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Tag: male passivity

How The Prostate Came Out of the Closet

Mark Simpson snaps on the latex gloves and gives men’s prostates a thorough examination

(Originally appeared in a shorter, more tasteful form in The Daily Telegraph, 12 Nov 2014)

‘Movember’ is upon us again, and so are the ironic and perhaps not so ironic upper lip pubes, reminding us of the very important, very worthy – and until recently very overlooked – issue of prostate cancer. A disease which affects 42,000 men in the UK each year, and kills 11,000.

But this is perhaps also a good time to remember that prostates don’t just get cancer – and they’re not just for November, or for producing an alkaline secretion which helps sustain ejaculated sperm in the vagina. They can also give a great deal of year-round pleasure. Mind blowing, leg-shaking, eye-rolling, neighbour-panicking pleasure.

While the very existence of the female G-spot remains a matter of hot debate, the male G-spot is mighty real. Situated just below a chap’s urinary bladder, wrapped around the urethra, the prostate is a walnut-sized button conveniently placed about a finger’s length from the anal opening – proof positive of ‘intelligent design’.

And more and more are being reached regularly – not just by medical practitioners looking for ‘enlargement’. The 21st century is shaping up to be the century of the prostate.

‘Reach’ it and you – and possibly your bedroom walls – will be left in no doubt as to its existence. As Seann Scott William discovered in the college comedy ‘Road Trip’ – released in 2000, around the time Movember was just getting bristly – when his arrogant frat-boy character ‘EL’ attempts to make a sperm donation, and is ‘helped out’ by a slightly sadistic, latex-gloved female nurse.

‘That was awesome!’ he says, dazed-amazed afterwards. And by the film’s end he’s instructing his girlfriend to ‘use three fingers’. Probably provoking many a young man’s interest in his own prostate.

2000 was certainly a busy year for that ticklish gland. In ‘Me, Myself & Irene’ another comedy released later the same year, Jim Carrey plays a split personality Jekyll and Hyde character – his obnoxious egoist half also turns out to enjoy anal insertion: this time in the form of an eye-wateringly XXL dildo during a night of passion with Renee Zellwegger.

Yes the male anality on display in these Millennium movies was largely at the expense of the males concerned, but because the men being prostatically pleasured were straight, both movies effectively told their audiences that in the new century men enjoying their rears being played with was not specifically ‘gay’. Just ridiculously intense.

Which seems to have been all the permission that straight men needed. A decade or so on from its Hollywood ‘outing’, that hitherto hidden gland definitely has no sexual orientation – and little or no shame. ‘I’m going to stick my whole thumb up your ass this evening’ says a newly-engaged women fairly randomly to her lucky boyfriend in the TV drama ‘Fargo’. [And a couple of months after this piece was published, the sit-com ‘Broad City’ featured an episode in which a man asks his female date to use a strap-on on him – after some initial uncertainty, she kindly obliges.]

‘Prostate massagers’ of all shapes and baffling sizes (vibrating and non-vibrating) fill the pages of on-line sex toy stores. Men’s mags such as Esquire and Men’s Health interrupt their guides to the mysteries of the female body to give advice on how to get your girlfriend to massage your prostate just right while giving you a blow job. Entire books are devoted to the subject, promising you ‘The Ultimate Guide to Prostate Pleasure’.

And a giant green butt plug was inflated in Paris last month – the city that in another epoch was famous for Mr Eiffel’s phallic Gallic tower.

Not wanting to be, ahem, behind the curve, Harvard University is now offering seminars on anal sex titled: ‘What’s What in the Butt: Anal Sex 101’, where you can learn ‘anal anatomy and the potential for pleasure for all genders!’

The back bottom is the new front bottom – as a peek at straight on-line porn will confirm. It’s possibly not without significance that the orifice that straight men seem most interested in women these days is one they share themselves. After all ‘anal sex’ is a highly reversible concept.

This was graphically and noisily demonstrated in the leaked vid of the pro footballer a few years back which appeared to show him being ‘scored’ by an ex female partner with a ‘strap on’. The tabs talked then of course about how ‘bizarre’ and ‘kinky’ his private past-time was – but as with William’s ‘Road Trip’, his loud enjoyment of it will have just made many football fans wonder what they’ve been missing by always playing up front instead of at the rear.

Certainly the possibility of male passivity is advertised everywhere you look now. After all spornosexuality, hard-core, body-centred, second generation metrosexuality, is as much about the lunge-sculpted ass as it is the tits and abs. Straight Essex boy Dan Osborne kindly offered the readers of gay mag Attitude his naked muscle butt recently in a generous double-page spread – with the strap line ‘Sex is fun. Be safe and enjoy it.’

Dan offers his bum (safely) to Attitude readers. 'Enjoy!'

Dan offers his bum (safely) to Attitude readers. ‘Enjoy!’

Posh boys are also at it. The male rowers of Warwick University have just released their latest nude charity calendar, aimed at women and gay men, and ‘fighting homophobia in sports’ – rammed with plenty of arse shots (because there’s no penis in their nude calendar, they’re all bottom). In these prostatic times the male derriere has been thoroughly sexualised. Mostly by the men attached to one. Or as one of the rowers puts it in their promotional video: ‘Regardless of gender or sexuality we are inviting you into that moment with us.’

Some stick-in-the-muds will of course harrumph that male anal play and passivity is ‘unnatural’ and ‘sodomitical’. To which I always reply: If God hadn’t intended men to try anal play he wouldn’t have given them prostate glands. Unless he just wanted to really mess with their heads.

And He – or naughty, naughty She – gave them to all men, whatever their sexual orientation and whatever their sexual hang-ups. Your prostate gland doesn’t care whether you’re straight, gay, bi or homophobic – just whether or not it’s loved.

But then, that quaint old homophobic rallying cry ‘Backs against the wall lads!’ was always a bit of a give-away. Ever so slightly hinting that if ‘the lads’ didn’t press their rears against something solid they wouldn’t be able to resist impaling themselves on the ‘poof’.

Yes, of course, despite some of the prostatic propaganda – including this article – not all men enjoy their prostates being massaged. Whether they are straight or gay. But the outing of the prostate gland as a potential organ of (passive) male pleasure – of male versatility – regardless of sexuality frees gay and bisexual men from the very heavy burden of representing all male anal pleasure. And straight men from having to be full-time ‘studs’.

So next time you see a Village People moustache in November, remember that the prostate is a gland men should be proud of. And in touch with. One way or another.

From Finland With Lust: How Tom Re-Designed the Male Body. For Pleasure.

The teenage Tom of Finland’s gay fantasies from the 1940s of muscular men have come to define a mainstream view of masculinity, argues Mark Simpson

(The London Times, Nov 2008 and collected in Metrosexy)

The first time I saw a Tom of Finland drawing was in a well-thumbed, seventh-hand issue of Fiesta, a top-shelf favourite of schoolboys in the 1970s. The image, buried at the back, was in a small ad for more “specialised” publications, probably missed by most of my schoolchums who had thumbed the issue before me. But it jumped out at me like an outsized erection.

It depicted a pair of muscular butch young men with big chins and broad grins grabbing each other’s bubble butts and straining packets while winking at the reader. I immediately rushed out to the post office to buy as many postal orders as my pocket money would allow.

Although I was sorely disappointed with the ‘Biker Boy’ lame leather fetish magazine – with no Tom of Finland drawings – that eventually turned up, I have spent much of my adult life and a fortune on gym membership fairly ‘fruitlessly’ trying to recreate that Tom of Finland image that I glimpsed as a teen.

I needn’t have bothered, however, because as it turned out the whole world was going to become a Tom of Finland drawing. His sensualised, cartoonish über-male body and its endless potential for pleasure and pleasuring has become commonplace. Think of the rugby player Austin Healey pulsating on BBC One’s Strictly Come Dancing in tight pants and a sleeveless top. Or all those footballers keen to strip off and show us their assets on the sides of buses.

The notes for artist retrospectives usually make extravagant claims, and those for a major retrospective of Tom of Finland in Liverpool, part of that city’s annual Homotopia queer culture festival, make some very extravagant ones indeed: “Tom had an effect on global culture unmatched by that of virtually any other artist,” we are told. But for once, there’s something to this hyperbole, despite the artistic merit of his work being very debatable.

Tom was born Touko Laaksonen in Kaarina, Finland, in 1920 and his work is literally the masturbatory fantasies of a lonely young homosexual Finnish boy – he began drawing in his locked bedroom in the 1940s, pencil in one hand, penis in the other. His fetishised, overobserved, long-distance gay appropriation of masculinity has in a mediated, long-distance world become… masculinity.

It’s often said that Tom’s greatest achievement was in drawing gay men who were masculine, happy and proud at a time when they were supposed to be effeminate, neurotic and shameful. This is certainly the reason why so many gay men are Tom devotees, wittingly or not. Today’s gay porn is merely filthy footnotes to Tom, endlessly replaying the narrative of “regular guys” with very irregular-sized penises and pectorals having spontaneous, shameless sex at the drop of a monkey wrench.  (And it’s entirely apt that one of the sponsors of this retrospective is Gaydar, the gay ‘dating’ site where gay men post Tom-ish pictures of themselves looking for other Tom-ish men to have Tom-ish sex with.)

However, the out-and-proud gay biker look – identity even – that Tom perfected after seeing Marlon Brando in The Wild One (Brando was a Tom drawing in 3D) and which became so popular in the pre-Aids 1970s and early 1980s, reaching its peak with the climactic success of the Liverpool band Frankie Goes to Hollywood, has become a dated cliché. See, for example, the tangoing, mustachioed leather men in the Blue Oyster basement bar in Police Academy – and few if any young gay men today aspire to it.

But when you look at Tom’s drawings in this retrospective, which features 25 of his works in the basement (predictably) of the Contemporary Urban Centre in Liverpool, it becomes apparent that his achievement goes much further than just making gay men feel good about themselves or love the snugness of leather harnesses. Tom, who worked as an illustrator in the Finnish advertising business until the early 1970s, when he became a full-time gay propagandist, sold the male body as a pleased, pleasuring and pleasured thing several decades before Calvin Klein thought of it. In the middle of the 20th century, Tom was effectively sketching the blueprint of 21st-century man. And boy, was he blue.

Before Tom almost no one drew men like he did, making them such unabashed sex objects and sex subjects, giving them such exaggerated male secondary – and primary! – sexual characteristics: big chins, strong jaws, full lips. Masculinity, and virility end up looking so… nurturing. Buxom. Busty. Tom’s men have round firm breasts, saucer-like aureolas and nipples you can adjust your thermostat with. One (from 1962) struts down the street, biceps bulging, chest literally bursting out of his shirt, and dressing very much to the left: no wonder he’s being followed.

His saucy curvaceousness a testament to the way in which aestheticised hyper-masculinity is oddly androgyne. And while Tom’s men may have had their tits out for the lads, the kind of Tom-ish male body he helped to invent is nowadays getting them out for lads and lasses, gay or straight, online or in real time.

Likewise Tom’s drawings also reveal the male derrière as a sexual organ: not just in some of the more hardcore examples, but the way that Tom-ish buttocks are so spherical, so sensual, so inviting. One of the most striking and prescient sketches, from 1981, is also one of the tamest: a row of bedenimed male bubble butts sticking out at a bar – awaiting perhaps the attentions of the hugely powerful Abercrombie & Fitch photographer Bruce Weber (a big Tom fan), or perhaps the vaselined, wide-angled lens of a Levi’s commercial.

Tom’s big break came in the 1950s from Physique Pictorial, an underground, semi-legal gay American fanzine disguised as a straight men’s bodybuilding magazine, which frequently put Tom’s men on the cover. Half a century later, and 17 years after his death in 1991, the world is inverted: flesh-and-blood men who look like Tom’s drawings appear on the cover of bestselling corporate mags such as Men’s Health. Flick one open, and you’ll find it full of advice on how straight men can turn themselves into something Tom-ish.

POSTSCRIPT Feb 2011

Compare the 1960s Tom of Finland sketch of the pneumatic young man swaggering/sashaying down the street at the top of this essay, with the one below of 21st Century Jersey Shore star Mikey ‘The Situation’ Sorrentino (Mikey’s face isn’t quite the Tom-ish ideal, but boy, his tits and abs are):


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