Christian Haren (February 1, 1935 – February 27, 1996)

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Christian Haren (February 1, 1935 – February 27, 1996) was an American actor, model and community activist.

Haren was born in San Bernardino County, California. He attended school and colleges in San Bernardino. In his 20s he served in the United States Army during the 1950s.

In the 1960s Haren received a studio contract from MGM and starred in Vincente Minnelli's Bells Are Ringing, Otto Preminger's In Harm's Way, and Billy Rose's Jumbo. He starred on Broadway in the Bertolt Brecht play The Resistible Rise of Arturo Ui, produced by Tony Richardson.

He is best remembered for playing the role of the Marlboro Man in print advertisements in the early 1960s.

Haren was openly gay and the proprietor of the popular Palm Springs gay bar CC Construction Co. in later years. In 1985 he was diagnosed with AIDS and became active in AIDS prevention education. He started "The Wedge", a "safe sex" AIDS prevention organization for teens in San Francisco.

Haren died in 1996 in San Francisco, California of complications from AIDS, at the age of 61.

His life was the subject of the 1998 documentary short Castro Cowboy.



Source: http://en.wikipedia.org/wiki/Christian_Haren

Further Readings:

Beyond Shame: Reclaiming the Abandoned History of Radical Gay Sexuality by Patrick Moore
Paperback: 264 pages
Publisher: Beacon Press (January 14, 2004)
Language: English
ISBN-10: 080707957X
ISBN-13: 978-0807079577
Amazon: Beyond Shame: Reclaiming the Abandoned History of Radical Gay Sexuality

The radical sexuality of gay American men in the 1970s is often seen as a shameful period of excess that led to the AIDS crisis. Beyond Shame claims that when the gay community divorced itself from this allegedly tainted legacy, the tragic result was an intergenerational disconnect because the original participants were unable to pass on a sense of pride and identity to younger generations. Indeed, one reason for the current rise in HIV, Moore argues, is precisely due to this destructive occurrence, which increased the willingness of younger gay men to engage in unsafe sex.

Lifting the'veil of AIDS,' Moore recasts the gay male sexual culture of the 1970s as both groundbreaking and creative-provocatively comparing extreme sex to art. He presents a powerful yet nuanced snapshot of a maligned, forgotten era. Moore rescues gay America's past, present, and future from a disturbing spiral of destruction and AIDS-related shame, illustrating why it's critical for the gay community to reclaim the decade.

More LGBT History at my website: www.elisarolle.com/, My Ramblings/Gay Classics