS 2015

 

 

A perfect complement to the opulent photo book A Thing of Beauty, this calendar shows us the sexy, yet authentic boys of CockyBoys..

 

 

14 pages, full colour, poster format

16 ½ x 12” (42,0 x 30 cm)

€ 18,95 / US$ 21.99 / £ 17.99

ISBN 978-3-86787-724-4 

 

 

 

 

Kent Taylor

REAR VIEWS 2015

 

 

Woof! The backsides of some of the hottest guys in the business.

 

 

 

14 pages, full colour, explicit

12 x 16 ½” (30,0 x 42,0 cm )

€ 18,95 / US$ 21.99 / £ 17.99

ISBN 978-3-86787-720-6 

 

 

 

 

Giovanni 

XXL WEEKLY 2015

 

 

Hard facts. To date, Giovanni has released numerous photo books on his favorite subject. Yet, these images never get boring: Be prepared for 52 upright postures.

 

60 pages, full colour, explicit

8 ¼ x 11 ¾“ (21,0 x 29,7 cm )

€ 18,95 / US$ 19.95 / £ 17.99

ISBN 978-3-86787-733-6   

 

 

 

 

Jeff Palmer

JEFF PALMER 2015

 

 

A classic! Jeff Palmer‘s intimate photographs are erotic and aesthetic masterpieces.

 

 

 

14 pages, black white, poster format, explicit  

12 x 16 ½” (30,0 x 42,0 cm )

€ 18,95 / US$ 21.99 / £ 17.99

ISBN 978-3-86787-728-2

 

 

 

 

TeeJott

YOUNG MEN OF GERMANY 2015

 

 

Young Germans! These adorable young men will guide you through a very sexy year.

 

ftp://b2b:2012@92.79.136.6/2014/978-3-86787-730-5

 

14 pages, full colour, poster format  

12 x 16 ½” (30,0 x 42,0 cm )

€ 18,95 / US$ 21.99 / £ 17.99

ISBN 978-3-86787-730-5

 

 

 

 

Raging Stallion

HUNG 2015

 

 

The hottest men from Raging Stallion: A rough and horny hunk for every month of the year.

 


 

14 pages, full colour, poster format, explicit

12 x 16 ½” (30,0 x 42,0 cm )

€ 18,95 / US$ 21.99 / £ 17.99

ISBN 978-3-86787-719-0

 

 

 

 

Corbin Fisher

CELEBRATION 2015

 

 

So hot! Corbin Fisher’s anniversary calendar gives us America ’s sexiest dream boys.

 

 

 

14 pages, full colour, poster format

16 ½ x 12” (42,0 x 30 cm)

€ 18,95 / US$ 21.99 / £ 17.99

ISBN 978-3-86787-723-7

 

 

 

 

BelAmi

ONLINE BOYS 2015

 

 

BelAmi Online is one of the hottest sites on the net. The monthly calendar displays the brand’s most successful and sought after boys.

 

 

14 pages, full colour, poster format, explicit

12 x 16 ½” (30,0 x 42,0 cm )

€ 18,95 / US$ 21.99 / £ 17.99

ISBN 978-3-86787-738-1

 

 

 

 

Falcon Studios

CALIFORNIA DREAMIN` 2015

 

 

This year will get hot with these guys! Twelve dream men from California , brought to you by Falcon Studios.

 

 

14 pages, full colour, poster format, explicit

12 x 16 ½” (30,0 x 42,0 cm )

€ 18,95 / US$ 21.99 / £ 17.99

ISBN 978-3-86787-718-3

 

 

 

 

Joan Crisol

HOMBRES 2015

 

 

Joan Crisol is one of the most promising photographers of recent years. Hombres shows his best work for ES Collection in a beautiful black and white calendar.

 

 

 

14 pages, black white, poster format

12 x 16 ½” (30,0 x 42,0 cm )

€ 18,95 / US$ 21.99 / £ 17.99

ISBN 978-3-86787-717-6

 

 

 

 

Dylan Rosser

FULL FRONTAL 2015 – GALLERY EDITION

 

 

Dylan Rosser is one of the most successful photographers in male art photography. Some of his best work is now available for the first time as a Gallery Edition calendar.

 

 

 

14 pages, full colour, gallery edition, explczit

19 ⅓ x 26 ¾” (49,0 x 68,0 cm)

€ 34,95 / US$ 39.99 / £ 32.99

ISBN 978-3-86787-731-2

 

 

 

 

Lucas Entertainment

SUITED & STRIPPED 2015

 

 

Executive realness at its best. Some of the hottest Lucas Entertainment men show off their slick looks in one calendar.

 

 

14 pages, full colour, poster format, explicit

12 x 16 ½” (30,0 x 42,0 cm )

€ 18,95 / US$ 21.99 / £ 17.99

ISBN 978-3-86787-734-3

 

 

 

 

Hot House

THE MEN OF HOT HOUSE 2015

 

 

There will be no shortage of horny hunks in 2015 with this incredible calendar featuring the men of Hot House Studios!

 

 

 

14 pages, full colour, poster format, explicit

12 x 16 ½” (30,0 x 42,0 cm )

€ 18,95 / US$ 21.99 / £ 17.99

ISBN 978-3-86787-721-3

 

 

 

 

Giovanni

MEMBERS ONLY 2015

 

 

Giovanni’s subject is once again provocative and sexy: the male member in the body’s landscape.

 

 

 

14 pages, full colour, poster format, explicit

16 ½ x 12” (42,0 x 30 cm)

€ 18,95 / US$ 21.99 / £ 17.99

ISBN 978-3-86787-725-1

 

 

 

 

Corbin Fisher

ALL AMERICAN 2015

 

 

Boys at play. US Studio Corbin Fisher presents the hottest American boys of 2015.

 

 

 

14 pages, full colour, poster format, explicit

16 ½ x 12” (42,0 x 30 cm)

€ 18,95 / US$ 21.99 / £ 17.99

ISBN 978-3-86787-722-0

 

 

 

 

Rick Day

LEKKER BOYS 2015 – GALLERY EDITION

 

 

The beauty of BelAmi’s boys meets Rick Day’s perfection in photography. BelAmi like you’ve never seen them before.

 

 

14 pages, full colour, gallery edition, explicit

19 ⅓ x 26 ¾” (49,0 x 68,0 cm)

€ 34,95 / US$ 39.99 / £ 32.99

ISBN 978-3-86787-735-0

 

 

 

 

Rick Day

PLAYERS 2015

 

 

These guys are incredible! Rick Day’s Players was one of the most successful male art photo books in recent years.

 

14 pages, full colour, poster format, explicit

16 ½ x 12” (42,0 x 30 cm)

€ 18,95 / US$ 21.99 / £ 17.99

ISBN 978-3-86787-727-5

 

 

 

 

Mark Henderson 

POOLSIDE PLEASURES 2015

 

 

Mark Henderson brings last century’s glorious style of nude photography into the present. 12 months, 12 dream men.

 

ftp://b2b:2012@92.79.136.6/2014/978-3-86787-726-8

 

14 pages, full colour, poster format, explicit

12 x 16 ½” (30,0 x 42,0 cm )

€ 18,95 / US$ 21.99 / £ 17.99

ISBN 978-3-86787-726-8

 

 

 

 

Rick Day

RICKDAYNYC 2015

 

 

Rick Day NYC! Twelve photographs show you the beauty of the modern man.

 

 

14 pages, full colour, poster format

12 x 16 ½” (30,0 x 42,0 cm )

€ 18,95 / US$ 21.99 / £ 17.99

ISBN 978-3-86787-729-9