BijouBlog

I used to wear loud pajamas with seventies colors that my brother said could “wake the dead,” even through my early twenties. I was used to I guess sleeping chastely, but I did not go completely in that direction, wearing a nightcap. 

I switched to sleeping in sweatpants as I matured in the adult world. I was already wearing them around the house all the time when I came out, but I never made the transition to wearing them out and about except when jogging. I don't know … I just feel like they are too casual for even mundane activities like shopping, and since they are my main sleepwear, I feel like I am going outside in my pajamas (I did that once when I lived in the dorms, but that's another story). 

Now it seems, the boundaries between sleepwear and casual everyday wear are more blurred. I've taught students who wear those flannel lounge pants (which for me are essentially glorified pajama bottoms) to class, and not just those who live in the dormitories. 
 

Thus, given the trend I mentioned above, seeing a guy in sweatpants on the subway or the bus is pretty routine these days, which leads me to my main point: one just doesn't notice the sweatpants. One notices the bulge. And if the guy is really hung, he “freeballs.” The loose-fitting wear allows some motion beneath one can see. 
 

Craigslist missed connections is replete with what I call the bulge gaze, usually quick and furtive, or furtively repetitive, in the gym, on the subway, in the Home Depot. I noticed the bulge in your sweatpants. Dude, you were freeballing when you got up from your seat in the subway. 

And combine the freeballing with the manspread, you've practically got enough vision of the cock to start creaming in your pants or sweatpants. 

I will share my one somewhat, and I say somewhat, erotic experience with sweatpants. I hosted a Halloween party many years ago. I dressed up as Joan Crawford as played  by Faye Dunaway in the Mommie Dearest jogging scene. (I must mention that men only wore sweatpants in the gym, and people, especially women, did not jog in public, in the 1930s.) I was wearing tight gray sweatpants. I slathered some mint julep masque on my face to combine that scene with the infamous wire hangers/forced bathroom cleaning scene. The costume was not a hit. The sweatpants were. 
 

A guest at the party, I think an acquaintance of a friend, was so enamoured of me in those sweatpants, that he pulled me into the bedroom and began feeling me over. He was not attractive to me, and I repelled his advances. I immediately complained to his friend, who basically told him he had to leave. Yes, my guest was drunk. Goodness, this sounds like sexual harassment, but I didn't think of it that way at that time. 

The next week I received in the mail (these were the days before the Internet) I guess what could be called a love letter or love poem. I apparently was so hot in those sweatpants. The sweatpants showed off my perfect ass. I received another letter and once more I complained to the mutual friend. 

Now I am thinking I should be so lucky to get fondled and stalked, at my age, but I must remember the guest was not cute. If it had been one of the other guests, the tall guy with the mustache wearing a tuxedo and harness boots, that would have been another story. 

I must admit since I lost 30 pounds I could probably buy a smaller size in sweatpants and maybe dare to wear them out to the Walgreens. 

Miracles do happen. Even when you are wearing sweatpants.

But what's the real scoop on the cliched gay obsession with Joan Crawford and other dead or superannuated movie stars, or as movie mogul Jack Warner put it more bluntly, “old broads,” the language he used when referring to Bette Davis and Joan Crawford in What Ever Happened to Baby Jane? 

These larger than life ladies, and others like them, have always enjoyed large gay male followings.  

So my question is: is the “big lady” and her gay entourage now a stereotype of a campy, closeted culture of the past, in which diva worship, according to many cultural critics, was an elaborate “covering” dynamic for gay men's profound social and psychological insecurities?   

The September/October 1977 issue of In Touch Magazine, in those early days when the magazine offered an array of cultural features, offers a tribute to Joan soon after her death, and, most significantly, before the now notorious book and camp cult classic Mommie Dearest came out.

This article pretty much rehashes many of the claims made about the late movie legend, such as director George Cukor's paean to her face, “that extraordinary sculptural construction of lines and planes,” her superlative (and some might argue, obsessive) projection of stardom, and her continual reinvention of her image.

She was the vibrant jazz baby; the assertive shopgirl who made good and got her man while fighting for her rights; the stylish, glamorous, yet suffering and vulnerable femme fatale; the Gothic horror queen.

Gay men found in these personas something they could identify with in their own struggles for individual identity and social respect. 

For gay men, Joan was the star and, for many, still is the star - that luminous, glamorous figure swathed in furs and jewels, kind of a fairy queen, remote but also approachable. Joan was approachable, even if she did supposedly get dressed up to go to the grocery store; she answered ever fan letter personally, sustained relationships with fans, and she would even thank you for a thank you note! "Goodbye, Joan" is the title of the article, and the author once again quotes the gay George Cukor, who expresses disbelief that the legend had actually died. 

Joan, of course, lives on in the movies and a caricature of her lives on, as well; the wire hanger and can of cleanser wielding monster of Mommie Dearest becoming one of the biggest gay camp icons ... ever. And a new generation can still see her (if they want to) on Turner Classic Movies, on DVD reissues, and on youtube.

But do the “old broad divas,” especially Crawford, with their larger than life personas, over the top (to many eyes and ears these days) characterization and dialogue, and often striking personal and professional flaws and vulnerabilities, really appeal to today's smoothly tech-savvy, more easily assimilated gay man? 

Yes, I love Joan Crawford, even if I can also also laugh at the melodramatic excesses. But how often in the life we live (as opposed perhaps to the life we dream), can we tell someone off like Joan does in Autumn Leaves, calling someone a slut twice in one harangue? (And not playing for the cameras on a reality TV show!).

Most people end up dying in sterile hospitals looking like a pincushion of tubes, or on the toilet; so who wouldn't want to drown on a gorgeous, moonlit beach with a violin playing theLiebestod in the background, like Joan does in Humoresque?

And Joan could laugh at herself, as she does in It's a Great Feeling, when she delivers a slap and says that she does that in all her movies. “Get out Veda! Get out before I throw your things into the street and you with them! Get out before I kill you!”

The point of this blog is not self-analysis, but if Joan Crawford worship is part of my gay unique sensibility, then so be it. Maybe I was born with it, or is it a social construct because of my generation? And of course, one can also mock the Joan Crawford obsession as a gay cliche, as Debbie Novatny in Queer as Folk says to her brother, when he asked her if she wanted to stay home and watch a Joan Crawford festival, “No one's that gay!” 
 

For a while, up to the early 90s, a new type of diva, like Streisand, Cher, Bette Midler, and Madonna, looked to replace, or perhaps supplement, the more traditional Barbra, Judy, Bette, and Joan as divas with that gay following, according to Michael Kearns in an article entitled “Heroine Worship” in the November 1984 issue of Male Review.

But in 2014, who is the new fairy queen or queen of the fairies (pun intended)? Is that image and its associations even relevant in this culture? 

The author Ethan Mordden, in a past issue of Opera News, focused on another type of diva with a gay following, the female opera singer (think Maria Callas, especially). He recounts that, at a recent dinner party, he deplored the type of gay man who mimics his diva of choice, sprinkling his conversation with “darlings,” pretending to be Auntie Mame. In other words, perhaps he is implicating the “older” gay men in the closet who identities with the diva in all her flaws (but also her assertiveness), taking on a mask to cover his feelings of oppression and discrimination. The younger gay men at the party did not know who Auntie Mame was. Gasp!

A younger employee of the Bijou confused Betty White with Bette Davis. Does he deserve the mockery his mistake created? Or are the older gay men, those “old queens,” the ones to be mocked and pitied for their now outdated diva worship that reeks, like Norma Desmond's tube rose perfume in Sunset Boulevard, of the pre-Stonewall closet? 

All cultures undergo transformations in response to a complex variety of factors. But I do wonder if the lack of the old variety of diva worship in gay culture is a simple either/or, now/then issue. Generation Y and  the Millenials may not subscribe to the same values as preceding generations, but I do find some fault with the “ahistoricism” of said group, that somehow they have outgrown the old gay icons or replaced them with others less gay orthodox campy.

Yet even if the whole culture sees something like Joan Crawford worship as camp or kitsch, or even if some gay “hipsters” appropriate such imagery inauthentically as only parody, to deny even a glimpse of the power and beauty that these women uniquely conveyed to previous generations is a sad loss. 

We are so afraid of the grand gesture, the big emotion that these big ladies could generate, somehow seeing it as false or hollow or silly or politically incorrect. Perhaps we have cheapened big emotions with reality TV, with American Idol and Dancing with the Stars, where everyone, not just the few larger than life stars, can groan and weep and spit out insults for the omnipresent cameras.

Does being liberated from social oppression mean a liberation from .... feeling? Perhaps we can't truly experience the high without experiencing the contrast of the low.

But as I see it, one of the great cultural enjoyments is to let yourself experience the campy pleasures of truly big, talented personalities.