Stephen's 'Golden Pasha'

 Stephen's 'Golden Pasha' dates from the nineteen sixties. It appears to be related in concept to, and a precursor to, the better known 'Sailors Beware' story, which came out in its first version shortly after 'Pasha', judging by the Kris Catalogue numbering. 

Stephen's 'Golden Pasha', Original Catalogue images
(rearranged from a vertical strip)

The Kris Catalogue entry for 'Pasha' (replicated above) showed 6 images, with all the characters in them respectably 'draped'. Three of them were also published in a larger format in a different catalogue. This article features an uncensored version which I found on the Tim In Vermont website before it was taken down. It didn't give any source information. 

 The three 'big' earlier images are included in the article below in the appropriate places. Unlike the revised version of 'Sailor Beware', the underlying images don't seem to have been significantly altered other than replacing the loin-cloths and pouches with not quite erect organs. No sex is shown.  

 

Stephen's 'Golden Pasha' 1

 

The Golden Pasha lounges in luxury while around him a harem of conspicuously naked, young men entertain him with music, grovel and pamper him. Notice the phallic uprights of his throne.

 

Stephen was quite fond of depicting musicians at this time. I suppose there's a certain innuendo in the horn blowing and string plucking of long-necked instruments.

 

 

Stephen's 'Golden Pasha' 1 (original version)

This earlier version shows all the characters in exactly the same positions. The three on the right have acquired pouches which seem to be carefully detailed with patterns (and jewels in the Pasha's case). The covering of the guard's package at the doorway, however, seems to have been painted on rather clumsily by comparison. The Pasha's pantaloons have also been altered, extending all the way up to his waist rather than finishing high up on the thigh, like stockings. 

 

Stephen's 'Golden Pasha' 2

 

The Pasha seems to be a hard master to serve. In the dungeon below, those who displease him are chained up, and he personally punishes each of them with his whip. His suspender belt is meticulously detailed and impressively jewelled. It's apparent that the 'Golden' tag relates to his wealth, not his sunny personality.

 

 

Stephen's 'Golden Pasha' 3

The Pasha's maltreatment of his slaves means he must watch them with an eagle eye for any signs of rebellion. But one slave at least has had enough. He has somehow procured a sleeping potion and secretly drugs the Pasha's wine. 

This picture almost seems to shift the scene to Japan, as witness the bonsai-like trees. The intricate decoration of the pillar on the left which includes a Fuji-like mountain, a stylised chrysanthemum and more typically Japanese style patterns in-between (plus an incongruous elephant, which is neither Arabian nor Japanese).

Some of Steve Masters' images around this time featured decorative detail like this. 

 

Stephen's 'Golden Pasha' 3 (original version)

This earlier version is little different. Again, the Pasha's pants have become thigh-wraps and his dick is covered by a jock-like, ribbed pouch (with a jewel encrusted top hem!). We can see more of the foreground, bottom left, which turns out to be a pool with fish and lilies. A show of his opulence.

 

Stephen's 'Golden Pasha' 4

Once the Pasha has fallen into a drugged sleep, his slaves rise up against him. Some have weapons, perhaps taken from the Palace Guards who seem to have deserted their master. Someone, at some point, has removed his pants and boots. As a result, the Pasha lies in a tempting, splayed legs position*. One of the rebels seems to be inviting everyone to have a go. 

*This is a favourite pose of Stephen's, it seems to turn up in many stories, twice in Night Patrol, in image 5 and image 8. The Pasha version is more convincing than some.

Stephen's 'Golden Pasha' 5

The Pasha awakes to find a knife menacing his chest and his treasure chest being looted. Perhaps more startlingly for him, his legs are in physical contact with the intimate regions of two of his slaves. One is resting between the buns of the looter. The other is raised between the legs of his immediate attacker, almost as if they had just had intercourse. Who knows? The threat of the knife seems to be equated with the threat of his dick. A choice to be made?

 

Stephen's 'Golden Pasha' 5 (original)

In the original version of image 5, pouches have sprouted once again, to conceal the less offensive weapons of the attackers.  The disappearance of the primary attacker's dick makes his knife seem a lot more menacing, although he's still deliberately angling it out from his groin. 

 The Pasha's modesty is protected by a casually draped cloth, looking a bit like leopard skin. Oddly enough, that device makes his nudity and vulnerability seem more apparent. His hairy legs, glimpsed in earlier pictures, come to the fore.

 All the slaves' faces have been upgraded in the nude version, in line with Stephen's later technique. In the original, we can see more of the architectural detail of the room, which adds greatly to the depth of the image. We can also see some subtle shading in the trees, which is probably washed out in the later version by the reproduction process.

Stephen's 'Golden Pasha' 6

In the final image, the Pasha himself is chained like a slave and forced to kneel, cringing in submission to his former slaves. He is stripped of his turban, the symbol of his rank, as well as the last vestiges of his clothing (except for one sock). He looks very naked now, and the raised position of his hands, behind his back, suggests he's desperately trying to free himself. Aware perhaps that he will soon make his first acquaintance with the business end of his own, vengeful whip in the dungeon. 

 

This is an interesting study of feet, which are less evident in the earlier pictures, but soon became Stephen's unique trademark. Perhaps the Pasha is being invited to address them with respectful lips. Their exaggerated size here creates a sense of powerful men and menace surrounding the cowed ruler. 

 

The intertwining of the feet with Stephen's signature seems to be deliberate, but it's unclear why, perhaps indicative of his personal fascination with them. I'm afraid it reminds me of sticky carpets in sleazy bars!

 

Stephen's 'Golden Pasha' 6 (original)

This cropped version comes from Drummer in 1976. It's interesting that that particular publication should decide to crop out the whip. It makes the Pasha seem cornered, rather than surrounded. Interesting too, that Drummer don't seem to have had the nude version at their disposal (unless, of course, they preferred the contrast and subtle power of nude vs clothed, i.e. CMNM). Either way, it's a tribute to the essence of domination in Stephen's drawing of this scene.

 

~ 

 

The Golden Pasha doesn't quite have the power of other Etienne stories. The draughtmanship is good quality, the sexuality subdued, but bubbling teasingly beneath the surface and between the frames. The Pasha's relationship with his harem/slaves seems to be strictly sadistic. It's they who seem to threaten him with sex as a punishment and humiliation. The simple morality of the story is a far cry from the aggressive sexual subjugations of Night Patrol, Marine Training and Here Comes the Groom to name just a few of Stephen's later creations. 

 

Perhaps that reflects the political changes of the 60s and the greater freedom of expression subsequently afforded to gay men. The desire for vengeance against ruthless authority, as seen here, being broadened into something aimed at the straight world more generally. I'm not sure if it was revenge being sought or a naive conviction that they'd understand, if only they would give it a try themselves.   

  

 ~

 

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