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Sex

There is a popular conception that 1970s gay culture was all about sex - that gay men were having sex all the time, and that the only spaces available for community building were sexual. This is only partially true, and has been greatly exaggerated by historiography that seeks to explain the AIDS crisis and books like Faggots by Larry Kramer. Beyond merely having sex, gay men were also theorizing about the meaning of sex and the role it should play in these spaces. Importantly, people were also establishing community and culture through gay bookstores, newspapers, and churches. Since sex plays such a big role in The International Stud, we needed to fully unpack its associations at the time. 

The International STud

​The International Stud, the bar after which the play is named, was "the most notorious back room bar at the time." In fact, the director of La MaMa ETC initially refused to stage The International Stud because she didn't want the bar's reputation rubbing off. The bar was divided into a front room and back room - the front room was essentially a standard bar, which usually didn't have many people in it. The back room, though, was a dark, dirty place explicitly intended for group sex. One patron recalls the backroom as "a cluster fuck of guys engaging in one big, communal sex act, obviously trying to break a record for the most blow jobs performed in a small space in a matter of hours!” Importantly, The International Stud was intended for masculine men only. There was a dress code which required leather or denim and forbid feminine items of clothing like silk. ​It is important to remember not only the bar's notoriety, which Fierstein embraced, but also the way that it excluded large portions of the gay community, like Arnold. 

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The Gay Clone

In the 1960s, androgyny and gender experimentation was celebrated in the queer community. Rather than having one singular sexual standard, there were multiple that embraced both slim, feminine bodies and bulkier, masculine bodies. This was not the case in the 1970s.

 

At the beginning of the 1970s, a singular sexual standard for gay men emerged - that of the gay clone. The gay clone, also known as the Castro clone in San Francisco, was masculine and muscular with a barrel chest. He was white and he wore almost exclusively denim and leather. This image was ubiquitous in the gay community - plastered all throughout magazines and in clubs and bookstores. As the 70s progressed, certain costume elements were added to the image of the clone - he might dress as a sailor or a police officer or a firefighter. The costumes of the Village People were drawn from these versions of the gay clone. Towards the end of the 70s, the gay clone lost the costumes and, in many depictions, his head. All that mattered was his torso. As the gay community continued to uplift this hyper-masculine, hyper-muscular, exclusively white image as the golden standard, anyone who fell outside of those categories was marginalized. Men who were feminine, not muscular, and not white were bombarded with the implicit reminder that they were less valued in the gay community. 

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Perhaps the gay clone is like the 'international stud' Arnold is hoping for in the play. In our staging, since neither Ed nor Arnold can fully embody this archetype of the gay clone, we also wanted to consider how that might influence their romantic and sexual endeavors. Though we might not use the term 'gay clone' today, it is also important to consider how these exclusive sexual images that praise masculinity and whiteness persist in the gay community today. 

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Parallels in Contemporary Gay Culture

To help our production fully make sense of what 1970s backroom bars were like, we also considered what some contemporary parallels might be. Two in particular stood out to me - gay hookup apps and circuit parties.

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As many gay men in the 1970s used backroom bars to quickly and directly satisfy their sexual desires, many gay men today use hookup apps such as Grindr, Jack'd or Scruff. Grindr is the most popular of these apps - with over 27 million users worldwide in 2017. Profiles are sorted by distance, and, unlike many dating apps, you do not have to match with someone before messaging them. You can simply message the 50 users who are closest to you and see if they respond. When filling out your profile, you are asked about a number of physical and sexual descriptors - height, weight, race, sexual position, whether you would like to receive NSFW pictures (which many often ignore). You can then filter users based on these characteristics (although some require a premium membership). It is common for a Grindr profile to not include a picture of the user's face - some don't have any pictures at all. While some of Grindr's appeal lies in its immediacy, much of it also lies in its potential for anonymity. This is where I see the strongest similarity to the backroom. This anonymity and emphasis on purely physical features also allows for - and even encourages - much of the same bigotry that occurred in association with the gay clone image. However, unlike the backrooms, Grindr is virtual, so much of the physicality of the backrooms is lost. To use Grindr, you don't have to go into a backroom, feel the floor sticky with bodily fluids, hear a multitude of men engaged in sex acts all around you, or smell these sweating men in that dirty space. 

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A contemporary parallel that brings in more of the physical nature of the backroom bars is the circuit party. Circuit parties are dance parties for gay men, usually part of a weekend-long series of events, that typically include drug use and public sexual activity. They started in the 1970s and coexisted with backroom bars for a while, but have maintained a level of notoriety backroom bars have not. Circuit parties, today, are known for drawing many of the same men backroom bars once glorified - namely, young, white, muscular, and masculine. Since these parties happen all over the country, these men also usually have a level of disposable income to travel. Critics claim circuit parties promote "body fascism" through their exclusivity. While circuit parties seem to replicate the physicality and some of the troubling social dynamics of backroom bars, they are not as immediate, as regularly available, and likely less anonymous. 

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Perhaps backroom bars are a relic of a time when gay men had to keep their sexuality fully behind closed doors, but many of the cultural elements that pervaded it - from the desire for immediate sexual fulfillment to the bigotry within those spaces - still find some expression today.

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