After the Dream Came True

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Part 3: From Prince Bottom to Mr. Universal

If Brent would go on with porn for a little while his ambition seems to aim at leaving the label as best bottom behind, – to leave his behind behind so to speak, – in order to become a top universalist, a top-bottom overall versatile porn star.
I do not want to judge his abilities to earn this new label. Yet there seems to be something of a law, a hidden secret in the arts that specialization and one-sidedness can be better than universality. If an artist concentrates on one particular topic or part or material he restricts himself to the amazing task to catch the whole in only one part. This single, particular, chosen something will gain in depth whereas the ambition to be and do everything might end up in superficiality.
In SM people say that there are great subs and great tops – and great tops are rare by the way – but whoever calls himself a switcher is probably not that good in any part. Claiming to be versatile might not be a sign for a broader sexual orientation but simply the symptom for not being able to decide what one really wants, or can do best. Those considerations might sound harsh and discouraging, but they are an effect of the actual difference between life and art. We all want to live a whole life as whole subjects who have the freedom to at least touch as many aspects of the world as we like. In life everyone can be a dilettante, because life surprises and overwhelms us and often finds us unprepared. Therefore it might well be true that in life a versatile person indeed is the best sex partner. But when it comes to art: as one great thinker of antiquity, Seneca, pointed out, art is long and life is short. The elaboration of an art needs so much time and energy that it seems to be wise to choose maybe one, maybe a few things one really wants to invest one’s artistic research in. To become a master in one particularity will set one apart from all the rest, all the well-meaning dilettantes who remain fumbling amateurs in the mediocre art of wanting everything and achieving very little.
There are some artists and thinkers who clearly realized what Heidegger has claimed for any great philosopher in history: that he had but one thought to think. And because any profound philosophical thought is too overwhelming and multifaceted to be put into one simple formula the great thinker has to express this one thought in many different variations.
A similar example we can find in Cezanne, not only one of the best painters who ever lived but also maybe one of the profoundest thinkers of his own profession. When I think about the many versions he has painted of this one mountain St.Victoire, a rather humble but distinct feature of his home landscape next to Aix en Provence, I know what magic, what rich secret lies in the principle of “theme and variations”, as all the different versions of Mount St. Victoire have the scope, the wealth and the depth of encompassing not only a whole universe of painting but also painting as one sensual slice of the very singularity of each person’s unique universe. What Deleuze would call a cutting through the plain of immanence.


Well, you will say, isn’t this shooting canons at a sparrow? Wasn’t this post supposed to be on the humble skills of a porn star whose performance, however brilliant in its own right, cannot be compared to the highest peaks of art and philosophy? I can only reply, I cannot choose where inspiration strikes. The ancient Greeks had the concept of the muses being the guiding spirits of the arts, and daughters of the God. They could count and name them and attribute each single muse to a particular art, thus forming a series that does not quite match our contemporary classification of the arts. I like the idea that there can always be one muse more, one art more, however instable this new element of the series might be.
(See Jean-Luc Nancy’s books on the muses http://www.amazon.de/Muses-Meridian-Crossing-Aesthetics/dp/0804727813/ref=sr_1_15?ie=UTF8&s=books-intl-de&qid=1256669968&sr=8-15)
In that sense it is not my permanent ambition to ad porn to the series of arts that are worthy of being provided with the protection of a muse. It is more likely that I start losing interest in porn all together. Now that it starts to bore me I might as well write a book or teach a class about it!
And I lose interest because I assume that I saw the best I could get out of porn when I saw Brent Corrigan bottoming. This particular performance might be an act of art or not, – I honestly don’t care, – but to me it had a quality that resembles the perfect particularities or (as Deleuze would put it) blocs of affect I named earlier. It is a truism to say that the quality of any work of cultural expression lies in the eye of the beholder. But I, as a beholder, am only struck by a cultural manifestation if it can stand for itself. Maybe this performance was, or is, only an idea of sexuality and enjoyment, but as such it stood.
No matter which opportunities Brent will take in the near future to prove himself as a top – and no doubt I would still follow them with interest – he can hardly top the profound and intense mark he has set as being the bottom that he was, or maybe still is.

And this holds even more true if we remember the fact that he has been topping his partners since Cobra day 1.
It is quite mind-blowing to see Brent’s seamlessly tanned, very fragile adolescent body get on top of a certain Jake Landaus and slowly insert his long pale rod with a mischievous but still childlike smile. I do not say that he is a bad top, sometimes he is an amazing top.

Legendary is Brent’s flip-flop in “Velvet Mafia” where he is allowed to break the convention of his own “type casting” as naughty bottom boy he nonetheless embodies so very perfectly. It is the merit of this campy parody of mafia movies about two porn clans fighting over Brent’s character “Fox Rider” – btw a plot with an uncanny prophetic touch to it – to embed this remarkable change of positions in a scene-in-scene dramaturgy based on one of the most common and hierarchical motives in porn, the “teacher-student-relationship”.
I for one am not immune to this particular stereotype. I assume that part of its attractiveness is due to the fact that any pedagogical institution is supposed to uphold and continue the disciplinary rules of a society, both in behaviour and rationality. And since the pedagogical institutions are no longer allowed to make use of corporal punishment and harsh disciplining measures to achieve that goal there is a whole set of subterranean manipulation and communicational skills being used by the teacher to “seduce” the students into compliance. And those measures can easily pass over into something “erotic”. So school is the perfect sultry environment where sex is both forbidden, for good reasons of possible manipulation of a minor, and permanently present as a lubricant for other purposes. Add the structural sexual appetite of adolescents and the slightly incestuous motive of an older and a younger person being forced into a close connection, and you have the perfect breeding ground for porn.
If there were a possible genre in between psychological drama and porn film a teacher-student story would be a perfect candidate. Just imagine the incredibly erotized and marvellously acted drama “Mädchen in Uniform” http://www.imdb.com/title/tt0051964/ turned into a lesbian sex film. You can say that loosing Romy Schneider’s suppressed lusting for the wonderful Lilli Palmer, losing the fact that this desire can never become a physical act, would mean losing the whole point of the story. This may be true. But it can also be understood as a challenge.


Be that as it may, Brent’s scene as the sullen student of Eric Rhodes might not be a subtle drama, but it has its merits. Brent has to embody two personae at once, his actual character, the arrogant foxy porn star diva with the fishnet t shirts and greasy hair,


and the generic school boy character that makes reference to the performer’s notorious under age history. After having introduced Fox, the porn diva and his demands for extra high payment in the very first scene the camera cross fades his hand signing the contract with his bad grades in – lol – sex education. We also learned that the “bottom boy” had chosen his partner himself, a heavily muscled member of the porn clan who had actually already retired. In that sense hierarchy is slightly dubious from the start. Also the fact that co star drops his act in the beginning of the scene-in-scene situation because he does not feel respected by his younger colleague contributes to that shift. However, most of this very long and well shot scene follows a predictable path of “Teach” threatening Brent/Fox/student with a well-deserved punishment, Brent teasing him with his readiness for it – “You know I am a trouble maker” –


“Teach” delivering a light spanking that could have been a lot juicier – but that’s just my old-English taste. And while “Teach” is going through his slightly hectic act of undressing, sucking and licking up his object of desire Brent still shows his dominant side when he commands “Lick up my shaft”.
The first position of the penetration with Brent’s genitalia being pressed against the top of the teacher’s desk is in all its obvious porn routine with cheesy electronic sounds announcing the moment of insertion still one of the hottest scenes of its kind.


The second position with Brent riding “Teach” who is uncomfortably lying on his back is a bit long but highly athletic. Then suddenly the camera cuts to a third position of the little student shoving his cock up the teacher’s mature butt. What is going on? A lot of commentators simply said “This is just wrong!” And of course Brent had to go over the top with this topping of a giant. Soon he hammers away like a maniac. His sweaty hair flies and his teeth are clenched.


Unforgettable the moment when he tries to add still more momentum to his already frantic speed – one almost thinks the tape is on double speed – by using his whole body weight as leverage. He starts to jump as if this still rather fragile boy would have to storm a fortress. Which he does.


This scene in “The Velvet Mafia” was and remains Brent’s most aggressive act of topping so far. Of course this unique quality is connected to the fact that also his work for this big old studio remained a unique adventure. And I would add that only this particular set up of an overdetermined narrative makes it enjoyable for me. It is ethically almost impossible to show a teacher taking full advantage of his hierarchical position while seducing a student, no matter of which gender. Even if the student were of age and would submit to this seduction with eagerness, the situation would still resemble rape. So all good love stories between teachers and students tend to circulate around the younger person somehow seducing the reluctant teacher who, unlike the carefree and hormone driven student, has a lot to lose if he (or she) gives in.

In other topping scenes though Brent appears self conscious, as if he thinks that he needs to prove something. This also shows in the difference between his bottoming and his topping face. While his face is all sensual, melting, open mouthed ecstasy when he is bottoming as a top he tends to clench his teeth and push his chin forward in a classical masculine mask of boldness and aggression.


Also Brent is not the most vocal of performers, fortunately in my mind, for as a bottom he has the most exquisite and enticing repertoire of sighs and grunts. As a top he tends to stay completely silent, as if concentrating on a difficult task like a good school boy. A variation of this mode of topping is his concerned face, a moment when he seems to drop out of the scene to observe the bottom’s reaction, as if checking if he still is ok. In the anyway unfortunate scene with Curt Wild, where Brent seems to be distracted by the heat, the traffic noise and his very vocal partner who desperately moans and whimpers all through his act Brent’s worried face appearing behind the dramatic performance of Wild’s climax has an almost comic quality, for it seems to comment on the weird similarity of the expression of pain and the expression of lust that is so significant for the rather fake exaggerations of porn.


If I, just for the sake of argument, would assume the possibility that Brent actually does not enjoy being penetrated at all, that he always faked the expression of lust when being fucked on camera, and that his reactions as a top are far more authentic and closer to his private sexual taste, my judgment about his unique quality as a bottom would not change at all. Maybe he would even gain in my esteem. It would after all not be news to any art lover that an artist cannot express the emotions he actually really experiences as well as the affects he has created only in and for his art. Let’s remember Oscar Wilde’s magnificent story in “The Picture of Dorian Grey” about the actress who falls in love with the protagonist; once she takes her “real emotion” as a basis for her part in “Romeo and Juliet” she starts acting so badly that he immediately abandons her, thus bringing about her tragic end. This is also a powerful objection to the overrated “Method Acting” method one mysterious Mr. Kruezer keeps on recommending to Brent on Twitter to boost his acting career.

Be that as it may, to not end up on a wrong note, I want to finally mention a few examples where Brent’s performance as a top is exquisite and unique precisely because it smoothly blends into his bottoming experience. In a couple of flip-flop scenes he manages to shake up any stereotype of the passive and active role in sex, being a powerful and demanding bottom and a gentle and resilient top.

Before I come to his work with his current company “Prodigy pictures” I would like to mention at least some scenes he did for his former website “BrentCorriganOnline”. Due to the fraud of a business partner this material is at the moment only available as torrent. The scenes are simple domestic set ups where Brent, more then in his later work, is the centre of attention, and usually bottoming. I like the natural flow of the material, the co-stars’ very sincere expression of lust for Brent, who is around 20, just started to work out and appears as the perfect twink idol. In these scenes he appears naughty, self assured, unconcerned and rather narcissistic. In the scene with the wonderful Chris Bowen he lets himself be fucked standing over a mirror. When he ejaculates on his own mirror image, thus covering his own reflection with his body fluids, he is adding yet another dimension to Narcissus’ myth.


Yet the most outstanding scene of them all is the flip-flop marathon with the innocent looking Brad Davis, a very vocal performer who expresses his affection for his co-star. When Brent lets Brad top him first he is so very intensely enjoying the act and going through a lot of positions with such gusto that the spectator is rather surprised that this scene does not end with a climax but is smoothly blending into Brent topping Brad, first shot from Brent’s perspective while he is mumbling something about disturbing shadows dancing on Brad’s back. Already before Brent was directing from within the scene, urging the camera man under his breath – probably Grant – to “shoot some wides” while being fucked spread legged in front of the couch. The long, sweaty topping act that follows he enjoys with youthful glee and a little nasty smile. The young men tumble from one position to the next while Brad dramatically exclaims for Brent to “own his ass”. Still, – if my observation does not betray me, – in all this never-ending passion Brent never spits out the gum he keeps chewing.


Whoever does not see the massive changes of the last years and still sees a “twink” in Brent should take a look at this material, when he really WAS the perfect twink prince – which also implies a certain self centred attitude he overcame since then. And some of the best scenes he did for his own company during the last 2 years are proof of that.


There are more interesting scenes, but to come to any kind of ending I pick 3 of them: The scene with Luke Hass on “Just the Sex”, the scene with Steve Oliver on “Just the sex 2” and the scene with Ryan Buckley on “Big Easy”. http://myblog.brentcorriganinc.com/?page_id=738


The Scene with Luke Hass is like a smooth choreography of sex, flowing in a beautiful slow pace the editor was subtle enough to preserve. The change of positions is both supported and contradicted by the use of a sturdy easy chair as main prop. This gives a very willowy Brent the opportunity to climb up the backrest assuming some unusual positions that would appear comical and almost obscene if he would not assume them with such elegance.
And this is one of the rare scenes where he seems to enjoy both roles, bottoming and topping, with the same intensity. Still, if I would have to take a bet I would say that he enjoys topping even more, maybe because again this time the person he is topping is taller, older and manlier than he is. And while his bottoming is fine his topping in this scene is truly outstanding in its quality of giving the other a certain control over him while still being able to gain enormous pleasure. There is the moment when Brent sinks down on Luke Hass’s long legs to let him move his ass cheek in the speed he sees fit. What a graceful move to let the other use you like a tool for their gratification!


However, as I tend to enjoy the affects of enjoyment most, I enjoy most that little moment when Brent interrupts his fucking as if keeping himself from coming too soon, gently rubs nouses with his partner – yet another “Inuit” style mannerism of Brent’s – and articulates his lust with an Elvis-style pout and two endearing little grunts. During the interruption of lust lust gains the freedom to express itself.


While Luke Hass acts the slow, sensual professional “latin lover” that he is, or became since then, Steve Oliver appears to be very innocent and inexperienced. And that is probably the reason why in this scene Brent seems to be such a hungry bottom. Even though Oliver has to ride him first and is doing fine when Brent asks him if he still does


Brent seems to be out of his mind with lust when it finally comes to being fucked himself. Dewayne, the expert on anything gay and porn, told me that there is a little nasty convention that something as precious as say Brent Corrigan’s ass is a treat the co star has to earn first. A little male power play being embedded in the sexual dramaturgy. Well, Brent might make a humorous use of this in the next scene to be discussed, but in this scene with Oliver it looks as if the boy has to do his duty, but the only thing Brent is really keen on is getting fucked himself. It might be an interesting question in both psychological and dramaturgic terms if a flip-flop is needed, – as a kind of detour or protective device – to give this bottom the opportunity to show such a powerful lust for the bottoming part. Be that as it may, I love his shameless lust in this scene, – how he lets himself be licked up once more, how he flexes his anal muscle like a very special kind of body builder, a muscle that can be as powerful as a vise, how he kneels on the bed while Oliver carefully starts his job, how he pushes his trembling cheeks backwards when he does not get drilled hard enough,


how he strokes his red dick with his arm reaching through from under his leg, smearing his pre-come on the bedspread.


And finally he rides his young little pony, and what a ride that is. Here the editing committed some major crimes, interrupting one rare aria of load moaning with an unnecessary silent close-up of these cheeks,– as if anyone needs to have further evidence for their rather unique boyish, but supple, muscular but round, pale but firm etc. etc. quality. Don’t this people also HEAR what they are cutting? And when the gallop approaches its natural climax and Brent is still moaning load, riding fast, letting his bone hard dick produce load slapping sounds on Oliver’s torso that seem to almost hurt, he is sucking his stomach in so dramatically that his waist appears so slim that he seems to crack up in the middle right before he comes.


The last scene I discuss here has to come from the work that Bent sees as his highest achievement, his latest release “The Big Easy”. All in all I do like the result, I like the reality TV approach, but I also think that he can achieve even more amazing results if he wants to.
I have some problems with it: I simply despise that elevator music someone has found necessary to add to even the most intimate scene of Brent and Buckley. I find it annoying that I can only watch that scene with the volume almost on mute, because I love to hear the sighs. But I cannot bear that absurd guitar sound.
I have problems with the fact that Brent made someone else the star of three scenes, someone I happen to be not interested in, while he is only in two. I have some problems with the foursome Brent is so very proud of. These problems are probably connected to my general difficulties I have with foursomes that are basically consisting of two couples the camera keeps changing in between. As I usually am only interested in one couple I find it distracting to fastforward the interruptions. I have my dramaturgic doubts why it is necessary to show four people if never more than two are connecting with each other. I also have slight difficulties with the way how Brent is expressing his topping lust in some sequences of the film, which brings me back to the Oscar Wilde story. Later on he said how much he enjoyed this scene, how it was a scene of real lust and passion. And I am sure this is true. The problem simply is that sexual lust that gets too private, too real does not translate to an outside spectator. Or at least not to some. Still, there is something that makes good for everything else, a spectacular almost hands-free orgasm of first Jake then Brent that is such an explosive expression of lust that I made quite an effort to time my own exercises to be synchronous with that Dionysian feast.

And then, as the first sex scene of the film, there is the scene with Ryan Buckley that has a quality all of its own. Again Brent seems to enjoy both roles immensely but maybe the topping part even more. Here he plays out the little power game card and makes Buckley earn it. Buckley, a lean, slightly punky youth, is neither a classical top nor a classical bottom. And he is an inventive and skilled lover. For example he does something during his rim job I have not seen anyone else do before, he gently bites Brent’s perineum,


an area I am fascinated with, because men are so very closed at exactly the spot where women have the opening they lack. In Brent’s case, the shaved perineum looks just like a toad’s pale taut belly of a toad, adorned with that tender red middle line that appears like an echo of the symmetrical division of female anatomy that in male embryos does not take place.
And then, after Brent has teased Buckley with some extremely lascivious wriggling movements,


massaging his dick by shifting his crack, he suddenly stops and demands him to “sit on it”. A move that would otherwise appear to be slightly rude and arrogant becomes the start of yet another choreography of smooth mutual enjoyment that takes all the stereotypical dominance and rudeness out of the act of penetration. Those two are both very athletic; none of them enjoys an outwardly submissive part; so here comes another charming sexual choreography of “taking turns”. While Buckley is riding Brent in a very difficult position, supporting himself on his arms while keeping his hips suspended, he and Brent take turns in setting the pace. Sometimes Buckley is literally riding, sometimes Brent is thrusting upwards.
The way how he sometimes lets his head fall back on the bed and how he gently brushes Buckley’s balls with the back of his hand betrays the breathless enjoyment.


And in his topping part Buckley proves what a lean little stud he is by taking advantage of his unusually vertical erection. He is able to lift his slightly heavier partner and let him sit on his dick with his legs in the air.


That is a unique and exciting moment. But even more I like the enthusiastic, childlike riding and rolling around on the bed that follows.


I might end here because this is a very log post, and because I think for now and quite a while I have said enough about Brent, the porn star, as I knew him as an apparition of lust and enjoyment on the screen. I wanted to ad something about the controversial topic of his muscle training, but I think this has been discussed enough. Brent is fascinated by transformation. Nobody will be able to talk him out of this. And porn stars cultivate certain artificial physical traits as a professional costume. If this is so, I by far prefer a bit of biceps to fake boobs and long fingernails.
Things might change soon, in more than one respect. And I do not want the time of maybe two years of porn fandom and Corriganism to slip by without trying to write a proper summary.

I close this post with a still from "Brent Corrigan's Summit" (scene with Mason Wyler) I produced a while back and found, – in all its highly abstract quality that has some people guessing which skin-to-skin contact they are actually seeing, – to be an appropriate, very physical but not sexist expression of “carnal love”.

Intermission 2: On a Sequence of "The Porne Identity"

Talking about going over the top: this is what my dear sister in arms in Kiev left as a comment on the post about Brent’s mannerisms.

“Dear Lana! It's Irene! I am sorry for disappearing for such a long time, but be sure – I didn’t forget to follow your blog. I feel very excited now because you have finally published your observations on Brent’s mannerisms. It’s always interesting to examine what in his performance is real and what is fake or just slightly exaggerated.
I have watched once more that moment from “Porne Identity”, that you have described, and glad to tell you what I have observed: before lifting up his shoulders in such a sexy way, Brent was warming up the muscles on his back behind his neck, then, shortly, he was stroking his right breast with his left hand and finally – I mean that moment of shoulders lifting – he, as it seems, had squeezed his cheeks for a moment and then quickly moved his hands down to his thighs, doing it so violently that his shoulders in the process had jumped right up to his ears. So it was not, of course, “a spontaneous muscle contortion”, but a visual consequence of another one Brent’s mannerism – he strokes himself or squeezes his cheeks, and we, looking at it, want to do the same. Bad that this moment – I really believe that it was in the movie and was not just imagined by me - wasn’t caught by the camera.
As to the “ballet like stretching of legs and feet right before climax”, this gesture looks much more real to me. I can’t say that I had a lot of men in my life, but when it came to masturbation, they always did the same, and yes - it was always very aesthetic and sexy, of course.”

See also a quote in a previous post http://lana-e.blogspot.com/2009/05/female-fan-site.html

Now that’s what I call meticulous enthusiastic observation! Is it a female speciality? What a tricky question. For sure it is a form of wild fun to get hold of a material that has not been produced for you, reappropriate it and see your own stuff in it. Female watchers of gay porn, is it pathetic? There is no art without projection, and there is no sex without projection, so one can calculate how much projection there is in porn. Double as much. And if any cultural manifestation is able to “stand by itself” (a formula I took from Deleuze’ terrific testament of thought “What is Philosophy?” http://www.amazon.de/Philosophy-European-Perspectives-Gilles-Deleuze/dp/0231079893/ref=sr_1_1?ie=UTF8&s=books-intl-de&qid=1255805339&sr=8-1 and will elaborate in the upcoming part 3), there is no rule and no law who is allowed or able to make something of it.

I am not quite sure if Mike Donner’s campy follow up of “The Porne Ultimatum” “The Porn Identity” http://myblog.brentcorriganinc.com/?p=1191, a spoof of the “Bourne Identity” action series, is able to “stand” in that sense. The acting is so hilariously bad that one cannot quite tell if the performers were told to act badly or if they were told to “act naturally”, which with amateurs often sums up to the same thing.

Brent has a very pragmatic, almost cynical attitude towards working for other studios. And he is very aware of the different demands of “professional” studios for “larger” expressions.

Which brings me to the sequence my friend Irene from Kiev described in detail. This particular sequence ending with the shoulder lift shows Brent’s reaction to a rather weird and sloppy blow job the supposedly threatening gangster character who has just abducted him for a notebook performs on him. So much for the logic of character. And this little sequence of sexual expressionism stands all for itself and seems to be completely disconnected from the cause of the arousal. That is maybe the secret reason why it is shot on two levels, the face and upper body and the groin, – only interrupted by a funny little counter shot right behind Brent’s ear giving us the subjective of the “being blown” perspective. Or rather the perspective of a witness standing right behind the receiver. For sure that is something evoking the female envy. I would love to be able to see so much of my organ being treated orally, without a mirror that is. But alas, one cannot have everything. Be happy with your ability to have 7 – 10 orgasms in a row, woman, and shut up! So one would expect that such a perspective so pleasant for the male genital narcissism would make Brent completely hard, but for some reason he never is in the Donner films.

So lets focus again on the face, the centre of expression, and the hands playing the accompanying bass of a melody of gestures. I gave you the whole sequence of major changes in facial expression and hand gestures above. You can see that Irene in her enthusiasm has actually performed something that Freud has discovered in the semiotic logic of dreams and has called “Verdichtung”/Condensation. http://www.cla.purdue.edu/English/theory/psychoanalysis/freud3mainframe.html Condensation shows that dream does not know time in the sense of linear causality. It shakes up things that should come first and things that should come afterwards. Therefore, I assume, Irene keeps mentioning Brent touching his “cheeks”, which cannot, as the sequence of stills proofs, refer to the cheeks of his face (even though they are very touchable too, a fact his then still macho partner takes advantage of in a quite mind-blowing finger sucking situation at the beginning of the scene). Yet right before that sequence there is a short bit of bottom close ups in which one hand of the co star and one hand of Brent’s share the task of spreading the posterior cheeks to show the puzzled audience a surprisingly natural spread of reddish hair in the crack, an original prop to make Brent look more like an adult medical doctor (just let that connection of professional adulthood and perineal hair sink into your mind). Be that as it may, and I would so very much beg Brent to re-post his famous instruction for the thorough removal of unwanted hair from intimate places from his former blog, Irene must have mixed up those shots with the face shots right after that; and so she constructed an amazing unheard-of reflex:

“he, as it seems, had squeezed his cheeks for a moment and then quickly moved his hands down to his thighs, doing it so violently that his shoulders in the process had jumped right up to his ears.”

A touch of buttocks and thighs that makes the shoulders lift violently! As a person professionally busy with questions of dance and choreography – maybe one reason for my over the top detailed observations – I love such a mad mix of artificiality and spontaneity. It is as if the eccentric fantasy of the beholder could invent a whole host of new “tourette syndromes” http://en.wikipedia.org/wiki/Tourette_syndrome for the sexual act. In dance it is one of the most demanding and fascinating concepts to develop a “dance language” that in the end resembles a new system of physical reflexes that do not look “done” but automatic, yet utterly artificial.

What I see in this sequence is a set of beautiful but rather made up expressions and gestures. There is the lip licking and mouth opening routine. The lip licking nicely hovers in between a completely self indulging premeditated yet futile effort to make the lips look even more wet and rosy, and the natural complement to the aroused mouth opening reflex.

And there is the arm lifting, an act that can never be a spontaneous reflex, exposing the arm pits as one more convention of porn to show the hidden places of the body. Strong arms being lifted give an ambiguous sign, as the very display of the strong arm muscles puts them in a position where they are completely useless. It is a posture of both swank and submission, thus nicely mirroring Brent’s character in transition. Several comments have shown us how obsessed he is with the girth of his upper arms.

And then the sudden lift of the shoulders adorned by an exquisite opening of the mouth and finally ending on the note of Brent’s characteristic animalistic flaring of the nostrils he might have borrowed from his beloved horses.

This self touching routine is accompanied by such blissful facial expressions that it almost seems like a spontaneous urge. As if the merely staged arousal caused by the blow job would have a mysterious sexual effect that forces him to touch himself. That absurd little logic is one good example for Brent’s high art of sexual performance. He is playing the piano of our fantasies that sometimes are as mysterious as they are widely spread. In both straight and gay porn we can observe a profound obsession with the narcissistic solo scene and the eroticism of masturbation and self touching. There are quite a lot of porn consumers who prefer the solo scene to any real action between 2 and more partners. I am almost one of them. There is something utterly intriguing about a fantasmatic object of desire being completely focussed on itself, a crazy masochist enjoyment in the thought that the very lust of this person for herself completely excludes the other, excludes us from the scene we are nonetheless staring at in longing. Or it is the gratification to be presented with the structural truth of porn, that we are in fact excluded from the action presented to us, also on the level of the content. However, as I pointed out in my first post on “The Look” the situation is more complex than that. At least with Brent who includes both the cameraman and the audience into his solo scene on “Just the Sex” with his flirtatious looks while he is playing with himself.

Brent is a master of the solo scene, no doubt. And the routine he is using in “PI” is learned. It traces back to the early Cobra days, to a solo scene on “Naughty Boys Toys” where he was told to fantasize about Brent Everett’s muscles while gently touching his still fragile torso. No wonder he had to run to the gym to overcome this humiliation.

And there is this opening masturbation scene in the notorious “Take it like a **** boy” where Brent is already showing some acting talent by embodying a rich daddy’s son who is, quite improbably, trying to get some work done in his daddy’s hotel suite. While impatiently waiting for his friend to get back to him on the phone he starts squeezing his dick in his pants. We can see that his hands are as attractive as the organ they are busy with. After a while he takes the thing out and an impressive shot from below shows the pale, slightly curved shaft tower over his torso. So far so good, so conventional. But now comes the extra hot and strange “Scorpio moment”, as I would call it (being quite familiar with the depths and twists of that zodiac sign not only from friends and relatives but also having Scorpio as ascendant myself) – young Brent casts a very melancholic glance at this strange thing that nature has miraculously attached to his boyish body as if he would see it for the very first time, but then, as if he nonetheless would feel some tender emotion for that alien little beast, he licks his finger, and in a move both distinct and absent-minded traces the outline of his circumcised glans. A gesture that does not serve any function of masturbatory friction but performs a pure sign of indexicality, circumscribing and indicating what is already the center of attention while giving this fixation an odd melancholic twist.

[Ok, here I went over the top once again; if I keep upping the ante I wonder where the actual part 3 will have to end up.]

Just some final considerations about this little sequence of “PI”. Even though I love to see and praise the sheer perfection of Brent’s neither regions like anyone else does, here it is clearly the face and the hands that are the most exciting erogenous zones. I do not know if anyone has ever tried to do without them but porn just does not work without facial shots. On the one hand I love (the idea) of a reorganization of the body in porn, the creation of a polymorphous, “acephalic” http://en.wikipedia.org/wiki/Ac%C3%A9phale body with more than one center of gravity, liberated from the symbolic (here I used the term, first time) order of being upright, symmetrical and ruled by the head. The ass and the genitals (of both men and women) look expressive and individual to me, like a second or third face. On the other hand I could never be interested in their adventure without seeing them mirrored in a face. Maybe the reason is not or not only the trivial fact that the face shows the most expression, but also the ecstatic quality of a body that is not one but many; as if the power of enjoyment could explode the very unity of the body and create a melting landscape of a physico-expressive manifold. And in this chaotic state of the sexually divided, erotically shattered body the left hand might not know what the right hand does (to quote the holy book, why not http://bible.cc/matthew/6-3.htm), but still the glazed eyes seem to be a far echo of an almost autonomous itching in a far away region of that sentient landscape.

Speaking of indexicality http://en.wikipedia.org/wiki/Indexicality and reference: that funny little film takes the liberty to stage the all male action on the usual sofas in front of a very large nostalgic b&w poster showing a Forties babe of generic “Parisian” frivolity. The contrast between contemporary male flesh and this female icon of the past is distracting not only to the performers. The camera even cuts to this poster full frame to create a transition from the oral action to the anal intercourse. What does this use of female imagery in a gay porn movie tell us? Is it ironical? Indexical? Random? Or does it indicate that female guests are welcome in this all male world of campy gangsters and slightly intimidated but nevertheless horny doctors?

Intermission: Me and the Fagget Fairys on Youtube

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Part 2: Brent's Little Mannerisms

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