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.
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| 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.
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| 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 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.
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| 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.
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| 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.
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| 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.
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| 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.
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| 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?
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| 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.
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| 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!
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| 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.
~
There are numerous other posts about Etienne here at mitchmen,
a general search on Etienne will bring up every reference.
that's easy to join.
bod
