GENE BILBREW REVEALED: The Unsung Legacy of a Fetish Art Pioneer by Richard Pérez Seves. New York, Fethistory, 2019. ISBN 978-1072487548 Wrote Amber: “My father contributed to the costume, the idea of the web shooting out of Spider-Man's wrist, and the movement which he made with his hands to release the web. ... I still remember my father's beautiful, strong, broad hands as he showed me the movement that makes Spider-Man's web release from his wrist. It was just like my dad to come up with something like that. If you knew my father it would make sense that he had a hand in Spider-Man.”

In fact, while Stanton usually denied having influenced Ditko’s conception of Spider-Man—“Steve doesn’t like me to talk about him,” he told Theakston, “my contribution to Spider-Man was almost nil”— he sometimes admitted that the web-shooter idea was his. We had a great working relationship,” Stanton recalled in a 1988 interview. “We were the only guys who could have gotten along with each other.” The sorority girls decide to have a dance and have their maids come in formals. First, they must buy them. The girls lend the boys dresses for the shopping trip.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. a b c Hyperallergic Daily magazine article, "A Long-Lost Artist of the 1950s Sexual Underground" by Jim Linderman, 5 January 2015 at hyperallergic.com Jan 6, 2015 Ditko’s material showed a total unawareness of sex while Stanton’s material conveyed a kooky preoccupation with it. Yet both shared the same ambition of make it as artists; and both, one might say, were earnest and obsessed.”

They pulled off our wigs. The girls shrieked with delight, while the fellows flushed crimson realizing that all the pretty things they had said to the three ‘cousins' were actually said to boys. Her mother was angry that Stanton never claimed recognition or royalties because of his role in creating the character. When Amber asked her father about it, “his response,” she said, “made it clear that it was something he would never even consider because the ideas were freely given.EXOTIQUE is thoughtfully prepared and edited for those whose outlook on life is sound and hopeful: for those who find enjoyment in the bizarre and the unusual both in action and in attire. Why must we all be conformists… follow the crowd? Are we not able to think for ourselves, act as we feel and dress as we desire? This is an unbeatable combination and it IS within our reach. While Stanton wanted to honor Ditko’s work by not claiming any part of it for himself, he had another reason for avoiding the subject: he wanted to protect his family by keeping a low profile: Almost at once Stanton recognized that art provided a unique satisfaction he did not experience in real life: not only access to a special fantasy world, but a sense of personal power: ‘I had control ... I could have the people I drew do anything I wanted’ he reflected in later years. ‘I was king of my world.’ Control and powerlessness—as mirrored in the secret subculture of the sexual fantasist–would become a major theme in his art. [...]

Seves accepts without qualification that Stanton helped Ditko and that Ditko helped Stanton. On full-fledged collaborations, Stanton usually did the pencils; Ditko, the inks. Stanton drew the women; Ditko, the men. And Seves points out evidence of Ditko’s hand in various of Stanton’s enterprises. Something in Stanton’s psychological makeup dictated channeling and creating art as a means of attaining a proper balance and some measure of control in his life. The actual art he made—the artifact itself—was always less important than the process. [...] It was the process of making art that Stanton lived for; it was that process of exploration and discovery. 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.

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.” I found my copy of the ‘Panty Raiders' in a small porno shop in San Francisco. It wasn't my favorite store; it wrapped its magazines so you couldn't open them. However, they didn't care that I was still not twenty-one. After all, I didn't buy the porn, just the fetish books such as Nutrix or Exotique 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.