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74                                      Jack Fritscher, Ph.D.
                   Prohibition doesn’t work. So we’re going to see more gay
               films from independent artists.

               Fritscher has predicted some sweeping changes in the face of the
            continuing AIDS crisis and its effect upon gay pornography. He grasps
            the extremely important psychology of the porn consumer and the need
            for producers of porn to adjust to the changes in demand. One of the
            most vibrant characters in Some Dance to Remember is the video-porn
            mogul Solly Blue who reveals what real gay sex on tape was like in the
            70s. Fritscher — always the analyst connecting the dots — points out that
            in 1982, the VCR and HIV hit at the same time. Rather than cruising the
            bars, many gay men began staying home watching gay videos. He writes:

                   And [a higher production of gay porn] will change the sexu-
               ality of gay men. I think art should primarily entertain; but if it’s
               art, it will change you. Gayness gets you into places you wouldn’t
               get into as just a [straight] person. And a lot of gay boys miss
               that point if they think the bar style is the only way to be. That
               sounds like I’m crusading, and I’m not at all. I’m just offering
               an alternative [to bars].

               Kicking shit in the 21  century, these days Fritscher voices his con-
            cerns about the genre of gay literature. As a trained cultural analyst, he
            is critical of the “gay writing genre” and all of its traps. He seems to be
            always pushing for something better from gay artists and writers. Fritscher
            comments in 2001’s The Burning Pen: Sex Writers On Sex Writing (edited
            by M. Christian): “Look at the lesbigay magazines. Most of the illustra-
            tions look like the drawings of mental patients. Most of the models, pro
            or amateur, have dead faces. Much lesbigay writing reads the same: mental
            and dead. Humorless. Lesbigay narrative is largely unimaginative.” He
            told me, “Gay writing has to be more than the ‘coming-out novel’ and
            the ‘AIDS novel.’ Lesbigay writing should begin to cover lesbigay people
            in terms of the great themes of the whole range of the human condition,
            because — ta-DA — we are human first and lesbigay second.”
               Chatting it up with Jack Fritscher on a Sunday afternoon was an
            enchanting experience that was, at times, both unsettling and delight-
            ful. I have been warned over and over again to write in the third person,
            to stick to relevant information only, and not to bring too much of my
            own personality, biases, and opinions to my writing. Apparently, this is
            especially true in regard to interviewing.
               Of course, this is what many academics might tell you. In my case,
            that academic is my partner, Robert. He loves to point out any faux pas in

          ©Jack Fritscher, Ph.D., All Rights Reserved—posted 05-05-2017
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