GENE BILBREW REVEALED: The Unsung Legacy of a Fetish Art Pioneer: 1 (African American Artists)

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Each boy is assigned to a girl who laces him into his corset, dresses him and makes him up as a maid. They are then shown off to the entire sorority: The studio was bare bones. “It was a room about ten feet by twenty,” said Stanton. “One side was all windows. Steve’s desk and mine faced each other next to the window.”

Eric Stanton & the History of the Bizarre Underground by Richard Pérez Seves. Atglen, Schiffer Publishing, 2018. ISBN 978-0764355424 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: Panty Raiders' begins with three college boys conducting a raid on the ‘Alpha Beta Gamma' sorority house while the girls are at a game. The girls return and discover the boys. The sorority girls and their housemother, Mrs. Jones, decide to handle the matter themselves. The boys agree to submit rather than be reported to the Dean and face dismissal from school. They must report to the sorority every afternoon after their classes and act as ‘maids' until eight at night. The Stanton-Ditko studio lasted until 1968, when they both set out again on their own. That year, Stanton met Britt Stromsted, a Norwegian woman visiting the U.S. Unlike Grace, Britt was fascinated by Stanton’s artistry, and she even modeled in wrestling poses with Stanton, photos he’d use as references when drawing fighting femmes. Rich and spoiled, she was bored stiff with her wet sponge boyfriends, but when she met the magnificent negro, Don, her longings changed to lust and the sexual lid was blown off!"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

The boys look so good at the dance that they got more attention than the girls. They become upset about them stealing their boyfriends.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.