Page 226 - Gay Pioneers: How Drummer Shaped Gay Popular Culture 1965-1999
P. 226

208      Gay Pioneers: How Drummer Shaped Gay Popular Culture 1965-1999


                   “This place [the Stonewall Inn] only looks like a gay bar. It’s
               really an eye-talian bar.”
                   Norma Dessun has a secret taste for linguiça sausage which she
               indulges starting late one night—early last spring—when the lone
               guido closing the bar, like, leans back against the cash register and
               unzips his black gabardine slacks which causes Norma’s knees to
               grow so weak she takes the uncut invitation deep down her throat
               and hums thirty bars of “Come Back to Sorrento.”
                   The guido’s shirt hangs open by three buttons. Around his
               neck, a gold chain rests in the tangle of thick black hair on his
               pumped chest. Hot enough himself he’s made hotter by the thought
               of the powerful anonymous interests he works for.
                   It isn’t so much that the guido lies and tells Norma he’ll tap her
               head before he cums (in her mouth) that disturbs Norma.
                   It’s more the gun that Norma’s fingers feel strapped to the
               husky guido’s right calf that cautions her to barely mention what
               was for some weeks an unspoken date that always ended (“Mambo
               Siciliano”) with the guido getting off squeezing Norma’s cheeks to
               make sure she swallows his eye-talian ice.
                   “That’s his trip,” Norma says. “I tell him, I don’t know who you
               work for, but I know you.”

               In leather fantasy, swarthy Mafiosi are objects of S&M desire. One
            of the best of my Palm Drive models re-named himself “Donnie Russo,”
            because he wanted to assume the erotic identity of “a guido in a wife-beater
            tank top” in my videos Homme Alone and Rough Night at the Jockstrap Gym.
            The Jersey Shore image he cultivated had long fit into gay culture as a fetish
            category of muscular Mafiosi in suits with guns and cigars and baseball
            bats. In the 1990s, as Francis Ford Coppola resurrected his 1970s Oscar-
            winning franchise with Godfather III, I helped Russo resurrect the 1970s
            gay fascination with Robert DeNiro in a wife-beater playing the sexy young
            Don Corleone (Godfather II,1974) as well as the Sicilian-American boxer,
            Jake LaMotta (Raging Bull, 1980) who threw a fight to gain favor with the
            Mafia. My erotic documentary photographs of Donnie Russo were pub-
            lished on the cover and inside pages of Drummer 170 (December 1993); in
            the British coffee-table photobook American Men, pages 1, 14, 15, and 21
            (1995); and on the cover of Eagle Magazine, issue 4 (July1996), published by
            Dave Rhodes, founder of The Leather Journal.
               In this Mafia helix, I remember quite clearly that in 1981, Mapplethorpe
            photographed the homosexual crook, Roy Cohn, who as an anti-gay Fascist


              ©Jack Fritscher, Ph.D., All Rights Reserved—posted 03-14-2017
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