Sunday, September 7, 2014

Coming soon: our CRYPTOZOOLOGY ANTHOLOGY!


Last year, my multi-talented collaborator Wyatt Doyle (author of STOP REQUESTED) and I published two illustrated anthologies of classic stories from vintage men’s pulp adventure magazine stories. Both books were designed and co-edited by Wyatt and released by his indie publishing company New Texture.

The first was WEASELS RIPPED MY FLESH! That one includes the famed killer weasels yarn we used as the book’s title and a wide-ranging sampler of men’s adventure magazine stories, many by writers who wrote for men’s pulp mags before they went on to greater fame, such as Lawrence Block, Robert F. Dorr, Harlan Ellison, Bruce Jay Friedman, Robert Silverberg and Walter Wager.

The WEASELS anthology also includes an interview with Mario Puzo about his work as a writer for the Magazine Management Diamond-Atlas magazines (FOR MEN ONLY, MALE, MEN, STAG, etc.) before his novel THE GODFATHER made him hugely successful.

The Puzo interview was conducted in 1984 for SWANK magazine by our WEASELS co-editor, writer and musician Josh Alan Friedman. (Josh’s critically-acclaimed book BLACK CRACKER is also a New Texture publication.)

In his interview with Josh, Puzo gave special praise to Walter Kaylin, a less well-known writer who also created ripping yarns for Mag Management’s men’s adventure magazines from the mid-1950s to the mid-1970s. After we learned of the high regard that Puzo and other veteran writers and editors, like Bruce Jay Friedman and Mel Shestack, had for Kaylin, we decided to feature his stories in our second anthology: HE-MEN, BAG MEN & NYMPHOS.

Now, we’re proud to announce the imminent publication of the third installment in a growing series that we’ve dubbed “The Men’s Adventure Library.” Book number three is… {drumroll} … our CRYPTOZOOLOGY ANTHOLOGY. This one features classic men’s adventure magazine stories about legendary creatures like Bigfoot, Yetis (a.k.a. Abominable Snowmen), giant squid (once known as Kraken), sea serpents, the Loch Ness monster, giant lizards and relict dinosaurs.

It will also include a special introduction by our friend Dave Coleman, author of THE BIGFOOT FILMOGRAPHY and THE BIPOLAR EXPRESS.

In addition to being the writer of several books, Dave is a former Hollywood script doctor and blogger who is now widely known as an expert on the man-like monsters from the realm of cryptozoology. That group of creatures is referred to as “Hominid cryptids” by cryptozoology mavens and enthusiasts. (Or sometimes “cryptid Hominids.)

America’s most famous cryptozoologist Loren Coleman (a friend of but no relation to Dave) explained the origin of the term cryptozoology in his excellent book CRYPTOZOOLOGY A TO Z.  It’s a fusion of three Greek words: crypto, meaning “unknown” or “hidden,” zo meaning animals,  and ology, “the study of.” In other words, it’s the study of unknown or hidden animals.

Coinage of the term is often credited to Belgian zoologist Bernard Heuvelmans, who wrote a seminal book about the topic in 1955 titled ON THE TRACK OF UNKNOWN ANIMALS.

But Heuvelmans credited it to another one of the fathers of the science (or some would say pseudoscience) of cryptozoology, zoologist and author Ivan T. Sanderson.

From the early 1950s until his death in 1973, Sanderson wrote a series of popular mainstream books about animals and natural history, starting with HOW TO KNOW THE AMERICAN MAMMALS (1951) and ending with GREEN SILENCE: TRAVELS THROUGH THE JUNGLES OF THE ORIENT (published posthumously in 1974)

In 1961, he wrote one of the pioneering books in the field of cryptozoology: ABOMINABLE SNOWMEN: LEGEND COME TO LIFE.

But his most notable contributions to cryptozoology were the many stories he wrote in the 1950s and 1960s about Yetis, sea monsters and other legendary creatures for the top tier men’s adventure magazines TRUE and ARGOSY.

In fact, for years, Sanderson held the title of “Science Editor” for ARGOSY. In that role he contributed dozens of widely-read and influential articles about Hominid cryptids, sea monsters and lake monsters.

One of the most influential and controversial was his story about the iconic shots of Bigfoot taken from the film made by Roger Patterson and Bob Grimlin. It was titled "FIRST PHOTOS OF 'BIGFOOT,' CALIFORNIA'S LEGENDARY 'ABOMINABLE SNOWMAN'" and appeared in the February 1968 issue of ARGOSY.

The story was a huge scoop for Sanderson and ARGOSY. It played an instrumental role in making Bigfoot famous, launching a slew of other magazine and newspaper stories, books and movies in the 1970s. It made Sanderson the biggest superstar in the realm of cryptozoology. And, it stamped a still-familiar visual image of Bigfoot into the consciousness of people around the world.

Sanderson was not the first contributor of stories about crypto creatures to men’s adventure magazines. SIR! magazine, one of the  men’s magazines that helped shape the men’s pulp adventure genre, had previously scooped mainstream magazines by publishing an early article about Bigfoot’s Canadian cousin Sasquatch in 1948 and went on to publish some of the first stories about the Abominable Snowman (aka the Yeti) in the early 1950s.

By an odd coincidence, Ivan T. Sanderson’s first notable cryptozoology for a men’s adventure magazine was also published in 1948. It’s an interesting overview of sea monster lore that appeared in the December 1948 issue of TRUE.

In the 1950s, 1960s and 1970s, stories about Hominid cryptids, sea and lake monsters, and other legendary creatures appeared in many of the most popular men’s adventure periodicals, like ADVENTURE, MALE, MAN’S MAGAZINE, MEN and SAGA, and in some of the more obscure ones, like RAGE, SHOWDOWN and TRUE WEIRD.

Our CRYPTOZOOLOGY ANTHOLOGY will include stories from all of those magazines and more, along with introductory chapters and commentary by Dave Coleman, Wyatt Doyle and me.

We’re especially pleased that we were able to get permission from the Arthur C. Clarke estate to reprint a classic crypto creature story he wrote for ADVENTURE.

We’re also delighted that we were able to get permission to reprint one of the crypto creature stories written by the late John A. Keel from Keel’s family.

Keel is probably best known as the author of THE MOTHMAN PROPHECIES, the 1975 book that was made into a movie starring Richard Gere in 2002.

Like Ivan T. Sanderson, John A. Keel was one of the “Founding Fathers” of both cryptozoology and UFOlogy (the study of flying saucers). He wrote many groundbreaking stories about cryptid hominids (and UFOs) that were first published in men’s adventure magazines.

News about our CRYPTOZOOLOGY ANTHOLOGY is already spreading in crypto buff circles. The first posts about it anywhere were on the popular Bigfoot Field Reporter website and associated Facebook page, maintained by Sharon Lee Lomurno.

Here’s another news flash about our CRYPTOZOOLOGY ANTHOLOGY. It will be published in full color in both print and ebook format. So readers will see just how cool the cover paintings of the magazines and inside illustrations really are.

Watch the posts here and in our Men’s Adventure Magazines Facebook Group for more info and an announcement of the publication date.

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Comments? Questions? Post them in the Men’s Adventure Magazines Facebook Group.

Related reading…

Monday, July 21, 2014

“Beat Girls” smoking peyote! Topless! Yeah, man! I read it in UNTAMED magazine…


I’ve done several posts about the men’s pulp adventure magazine UNTAMED.

It’s one of my favorites, though it didn’t last long.

Only 8 issues of UNTAMED were published, in 1959 and 1960, by the company Magnum Publications, Inc.

They all featured wild cover paintings done by either Ed “Emsh” Emshwiller or Leo Morey, two great pulp artists who are more widely known for their science fiction magazine covers.

UNTAMED also featured some wild stories that I find highly entertaining, though probably for different reasons than originally intended.

Consider, for example, the supposedly true story about Beatniks from the February 1959 issue of UNTAMED, which uses a question as it’s title:

       “‘BEAT’ GIRLS: WORSHIPPERS OF ZEN AND SIN?”

In this exposé-style piece, a writer named Gilbert Nash sets out to answer that question with his buddy Bob.

Gil is a New Yorker who knows some Beatniks in the city.

Gil says his friend Bob is a writer of detective novels from Bloomington, Indiana.

Bob tells Gil he wants “to get a close look at this Beat Generation he’d been hearing so much about, and see if he could get some idea what makes it tick.”

“I’ve read Kerouac and Ginsberg and all the so-called spokesmen for the Beats,” he confessed, his brow furrowed. “I’ve read all the books and articles I can find claiming to explain the whole thing. And frankly, all I get is more confused.”

Bob isn’t a fan of Jack Kerouac or Allen Ginsberg, or any of the other legendary Beat writers.

But he is especially intrigued by a recent article he’d read “about the kids who held plush Madison Avenue jobs on weekdays and indulged their Beatness on weekends, at ‘cool’ parties.”

Bob says that article described how “all the girls take off their blouses and bras and walk around with nothing on top.”

With this tantalizing image in mind, Gil and Bob began their “quest for Beatness.”

During the course of the evening they go to a Beatnik party and actually do encounter one topless “Beat Girl,” plus some others who are like, really wigged out.

For example, there’s Joannie.

She’s a 21-year-old who has already bedded hundreds of guys.

Joannie, Gil tells us, “keeps track of the number of men she sleeps with and announces the running total out loud at the appropriate moment.”

The appropriate moment seems to, er, come while she’s having sex with some lucky (or possibly unlucky) guy.

That’s when Joannie likes to shout out the guy’s number: “297 or 369 or whatever the number is.”

“It can be pretty disconcerting,” Gil notes drily.

Then there’s the blonde Beat girl “who was not nude from the waist up, but might as well have been.”

Gil says of her:

“She wore a thin, faded man’s shirt, wide open at the throat and tied in a knot beneath her large breasts. There was a huge expanse of skin visible between it and her ragged shorts, which were obviously the barely surviving remains of a pair of dungarees.

She was talking in a low, steady drone. ‘Baby,’ she said. ‘Don’t tell me about the past, baby. There is no past. The past is dead. The past is dead, baby. The future isn’t here yet. Maybe there’ll be a future, maybe there won’t. We’re in between. And in between is nowhere, baby. Nowhere.”

Man-oh-man, I groove on that attempt to portray some nihilistic Beat-speak.

I also dig the story’s unintentionally funny anecdote about how Beats liked to smoke peyote:

“‘Pot’ is a word that is used loosely, like most words these Beat’ kids use,” Gil explains in the story. “But generally it means the dried leaves of the peyote cactus, which are made into cigarettes and smoked. Though the stuff has obvious narcotic effects, for some odd reason it has not been made illegal in New York yet, and lots of the kids use it to get ‘high,’ or ‘far out.’ Aldous Huxley wrote a whole book about the sensations he had when he tried it, and now uncounted young people in New York grow the plants, dry the leaves, and smoke the stuff for kicks.”

The part about Aldous Huxley has a basis in fact. It refers to his groundbreaking 1954 book The Doors of Perception.

It’s also true that peyote and the psychedelic alkaloid it contains — mescaline — were not yet illegal in most states or under federal drug laws when Gil wrote his story in 1959.

Of course, the part about growing and smoking peyote leaves is a bit hard to believe.

Peyote is a cactus plant that has no leaves. It’s typically eaten, not smoked. Indeed, I’m not sure it’s even smokable.

According to the Mystica web page about the use of peyote by American Indians and other fans: “Smoking peyote is impossible because it simply will not burn in a pipe or cigarette.”

I also seriously doubt if many people in New York were growing peyote in 1959.

And, I don’t recall ever hearing anyone refer to anything but marijuana as “pot.”

In fact, as someone who grew up in the 1950s and 1960s and who did his share of experimenting with psychotropic substances, I am pretty certain that the word “pot” was not generally used to mean peyote.

However, if (like me) you think Gil’s knowledge gap about drugs and his search for topless Beatnik babes sounds amusing, you’ll enjoy reading his “BEAT GIRLS” yarn.

It’s one of two mind-expanding, drug-related stories we included in our WEASELS RIPPED MY FLESH anthology.

The other one is an account written by a participant in early LSD experiments, titled “I WENT INSANE FOR SCIENCE.”

They’re both way out there!

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Comments? Questions? Post them in the Men’s Adventure Magazines Facebook Group.

Related reading, viewing and listening…

Friday, July 18, 2014

An interview with artist James Bama – Part 3…


Toward the end of Part 2 of my interview with artist James Bama, we discussed one of the classic men’s adventure magazine illustrations he painted that’s featured in the must-have book about him, JAMES BAMA: AMERICAN REALIST.

It’s a duotone that was used in the January 1962 of MALE for the story titled “THE FANTASTIC ‘GERMAN CORPSE’ HOAX THAT SAVED OUR LANDING AT SALERNO”

Jim told me his great friend Mort Kunstler, who also worked for men’s adventure magazines in the 1950s and 1960s, posed as the model for American airman firing the machine gun in that illo.

As Jim noted, there’s a quote about him by Mort Kunstler on the page in AMERICAN REALIST that shows the painting...

MensPulpMags.com editor Bob Deis: I looked up that quote about you by Mort while we were talking...

James Bama: He wrote a very nice thing.

Definitely. He said: “Jimmy and I first met in the 1950s, in Magazine Management’s waiting room and it wasn’t long before we became best of friends. Once a week I’d go in to New York for assignments, have lunch or dinner with Jimmy, and we'd go to the Westside ‘Y’ to play basketball.”

Bama: Mort was a great athlete. He was a great basketball player. He was a track star and I think he was a swimmer or a diver. He used to play basketball with Dick McGuire, who was the star of the New York Knicks and Mort was better than him. When we went up to the YMCA he just wiped everyone out. I was a pretty good basketball player, but he’d beat me like 10 baskets to 3. Mort was a great athlete, a great athlete.

Mort also said in that quote: “Jimmy was one of the hardest working guys I knew. His technique was overwhelming and he became one of the best artists in the field. At a party in 1961, before I moved to Mexico, I introduced Jimmy to Len Leone, which started his career with Bantam Books. I have very fond memories of those days.”

Bama: Oh, yeah, we were great friends for years. I knew his whole family. I visited them in Mexico when he moved there for a while in the the early 1960s. He wanted his kids to experience a different culture. So, I went down to visit him, and some of the paintings in my latest book [JAMES BAMA: PERSONAL WORKS] were based on things I saw in Cuernavaca where he lived.

I did an interview with Mort a while back and he told me that, in addition to linking you up with Bantam Books, which led to the Doc Savage paperback covers that became one of the best-known facets of your career, he also got you your first job doing box cover art for the Aurora monster model kits, which you’re also famous for.

Bama: That’s true. Mort was doing airplane model box cover art for Aurora at the time. Like I’ve often said, my monster model artwork and Doc Savage covers are going to outlive me.

It’s interesting that Mort’s career arc is somewhat similar to yours. You both did advertising and magazine illustrations, paperback covers Aurora box cover art. Then in the 1980s, you both moved on to primarily do fine art paintings sold by galleries and made into prints. You focused on Western art paintings...

Bama: And, Mort does the Civil War.

Right. And, nowadays his original Civil War paintings sell for $40,000 or $50,000.

Bama: That’s what I was getting for my Western paintings before I couldn’t see anymore and had to stop painting.

It’s amazing that in the ‘50s and ‘60s you and Mort were only paid a few hundred dollars to do a men’s adventure magazine illustration. But you both made up for it in volume. Mort told me that each month he did three covers and two inside illustrations for the Magazine Management magazines, like STAG, MALE and FOR MEN ONLY.

Bama: Yeah. Mort had three kids to support.

I read in AMERICAN REALIST that you were doing about one men’s adventure magazine illustration and one paperback cover every week, on top of your advertising work for Cooper Studios and Aurora and everything else.

Bama: That’s right. In my last year in New York, I did over 70 different illustration jobs. I did about one-and-a-half illustration jobs every week. I worked all the time, all the time. I worked late hours, seven days a week and I was single at the time. I was very good at what I did and I rarely had corrections, except for the advertising art. Between the clients, the salesman and the art director, you’d get all kinds of different directions on that. And the ad salesmen were big drinkers.

Sounds like the TV show MAD MEN.

Bama: We had seven salesmen at Cooper Studios and most of them were big drinkers. So, I had to deal with that and getting misinformation and dealing with people who drank.

Did you ever try to estimate how many men’s adventure magazine illustrations you did?

Bama: I would guess over 200. A guy named Rodney Schroeder is trying to collect everything I’ve ever done. He sent me probably over 100 Xerox copies of my artwork from men’s adventure magazines that he’s come across. I would guess I did about 200. I have 25 covers that I did, reproductions, and I think I may have them all. I can’t remember. It’s been too many years, but I have 25 here and the inside ones may be close to 200. I did a lot, Bob.

An illustration like the one for the “German Corpse Hoax” story has so many elements: the interior of the plane, the machine gun, Americans in uniforms, Nazis in frogmen suits. How would you put all that together?

Bama: Well, I would do a sketch and create a composition for myself. Then I’d figure out the lighting and the poses and then I’d get people to pose for me.

And you used the reference files you had from cutting out pictures in magazines for things like the plane, the gun and so forth?

Bama: Yes. And, in addition to my own reference files, we also had a big set of reference files at Cooper Studios. And, I had the New York Public Library available. So, I would so research first and I would base parts of my illustrations on the images I could find.

How long would it take to from start to finish to create a magazine illustration or a paperback cover painting?

Bama: Well, it depended how fast the photographer at Cooper’s could process the film I shot and give me prints, and sometimes on how fast I could book a model like Steve Holland. Sometimes he was pretty booked up. But I usually had short deadlines, like ten days to two weeks to do those kinds of paintings.

Once you sat down to do the painting itself, about how long would that take?

Bama: Oh, God. It depends. People have often asked me that. If there’s just one figure, like the cover painting I did of Bobby Kennedy for a Bantam paperback, that was one thing. [ROBERT KENNEDY: A MEMOIR by Jack Newfield, first published in 1969.] It was a single figure. If you’ve got a painting with ten or fifteen figures, it could take ten or fifteen times as long.

When you got an assignment from a men’s adventure magazine, what did they give you for background on the story?

Bama: Well, I don’t think I ever read the stories. They just gave me a synopsis. That’s what Bantam Books did, too. The editors would get together and they would pick their artist and they gave you a synopsis of the book. I would never have had time to read the books or the magazine stories. I did read all the Doc Savages. It was beneath the dignity of the editors to read them. Each one took me about 90 minutes to read. I read all 62 Doc Savage novels that I did cover paintings for and the editors let me do whatever I wanted for the cover paintings. That’s why they were good. The only other one I read for Bantam was about Mozart, because I was interested in his life.

So you didn’t read the Magazine Management magazines you worked for?

Bama: Oh, no. I never read them. I never had time. I did a lot of stuff for READER’S DIGEST and their Condensed Books series, like Captain Hornblower and things like that. [For example, HORATIO HORNBLOWER: BEAT TO QUARTERS, which was included with Robert Byrd’s ALONE in READER’S DIGEST BEST LOVED BOOKS FOR YOUNG READERS]. But no, I didn’t read Magazine Management’s men’s adventure magazines. I think I may have read some of the READER’S DIGEST books just because I did about six or eight illustrations for them, but I wound up quitting them and everybody except Bantam in 1968. Of course, then I went into fine art and it was a different ball game.

Aside from Mort Kunstler, did you know many of the other artists who were regular artists for the Magazine Management magazines, like Raphael DeSoto, Mel Crair, Robert Schulz, or…?

Bama: Well, Mel Crair and I went to art school together. We were good friends, yeah. Also Bob Schulz. We were all fellow students at the Art Students League in New York. They were both in my class. I knew who Raphael Desoto was and I’ve read all about him. I knew about some of the others but not as friends. We’d each only come into the Magazine Management offices for a couple of minutes, see the art director, and then leave. I only met someone if they happened to be in the waiting room at the same time. That’s where I first met Mort Kunstler.

Mel Crair and Robert Schulz both did hundreds of illustrations for men’s adventure magazines, like you and Mort.

Bama: Yeah, Mel was a good draftsman. He did very good realistic covers. Schulz, too, and Stan Borack. Stan was another fellow student at the Art Students League. He did beautiful covers for men’s adventure magazine. Mel, Bob, Stan and a lot of others all came from Frank Reilly’s class. We were all trained by him to do that kind of stuff.

My perception is that even though the men’s adventure magazines didn’t pay as well or have the prestige of mainstream magazines like the SATURDAY EVENING POST, they were important to a lot of illustration artists because they gave them gave a lot of work. 

Bama: We always had work from them. They were important in that respect. Oh, yeah. They paid horribly, but even with the SATURDAY EVENING POST I would only get $900 for a double spread. I did a lot of stuff for the POST too, illustrating stories by big time authors like Ray Bradbury and Pearl Buck. They paid $900.

So about three times as much and the men’s adventure magazines.

Bama: Yeah. But a lot of the other artists weren’t able to get assignments from magazines like the POST.

How about the men’s adventure magazines that had the highest circulations, ARGOSY, TRUE and SAGA?

Bama: Oh, I did quite a few jobs for ARGOSY and I did one for TRUE magazine. I remember Bernard White was the Art Director of ARGOSY and my fellow artists who knew Bernie said don’t go in after lunch because he’s a big drinker and he’d forget what he told you when he gave you the assignment. So, I’d always come in to see him in the morning and I did a lot of stuff for ARGOSY magazine. What happened with magazines that used a lot of illustration art like the SATURDAY EVENING POST in the ‘60s, the circulation was good, but people that were advertising were buying less and less ad space because they were catering to the older generation, which was no longer their major market. They almost all folded around the time when I moved here to Wyoming in 1968.

Some of the men’s adventure magazines continued on for a while into the 1970s, but in those final years they had more and more nude photos and less and less artwork.

Bama: I remember the SATURDAY EVENING POST tried to keep up. They hired an art director, I forget his name, and he redesigned the magazine so it was mostly a decorative layout with big lettering and small illustrations. And, they revived it, but not nearly like it was. I go way back and you can see I have a good memory. A very good memory. How old are you, Bob?

I’m 64.

Bama: How’s your health?

Pretty good so far, though I don’t think I’m in as good a shape as you are.

Bama: Well, no one is. I’ve been hitting a heavy bag for sixty-one-and-a-half years. When I was 26 I started a self-improvement program. I started taking dance lessons and I joined the YMCA and started lifting weights. And I got close to the world’s record by the time I was 35.

Jim, I want you to know I really appreciate you taking the time to share all these memories and facts with me and my readers.

Bama: Well, listen. We’re all in the same boat. Aren’t we? If you’re not nice, what’s the point of living? Of course, sometimes people take advantage. When my AMERICAN REALIST book came out, the deal was I had to go on a book-signing tour. And I was in Carmel, California and some guy wanted to sign a book for his girlfriend by writing, “Thanks for last night.” I didn’t.

You know, I only recently found a copy of the special Deluxe Limited Edition of JAMES BAMA: AMERICAN REALIST with the DVD and finally got to watch the documentary about you. It’s really great!

Bama: I just gave a copy with the DVD to my neighbor who plowed me out last winter. That video was taken when I was 68 years old. I’m almost 88 now. It was taken 20 years ago, almost 21 years ago.

It’s amazing how time flies.

Bama: Oh, I can’t believe it. I can’t believe it. And basically, I’ve never looked myself up on the Internet because I know everything. I don’t have to look it up. I can’t even see the computer now anyway. However, some time ago, I was at the library and there was a reporter there who was talking to a friend of mine, and he does all of his reporting on his computer. He showed me some of what there was about me online. There was tons of stuff, including some things that said I did a cover with Captain America, which I never did. I never did that cover.

Nowadays, there are a lot of your Western paintings online.

Bama: Yeah, I had three books come out of my Western art and they’re all sold out. And, recently there was a showing of my Western photographs. I’ve been taking pictures out here for almost 40 years and I’ve got a record of all the old-timers: a guy who drove a 24-horse steam stagecoach, the oldest living Arapaho Indian, who was in Tim McCoy’s Wild West Show and performed in front of Queen Victoria and was in the silent movie COVERED WAGON. I caught a lot of these people when they were in their 90's. And Robert Yellowtail, who was a famous Crow Indian Chief. I got them not only in my artwork, but in the photography.

I’m looking at a copy of THE WESTERN ART OF JAMES BAMA as we speak.

Bama: That was the first one. Then I started doing prints of my Western artwork at the same time. The second one was called THE WESTERN ART OF JAMES BAMA REVISED, and they used eight more images and almost doubled the price.

You know, in the DVD documentary and this interview, I hear you pronounce your name as Bama, like Alabama, not Baw-muh, with a soft “a.” I’d been saying it wrong for years.

Bama: Well, I don’t know. People pronounce it every which way. My father was a Russian immigrant. I don’t know how they pronounced it. I’ve always said Bama, like Alabama. Maybe I’ve been saying it wrong. I don’t know.

Ha! Well, at least now I know how you say it. Thanks again for talking with me, Jim. I greatly appreciate it.

Bama: You’re very welcome.

[In case you missed them, here are links to Part 1 and Part 2 of my interview with James Bama.]

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Comments? Corrections? Post them on the Men’s Adventure Magazines Facebook Group.

Books about James Bama and his art…

Limited edition prints of James Bama’s Western art…

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