Showing posts with label Bisexuality. Show all posts
Showing posts with label Bisexuality. Show all posts

Tuesday, September 19, 2023

Sex, Lies...and Male Bisexuality




 Smarter movements than LGBTQ+ once stressed the importance of using identity politics judiciously - not as a reason for being. Unsurprisingly, as the rise and rise of ideological identity politics captures our institutions, it's LGBTQ+ which is most vulnerable to a backlash with unpredictable consequences. One such unpredictable consequence is that self-identity as well as self-reporting muddies the waters in terms of establishing accurate percentages of bisexual men amongst groups better defined as exclusive homosexuals and men who have sex with other men. The Klein Sexual Orientation Grid is a perfect example of how pseudo-science doesn't invoke objective science to establish meaning.

Bisexuality is a conceptual knock-on afterthought to the relatively modern notion of gay male homosexuality as both identity and pathology. Prior to that, Western civilization for better or worse only acknowledged sexual acts between men within the broader rules of male sexuality, as policed by homophobic elements of essentially religious patriarchy. As for what came before, it's a case of "It all depends..."

In the relatively few regions which survey sexuality, males self-reporting as homosexuals and bisexuals remain low. Adjusting for closeted dishonesty, it's not unreasonable to conclude that a <2% homosexual cohort is much higher, with a statistically similar cohort of those claiming bisexuality to be lower for much the same reason. "Men who have sex with other men" is an accurate medical descriptor, and responsibly avoids specifying homosexual, bisexual and heterosexual identities. AIDS research puts the number at <16%.  With removal of "out" and exclusive homosexuals, it's that group of males and their sexual behaviors which demand interrogation without interference from pseudo-science and identity politics.

 If one crunches the numbers according to the genderist /queer underlying notion that "everybody's a bit bi" you'd assume bisexuals comprise the largest demographic of male sexuality. They don't, and they don't to the point that one questions the queered bisexual man as more sexless academic abstraction than anything else. An identity if you like, and one which peoples social media in suspicious numbers. (Claims that "biphobia" is constitutionally similar to homophobia can be dismissed because the former lacks a body of credible evidence while the all-to-real latter is overwhelmingly evidenced to the point of murder statistics.)

 All the number-crunching in the world however doesn't reconcile how the political and the personal usually make especially poor bedmates.  LGBTQ itself has devolved into an anti-sex movement characterized by its politics-of-chaos approaches to innate sex and sexuality. Its attitudes quickly become sexual identities taken on by the naive, with cult-like zeal. It screeches "Love is love" while promoting every aspect of sexual dysfunction guaranteed to impede healthy consensual loving. Going forward, newer LGB organizations will need to stay on their toes and insist that 'B' inclusion is conditional on deference to sexual preference as a principle, in order to avoid being consumed by identity's demands. 

 

 

The Sins of Wikipedia 

 

 

   For a go-to online encyclopedia (compiled and edited by anybody and everybody) Wikipedia's "Bisexuality" entry is a dog's dinner of gender subjectivity which fails to define bisexuality beyond  American ideas gleaned from often-wrong psychology and untrustworthy psychiatry. And worse:  Hirschfeld and Freud are heavily referenced, as is Kinsey. Remarkably short on scientific expertise or proven science, the scientific mantle nevertheless lands on the suspect shoulders of Simon LeVay and John Money, with no nods whatsoever to evolutionary biology or behavioral neuroscience.

The entry's History component initially cites an article which fails to support it's claim re Spartan adult male bisexuality. Wiki's "History of Bisexuality" link serves as a lengthy love-letter to anti-essentialism...to the anti-sexual point that one can assume bisexuality as any kind of sexuality doesn't exist and never did. The elephant in the room is never addressed: for all the waffling about orientation and attraction, nobody is able to come up with an authoritative description of a bisexual sex act between two people.

Wikipedia's many sins regarding sexuality aren't restricted to bisexuality. An assembly of some facts and many ideological opinions couched in an over-reliance on strategically vague language choices doesn't add up to authority. It does however obscure important determining sexuality considerations like sex drive and sexual preference. Serious scholars of male sexology do the hard yards by critically evaluating everything from many related disciplines, in the full knowledge that social science and social criticism are often blurred to the point of having zero value. 

 

 

Bisexualty And Shaky Taxonomies


   As the various disciplines contributing to male sexology become captive to gender ideology, the erasure of essential sexual preference in favor of less substantial conceptual notions like "orientation" and "spectrums" gives free rein to new interpretations of old ideas, bad ideas and ideas which have been superseded and dismissed. Contemporary studies are tending to revisit Kinsey's sexuality-as-continuum / bisexualty-as-commonplace tropes (Valentova, Medrado and Varella), and running with ill-disguised hypotheses geared to wrecking both homo- and heterosexuality as discrete sexualities. We've come a remarkably long way since Kinsey. With modern sciences we're able to lay out facts in their correct order to establish (homosexuality as) a simple flow-chart, from bio-genetic origins through to sex-drive objectively completing homosexual sex acts. We're still however trapped in the conceptual language of Kinsey to the point that concrete sexual preference and abstract choice are sold as the same thing.

 While it's scientifically impossible to establish true bisexuality, it's eminently possible to create much science fiction around the concept which is nevertheless entirely dependent on two discrete sexualities. We know male bisexuality exists but contemporary attempts to substantiate it as a third sexuality are falling flat. History seems to indicate that bisexuality - based on the reality that all men can have extremely gratifying sex with each other - has barometric properties which rise and fall according to that society's requirements. Kinsey appears to have realized this by usage of the term "ambisexuality" as he pulled back from a flawed hypothesis which views all male sexuality within a bisexuality spectrum.When it comes to spectrums, it's far more reasonable to understand male bisexuality as part of the male homosexuality spectrum - not the other way around.

The hubristic claims of "Robust evidence for bisexual orientation among men" (Jabbour et al (2020)) were quickly shot down, not for over-reliance on identity but for crude science. Their data relied exclusively on penile arousal methodology, attended by unreliable self-reporting. Any producer of straight porn could have told them fifty years ago that heterosexual men become aroused by a big hard cock - it's a prerequisite to stimulate a straight viewer.  Ogas and Gaddam's findings on male sexuality and porn ("A Billion Wicked Thoughts" (2011)) are invaluable to understanding the contemporary male in sexology: straight men are aroused by large penises at about the same rate as gay men and probably always have been, for many reasons.

 The C19th specification of homosexuality (and later heterosexuality) doesn't entirely establish what is so across all times and all cultures. As K. Renato Lings eloquently explains (in "Love Lost In Translation: Homosexuality and the Bible"), we're missing the big picture when we ignore the homoerotic in favor of relatively modern concepts and taxonomies which explain nothing when superimposed on history's realities.

 

 

What You See Is What You Get

 

    Where and who are the bisexual men peopling our media? The heartthrobs who do it and talk it and don't give a damn, and demand more roles for bisexuals while they do it? We need names. 

Mass media is for the most part on board with a reductive 'member of the LGBTQ community' descriptor which effectively erases innate and exclusive male homosexuality, and the male bisexual's remarkable absence in media raises questions. We're wise to question the veracity of those who 'come out' as bisexual. Where are the masculine heterosexual stars and celebrity males declaring bonded sexual relationships with men outside their publicized heterosexuality? We're wise to interrogate a publicist's more-palatable descriptor as opposed to their client's actual sexual preference. Famous historical flyers of the bisexual flag like Elton John, Freddie Mercury and David Bowie invariably morphed to homo- or heterosexuality and did so in the absence of proof of bisexuality. Clearly, bisexuality-with-elan is often spin to garner edgy artistic cred. Just as clearly it's often simple deceit of the homophobic kind. Notably, mass media is usually complicit in refusing to "out" public figures despite its fundamentally exploitative nature.


 It's said that you'll never know as much about a man as you think until you know his pornography. As social study of men, it's oh-so-informative and getting to be more so. Realistically, so many lines have become so blurred across the reality/fantasy divide that pornography, sex work and sexuality itself have been been steered by technology into uncharted territories. Pornography informs us about male sexology with raw data from internet searches providing a much bigger picture than self-reporting. It's media consumption which is desire-driven as opposed to media which is passively consumed as served.




Naughty Boys


  In the real world a bisexual man won't often identify as 'bi' but just see his sexuality as his unique masculine trait. He's not theoretical, and aggressively pursues trouser as his heterosexual counterpart pursues skirt. One fairly well-run study found that male bisexuality is associated with pronounced masculinity, with a sexual preference of up to 75% weighted in favor of homosexual activity. More rigorously executed studies in lab rats confirmed male sexual attraction to other males is increases or decreases according to testosterone levels. The contemporary human male's sexual pitch to other males often presents as frank, dispassionate statements like "All men are biologically designed to sexually satisfy each other."

 

Suspicion and hostility towards bi-men predates LGBTQ+. Gay Libbers of the seventies and eighties generally dismissed claims of male bisexuality as closeted homosexuality. The numbers of men struck down by AIDS spoke volumes about men who were, and were not, out of the closet. Not everybody all of the time has bought the idea of bisexuality as a discrete third sexuality. The genetic findings of Andrea Camperio Ciani indicate no differences between homosexual and bisexual males, and many studies as well as the Implicit Association Test applied to sexuality struggle to establish difference. The Advocate chose to run with a they/them-authored "research paper" Bisexual erasure: Perceived attraction patterns of bisexual women and men constructed around the non-hard science of participant's thoughts when shown pictures of other people.  

 

There's a case to be made that the sexuality of many or most males is constructed on a lingering "naughty boy" component associated with youthful confidence, a desire to experiment and poor risk assessment skills. Youthful sexual experimentation among the cohort not identifying as gay however isn't an accurate indicator of bisexuality or homosexuality.  Nor is it conversely the same thing as young homosexuals' forays into heterosexuality which may very well be due to social pressures associated with homophobia. 


Pornographers are notoriously secretive about what sells and don't track the ages of buyers. The same doesn't apply to OnlyFans: it's said that when the site instituted age verification they lost 30,000 male content providers overnight. One can't however extrapolate actual sexuality from online behaviors which run the gamut from exhibitionism to 'cam boys' charging mostly male subscribers for what might be regarded as sex work lite.

 

 Many naughty boys' evolving sexual maturity brings about significantly different young males who aren't experimenting. Especially good-looking young males are quick to notice homosexual interest, enjoy that they're being appreciated and many work out that homophobia isn't a step up the ladder but exploiting their homoerotic appeal most certainly can be. It's cynical to dismiss this form of homosexual bisexuality as strictly transactional: before youth fades affectionate and enjoyable sex often contribute to a mutually enjoyable relationship. A more familiar stereotype however is the young-bisexual-as-villain: a homophobic society is still regularly served up both truthful and fictional tales of his calculating menace.




Situational / Incidental 'Bisexuality' In Heterosexual Men


 

    An uncertain number of heterosexual males will participate in homosexual activities for a variety of reasons. They can be rightly called heterosexual because heterosexual preference remains a constant, with many or most reverting to exclusive heterosexuality as conditions change or a stable heterosexual lifestyle is available. Many or most count this homosexual activity as proof of bisexuality but that's highly debatable since undefined periods of bisexuality are just that, and situation-dependent.

 

 Bisexuality, or situational homosexuality, is endemic to segregated male populations, with army service and incarceration being the best-known (but rarely acknowledged) situations. Males for the most part don't like being denied sex when they're young and increasingly don't tolerate loneliness as their sexuality matures. Confident heterosexual males often snicker about selling their bodies, and feigned horror at the thought balances the fact that they quite like the idea. It's an idea which serves the male ego. Straight men who actually do it very quickly find that there's little or no money to be made servicing females: if it's their only source of income they won't be eating unless eighty or ninety percent of their clients are other males.

 

And then there's show business. A male who's 100% determined to see his name in lights in industries with around 97% unemployment tends to start early with giving his all for his art: where there's a gay photographer there's an opportunity to show just just how seductively cooperative he is. With stardom and some marriages the scuttlebutt regarding his willingness to "go under the desk" is suppressed to the degree of his clout. Celebrity males have not attached themselves to the #MeToo movement as victims, and probably wisely so.

 

 "Gay for pay" isn't anything new or a feature of sexual liberation. It arcs over times and cultures. Prior to Islamist crackdowns in the 1970s, North African family men did well from gay European emigres and tourists, and always hoped for an ongoing business relationship. The most recent gay for pay shocks concern gay porn made in the Czech Republic: around 90% of the performers are straight and remarkably enthusiastic young college men, with gays deemed too temperamental for the business. The shame of being cash-poor it seems far outweighs the shame of violating heterosexuality's prescripts. The reality of economic downturns in many regions, in tandem with the decimation of porn industries by free online content, determines that more males are competing for fewer opportunities to cash in on their virility.




It's Not Gay If You Don't Kiss

 

   A fundamental question remains: can the concept of bisexuality legitimately claim the many heterosexual males who partake in situational homosexuality? The answer's moot at best. What's not moot is that males will always purpose their sexual selves to meet their wants and needs, as they negotiate their way up or around male hierarchies. Contemporary homophobia is only of the times: while it's intended to serve preservation of male power structures, earlier Classical power structures  built on the significantly homoerotic served the same purpose. One could argue that the primitive male brain is hard-wired with a homoerotic component. All males of all sexualities find masculine males most attractive, and that makes perfect sense in terms of survival threats. The Theban Band and Spartan military models insistence on bonded boyfriend couples successfully exploited the supposition.

 

No two things are ever quite the same, and a FFM 3-way is far from the same thing as a MMF 3-way. Two women plus one male constitute a bisexual experience for only the women with heterosexual male gratification being of paramount importance. Compulsory performative bisexuality for the gratification of the other sex however is not a two-way street: contemporary straight women have difficulty organizing a 3-way with two men on female terms which prefer male-on-male affection, as well as full participation to penetrating each other. While it's relatively normal for straight men to enjoy something up their backside to heighten heterosexual enjoyment, that something apparently isn't another man if it's not on male terms. 


 And then there's the not-entirely-unrelated "bromance". This new, bright and shiny "We're not gay!" descriptor for a kind of intense male relationship within heterosexuality revisits what we've been seeing since the specification of homosexuality. Not-dirty bromance is a perfect candidate for seizure by the many queer theorists masking a Puritanism which de-sexes essential objective sexuality. 




Bisexual or Closet Queen? And Does It Matter? 


  Well...yes and no. The bisexual man presents a significant challenge (or threat) to gay men who aren't as secure and authentic as we'd like to have folks believe. Most often that insecurity manifests itself in the belief that bisexual men are just casual sexual opportunists...paradoxically not unlike many gay men. Or perhaps: "Our little hearts might get broken if we can't railroad the guy into a relationship of dubious intent." In that scenario, neurosis has closed the door to the idea that a bisexual man may very well be open to a healthy, loving sexual relationship with another man. And how we ascertain that is best done with open and honest dialog which leaves both men feeling better about it all: our nominated identities may very well be cold and superficial and highly unlikely to sustain anything meaningful. 


There are always red flags to look for when it comes to intimate relationships between men. The Pew Research Center found very few men claiming bisexuality were out, with very few valid reasons for their secret-keeping. If we're being subtly told we need to respect another man's choices by diminishing our fought-for status as an out homo then a power imbalance is being demanded. Discretion and being regarded as an unimportant piece on the side are two very different things. The sexual maverick one might need to be with shows his colors early on: he's physically available and he's emotionally available.

 

 

Inconclusive Conclusions

  

   The preceding attempts to collect the many sometimes conflicting aspects of the subject as a whole of apparent conflicts. We see how homophobes and Queer theorists cherry-pick facts and data to invent Truth. Serious scholars of male bisexuality will encounter the same problems as with homosexuality: our contemporary ways of thinking about both don't fit when superimposed over history. But starting at the point of recorded history and referencing expert translators like Renato Lings we can better access how ancients thought about and conducted intimate male relationships, and recorded them in the documents of civilization. 

 

What we currently define in terms of specific sexual acts crudely fails to consistently address the only spectrum warranting examination in the truest meaning of the word: the psycho-sexuality of the individual man as he functions in the time of his culture and society. I've found Lings' overarching term "homoerotic" a most reasonable descriptor for Biblical male relationships underpinned by psycho-sexuality but often purged of their erotic content by revisionists in favor of being deemed deep but chaste "love". "Homoerotic" fits our times, and seemingly always has.

 

  • Neither the bisexual nor homosexual male (as we now specify and pathologize) is evident in pre-Roman history. But ancient mythology, Hebrew Biblical and other historical evidence identifies a sometimes-ideal innately homoerotic male who characteristically bonds intensely with another male to teach overarching morality lessons. The archetype dates from the complex Epic of Gilgamesh and changes little across millennia. It's not unreasonable to suggest the homoerotic component is hard-wired into the primitive male brain, to be invoked possibly when he's threatened. The military supremacy of the essentially homosexual warriors of Sparta and the Band of Thebes certainly are due to a sophisticated understanding of how to fully exploit the homoerotic as a means of achieving much more than survival.
  • Bio-genetic studies indicate that distribution patterns of verified male bisexuality follow homosexual – not heterosexual - patterns. It's therefore fundamentally flawed to view male bisexuality as a distinctly discrete third sexuality or worse: to view it as predominantly heterosexual.
  • There is no hard evidence that male bisexuality is increasing, nor is there any acknowledgment from presumably heterosexual men in the public eye that they do actually take male lovers. There is significant evidence however that Queer theorists & gender zealots are singularly determined that their vague ephemeral concepts around “attraction” be substituted for essential sexual attraction as determined by sex drive.
  • While there's no evidence that many men are bisexual as we know true bisexuality to be (or not to be), it's clear that many men will participate in, or initiate, homosexual sex for reasons of personal advancement and benefit, with sexual gratification as a bonus.
  • More accurate than self-reporting, modern studies of the male bisexual indicate that he presents as more masculine than average, and distinctly prefers masculine male sex partners. For the sexologist working empirically, serious questions arise as to the usefulness and function of the feminized male in relation to arousing male homoerotic response. 

 

   Serious scholars of male sexology are wise to know that we don't know a lot if we don't know that our Western thinking is post-Roman, and very much indebted to the relatively narrow sexual mores of that specific era biased to matters of domination and submission within class structures. We're further hampered because the field isn't being interrogated thoroughly across all disciplines, with opinion, pseudo-science and suspect psychology dominating most discourse. I'd hope that's not the harbinger of newer inverted religious thinking replacing disciplined critical thinking which seeks to apprehend truth.




  

Friday, December 31, 2021

The Sexual Revolution Is Joe Dallesandro

 

"A wonderful actor who forever changed male sexuality in cinema." 

 John Waters

  

   The man doesn't lie. Mr Waters is merely stating what's factual and obvious. And in the half-century that's ensued, the males who've stripped full-frontal naked in the sex symbol's modern breeding ground have, to a man, failed to emulate the male sex symbol that Joe Dallesandro was, an is. The camera probably reads subliminal full-frontal shame for what it is: for all the filmed frou-frou and prosthetic dicks there's been remarkably little male sexuality to see and experience when the movie house lights go dim. And Western civilization has form when it comes to purposing male nudity for political and ideological ends, via all forms of artistic expression. 

 

This Male Sex Symbol Thing

   He's had a checkered history. From the amulets of antiquity with huge erections to whatever any society purposes him for...be it breeding superiority, war, rape or psychological war on other males. That's a created sex symbol, and be it baked clay or the polished plastic of Chippendale's burlesque, it's existence is medium-dependent. Somebody, somewhere always seeks to manipulate the public imagination via medium messaging, and cinema may very well be the worst offender inasmuch as it thinks a "stud" is a male sex symbol. Despite that turd of an idea flying in the face of the facts, it's a turd which Hollywood especially, on behalf of heterosexuality, won't stop polishing.

Valentino vs Puritanism,1921
And then there's the male sex symbol which just happens, and he's sensational. Valentino towers over the rest because he's a collection of ideas and qualities which found form as filmed mass entertainment. He's bigger than his pictures because his sex appeal is experienced at head-meets-groin level by men and women, en masse.

 That's problematic for a society which opposes men finding other men sexually attractive, symbolically or otherwise. Problematically also is the fact that the male sex symbol in cinema had never been what's expected of a female sex symbol: an alluring easy-going piece of non-aggresive pulchritude for gratifying exploitation in the mind of his consumer, or customer.

And it's into that void that Joe Dallesandro strode as a one-man sexual revolution: naked as a jaybird, and looking just as good from the front as the rear.



Evolution: Where Does A Sex Symbol Come From?

   Dallesandro himself offers a tantalizing clue: "I guess I was looking for some kind of father figure". It's quite revelatory inasmuch as it refers to his teenage location as a runaway in California, notably documented by homoerotic images, across quite a few years. His biographer Michael Ferguson doesn't dwell on the demi monde details of this time but Dallesandro clarifies that something transformative happened for him when being exposed to gay men, as his desirability came with their acceptance of who he was. While Lou Reed states that "Little Joe never once gave it away...everybody had to pay and pay", we can never be certain that the transactions men make amongst themselves are as shallow or as deep as we imagine.

The homosexual male gaze can't legitimately be presumed as offensive or damaging to a young man. For many it's expected, welcomed or met with hostility in varying degrees - especially if he's good-looking. (see note 1) For Joe Dallesandro it was a healthy affirmation of his bisexual manhood and it didn't arouse residual homophobia. A homecoming of sorts, it was the end of a road plagued by acting out, and a road once seemingly headed to a lesser life of crime and violence. Lacking in stability and social stature and standing at a belligerent 5'6", Joe wasn't the kind of guy you'd put money on to win at The American Dream, circa 1964. In fact, his working-class response was to look back at it: his action plan involved building a 1950's body around his 1940's sensibility tattoo which had proclaimed "Little Joe" from age 15. 

Too young to have developed the hard mass musculature of the many other Italian American bodybuilder guys who peopled California's "modeling" world, the camera disclosed something else quite remarkable: another male with the harmonious proportions of antiquity's statuary. As photographed by greats like Bob Mizer and Bruce of Los Angeles, Joe Dallesandro usually went by his own name when many didn't. Only time would tell whether he was a young naif or a man with enough agency to gladly let others write their own stories on the image of his body. While he's often quoted as retrospectively not being comfortable with being filmed nude he's rarely given his last word: self-approving braggadocio it seems went a long way to ameliorating discomfort. 


A Hustle Here And A Hustle There...

 

  

   By 1967, the "there" was back in New York City, and at nineteen Joe Dallesandro had three Underground films under his belt. (see Note 2). He'd abandoned his father-identified image and now presented as youngish and contemporary, with a body less cut and looking more fashionably natural. The greasy pompadour of his feigned adulthood was gone. While Dallesandro is undeniably the greatest of Andy Warhol's underground Superstars because of his artistic output, cultural influence and commercial value, we're reminded that he was of the Counterculture as well, and that he was most importantly of the Sexual Revolution and squarely in the liberationist category.

With Lonesome Cowboys, director Warhol was canny enough and underground enough to homosexualize that bastion of red-blooded male propaganda - the Western. And he really homosexualized it in not exhibiting cowboy pansies for laughs or pity in the cheap seats - he threw Gay Lib a bone of no small significance while rattling the floorboards of American mythology. Lonesome Cowboys riffs on themes of family and brotherhood as community, whereas the mainstream would be served up freak shows and self-loathing epics like The Boys In The Band as sorta-documentary entertainments for a very long time. 

 

The shy one gets to strut his tight pants stuff...as he feels it


As one of the five homo cowboys, Little Joe managed to defy the Warhol Superstar imperative and convey a sense of interior self. Rumor at the time had it that Warhol was none to happy with the fact that Dallesandro was a talented screen presence, as is demonstrated in the convoluted spoof. Originally sixth-billed and with just a few scenes, Joe Dallesandro is more recently sold as the leading man. Whatever dislike Andy Warhol had for Joe didn't get in the way of making a buck off his back and it didn't matter anyhow: Warhol got shot, Paul Morrissey took over directing Warhol's movies and Morrissey loved Joe Dallesandro.

  

Joe joins the 60s...near the end of the 60's


   Flesh has its apparent genesis in  Midnight Cowboy's Joe Buck: the Warhol Superstars filmed cameos for that movie and Warhol got the jump on its most sensational aspect by getting Little Joe The Hustler into theaters well before his inspiration hit screens. But is he entirely informed by Mr. Buck? Joe Dallesandro probably should at least share writer's credit for Flesh - the lines he delivers with knowledge and conviction didn't jump off any page written by somebody else. 

Where Buck ends and Little Joe begins is of great consequence, since Joe Buck is a homophobe and Little Joe isn't. By the ripe old age of twenty Dallesandro plus alter-ego personified the hustler as male sex symbol, and it transpired to be not the niche and cheap personage which sexual repression still seeks to dismiss. For gender parity we need to look no further than an all-of-seventeen Alex Chilton fronting the Box Tops and urging "sweet cream ladies" to forward march, for all the right reasons. With genuine goodwill shared around, Little Joe may as well forward march as a sweet cream gent. 

 

Aspects of a well-rounded sex symbol

   The sweet cream of Joe Dallesandro isn't the topping on the bittersweet honesty that is 1968's Flesh - it's fundamental to its constitution and values. As an assembly of intelligent ideas fleshed out by Dallesandro's adroit performance, it significantly improves when set against its dirty and dishonest Hollywood nemesis: 1980's American Gigolo. The former challenges all men to look at the value of their body, as it challenges all men to look at the true value of heterosexuality, gendered roles and marriage as well. 

With male prostitution as the common motif, the latter merely seeks to wallpaper over presumed immorality, in the name of morality rammed home via "high class" hooking. While Flesh dwells on Dallesandro's body beyond prurient interests like those aroused by art and pornography, American Gigolo seeks to make a male sex symbol of Richard Gere via Armani-wear and an affirmation of heterosexuality...dubious scents of Italy having again wafted in to L.A. from 1961's dubious The Roman Spring Of Mrs. Stone. The amusing upshot of it all may very well be that Gere as an undressed store dummy has no sexuality whatsoever, and that's exactly what's being symbolized.

 

The hustle..."You gonna be home for a while David?"

If one's "basically straight" like Joe, then turning male tricks to make a living requires some earthy aptitude for the job...like being a man who enjoys sex. And if one's basically honest and not carrying a lot of homophobic baggage and contempt for other men, then his sexuality becomes naturally more fluid and rewarding by virtue of familiarity and connection with what he's doing. What's revolutionary to one may just be common sense to another. And it's a step backwards to carve up Little Joe The Hustler into two conflicting identities, as Gus van Sant did with 1991's My Own Private Idaho - as worthwhile as that movie is.

 

Substance rebirthed as fetish (see Note 3)
   As in "real life", love's lines, angles and rhymes often intrude when men's sexual transactions are financial. A john usually concludes with "I like you and I'd like to see you again" and rarely follows through. Hustlers often develop affection for men who do, and the moral dilemma of Flesh becomes crystal clear when David invites Joe to move in with him. Joe declines, but not for the reason of independence which another hustler might crave...Joe just says it wouldn't be right to abandon his marriage. 

No such thoughts are shared by his wife however, and on arriving home he finds out exactly how little weight his loyalty, his manhood and his heterosexuality carry around the place. Flesh is sometimes dismissed as "probably of more interest to the homosexual", but that probably says more about the shortcomings of those who'd say it.


Suppose They Had A Revolution And Nobody Could Get It Up?

 

 What's built up can be torn down, and iconoclasts will do their civic duty. Paul Morrissey, on behalf of Andy Warhol, decided his civic duty was to cinematically expand on his belief that junkies were human garbage...life's real trash. Whatever room they were reading it was a highly moralizing one, and not one remotely sympathetic to the Summer of Love. 

The opening shot of Little Joe's blotchy ass getting head isn't pornography unless a flaccid dick gets you going. Fellatio fails, as does some exhibitionism from the lady. The theme of Trash runs to little more than Joe not being able to get it up because he shoots heroin. It's not for a lack of ladies (trans, or otherwise) who only want a hard dick from him either: Joe's degradation as both man and sex symbol is repeated across the assembly of longish vignettes which comprise the movie.

Little is required of the viewer apart from having the ability to look down their nose at a sub-species of reviled humanity, while acquiring "insights" about dirty hippies. Joe Dallesandro's acting performance - improvising on ideas thrown to him - is as inspired as it gets. His deadpan spoilage is real, from dirty fingernails to filthy feet. His ritual cleansing (for a MMF three-way) is but a precursor to an overdose. Shot from above, his Christ-like helpless nakedness presages no redemption but instead disposal as garbage who won't get it up any time soon. 

Filmed over a few weekends, Trash has made gazillions and delights critics and audiences to this day, who insist it's a "black comedy".

 

Taking out the trash

 




Renamed Hollywood for Germany

   TIME called it "a faggot rehash of Sunset Boulevard", and few of the millions who've found joy in the seedy camp of Heat would passionately disagree. Norma Desmond was ripe for the picking since a desperate old drag queen sensibility permeates the original. Joe Dallesandro as Joe Davis subbing for Joe Gillis was a no-brainer: eye-popping buff, and with no visible means of support other than what he packs into a brief swimsuit there's little chance of him being mistaken for a struggling screenwriter.

Dallesandro's West Coast take on being a male sex symbol is one-part not initiating sex, and one-part delivering semi-satisfaction if opportunity presents itself...that is, leave 'em wanting more if they probably will. Again the dialog is improvised, and despite a battery of extreme close-ups which would betray insincerity in the best of trained actors, Joe's cards stay played mighty close to his chest. 

 A passive and essentially decorative man-boy apparently at the mercy of all manner of perversion plus sexual hysterics presented as female is a good jumping-off point for a campish Sunset Boulevard. But Heat is pure pharmacy-grade camp, and if one's familiar with a pool, a staircase and the spirit of Norma Desmond then Joey-three-times as male sex symbol is ready for his closeup. 


The alternative Joe Gillis: arriving from the pool and departing for the pool...with the clothes


Joe Dallesandro Is The Sexual Revolution

  Dallesandro's films with Warhol and Morrissey weren't the beginning and end of his career or his life, or indeed his contributions to revolutionary approaches to sex. (See note 4) He's had a long life as a working actor, and as an unusual man who's had a good life by his own account. It just so happened that a not-too-ordinary Joe being himself found himself as an extraordinary male embodiment of The Sexual Revolution, when few other males were able to connect with it or trust themselves with sex. Maybe all it takes is just keeping it simple and not defining it by an actor's pretentious self-absorption. Joe claims he "just showed up", but any East Coast boy knows that old one which goes "Eighty-percent of doing a good job is just showing up".

 

Kenn Duncan portrait 1968 (New York Public Library)


   The "when" of it all is critical: Joe's Warhol films arc from pre-Stonewall to a downturn of gay activism. For homos it was a counterculture men's movement opposing homophobia, and when the socialist left wanted nothing to do with Gay Lib, the movement wisely allied with feminists since it was always all about sex anyhow. The "when" can't be history's prisoner when the times still haven't caught up with Dallesandro - regardless of latter-day fashion editorial efforts.

While gay and bisexual men may have veered far from what the Sexual Revolution still embodies (and still falls short of achieving), Little Joe Dallesandro stands as a potent reminder that liberated men can happily swing whatever way they like and be unstudied cool while they're doing it. And he documented it all before the age of twenty-three - hardly a sexless artifact of Pop Art created by Andy Goddam Warhol.

Grainy old film of an adventurously non-threatening fine piece of ass who showed up and couldn't be bothered being homophobic? Yep, but isn't that enough to make a man a revolutionary and enduring sex symbol?

 

Notes:

1. "Hostility" is a relatively modern homophobic reaction which defies long-standing social norms i.e. society advantages good-looking young males, albeit in scattershot ways. Depending on his audacity and circumstances, an attractive male in his youth may be the first to intuit that homophobia is a superfluous luxury he can't afford, for both personal and professional reasons.                                                                                                                                                                                                                                                                             

2. The gay / trans-ploitation 'The Loves of Ondine' features 23 mins of dropped-in footage of Dallesandro wrestling Ondine in his underwear. He also appeared in the barely-released 'San Diego Surf ' - intended as a sequel to 'Lonesome Cowboys'.


3. In April 1971 'Rolling Stone' featured Dallesandro and son as its first non-musician cover boy. Superficially Contercultural, the lifestyle rag  for straight white boys was heavily influenced by the business of selling them straight white rock-and-roll. 

For three decades the industry cherry-picked homoerotic aspects of the Little Joe image and repurposed them for commercial gain and edgy but non-gay cred. The closest rock ever got was The Ramones' 1976  punk aka anti-rock celebration of turning male tricks, with "53rd & 3rd" being the New York spot where Joe wore down his shoe leather in 'Flesh'.

4. Banned and buried (and highly misrepresented) for decades, Serge Gainsbourg's wickedly subversive masterpiece 'Je t'aime moi non plus' (1976) hasn't been bettered in terms of outrages served while dispensing rough justice to the heart and soul of homophobia. Joe Dallesandro's Kras is one of those all-too-rare men in film - the inverted antihero, of the most superbly represented kind.

 

Thanks to:


  • Michael Ferguson's terrific biography - preview  HERE