Scotty Zee, gay porn star Hot as fuck. Any info? Assuming he has a big dick because he's definitely not hot as fuck. Are there no standards left? Is this what gay porn has been reduced to? Needs a neck tat. Is that his natural hair color? I am not OP and what is your damage R14? He looks like a deplorable! Me too. Looks like a Midwestern tweaker.
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Just one look and I'm turned off of thinking about sex for a week. He's like human saltpeter. The black sheep of our family. He looks alright but I'm not into fem guys in porn. So I'll pass.
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He could use a tan. Pale is ok, but he is pasty. Not hot in general, just average. He's sexy in a "Deliverance" kind of way. I'd fuck him. Not a good porn star at all. There are MUCH hotter gay porn stars. But he's aight I guess. More pics: He's got a couple of different 'looks' Really don't see what's so special. OP, the guy he's with in the scene that pic is from is WAY hotter The other guy, Dennis West: A more recent pic of Dennis: Bringing us back on topic, the two of them together: Needs a hand tattoo.
Questionable anal hygiene. Needs a bag over his head. There, R Fixed that for you. He has a Tom Faulk vibe about him and that's not a good thing. He looks like he can be from Florida sans the tan.
The only sensible quote on this thread, other than mine. He looks like he enjoys what he's doing most of the time, which is more important for me.
Reminds me of grown up Haley Joel Osmont. Third, The Sluts provides commentary on and justification for its own and the cycle's interest in violent and exploitative sex and snuff porn.
And finally, while the novels in the cycle are all exceedingly self-reflexive, The Sluts is often both self-reflexive and hilarious, trading in snide cynicism for comic irony. Cooper has gone so far as to call it a comedy qtd.
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The novel is comprised of five sections, the first and last of which consist of a series of reviews of a hustler named Brad occasionally mis identified as other similar-looking escorts. Apparently adhering to a pre-established review submission form, each review includes a list of statistics describing the hustler that is, information about name, location, rates, contact info, height, weight, body hair, etc.
As early as page 9, Brad becomes suspect: A few reviews later, we meet "Brian," who pipes up to explain that Brad has a fatal brain tumor and that Brian, whose "all time fantasy is to murder a boy during the sex act," has agreed to take Brad in with the understanding that Brian will kill him when he becomes too disabled to enjoy sex All of this happens by page The Brad and Brian saga is already out of hand, and its constant assertions and contestations of veracity will continue on, to a comical degree, until the last page of the book.
At the end of this first section, some bodies may or may not have piled up, but more so the questions: Is Brad the same person as the San Diego-based escort known as Kevin? Are Brad and Brian in a consensual relationship, or is Brian keeping Brad against his will?
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Has Brian already killed Brad? Brian or "Brian"? Brad or "Brad"? Who killed Stevie Sexed? And so on. Throughout the section, the Webmaster functions as something of an authority figure, corroborating this or that account, questioning this or that other account; when he decides to close the thread, thereby closing the section, much is left unanswered.
The novel shifts form in the next section, titled "Ad," presenting hustler ads and telephone transcripts involving "Box," aka "Brian," probably but not definitely the same Brian involved with Brad or "Brad". This section is perhaps the queasiest of the book, as it strongly suggests there is some character, whether Brian or someone posing as Brian, who is going around killing hustlers.
However, each script stops before a death actually occurs, so it's impossible to know whether or not Brian goes through with any of the scenarios he has devised.
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I debated whether or not to put the word know in the sentence above in scare quotes - after all, this is fiction, artifice, lies! The Sluts sits smugly within this tension, the most prominent of the book: The novel's interrogation of veracity is not so much a comment on fiction's lies, although it is that, as it is a comment on reality's fundamental unknowability as demonstrated in narrative. Timothy Baker has persuasively read the novel in epistemological terms, pointing out that "Cooper highlights not only the way in which pornographic and textual acts create their own illusory reality, but also the way in which any idea of an external reality is always revealed as already fictional" Another way of putting it might be, as posed by "Brad" fan bobbybebrace, "Is this for real?
Is that a stupid question? The Sluts is an exercise in mythology, and we're never quite sure who's doing the mythologizing. The second section, along with the fourth a record of "Brad" and "Brian" interacting through email and fax , provide what appear to be more privileged points of view, focusing as they do on "Brian" and "Brad"'s activities apart from the group consciousness. Yet, as with everything in The Sluts , what is real is indeterminate.
What is real is only language, and much of it floats, unanchored in veracity or certainty. If the violence of the prose in the George Miles Cycle often reduces character to language, to inscribability, in The Sluts even language is unsettled - the words used to describe Brad are comically, emphatically inconsistent. As Baker has observed, the information reported by his reviewers gives Brad seven different heights, ten different weights; his eyes are reported to be blue, brown, green, and hazel Both Brad's identity and his body are unfixed, becoming only what his reviewers record them to be.
And yet, Brad is also a 'real' figure - if we take as 'real' his responses to various reviews, in which he writes against his reviewers' inscriptions. Of course, Brad's version of Brad is just as incomplete and easily discardable as the other versions. As in the George Miles novels, especially Period , characters here double; identities are repeatable.
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The Sluts refuses fixed subjectivity, suggesting that identity shifts, is exportable, assumable; it exceeds its boundaries. In the last section, "Site 2," the Brad and Brian saga cranks back up for a second round, while the mystery of Stevie Sexed's murder remains unsolved. Eventually we find out that the new "Brad" is actually a hustler named Thad impersonating Brad; and that the new "Brian" is actually a former hustler named Zack Young impersonating Brian. We also learn that each has been scamming the other, in addition to scamming the community of "Brad" fans they've been exploiting.
Zack emerges as the mastermind behind at least the second half of the book, in which Brad's mythology is exploited to the point where Zack is selling off "Brad"'s body parts for abuse and torture ahead of his death. Whether this actually happens or not is unclear. Testimonies exist, but they are only words. On the message board, someone by the handle of "earljackson" asserts, "By the way, I am a real person" That's a laugh.
At the same time that it denies a clearcut "reality," however, The Sluts seems to suggest that there may actually be one. After all, Thad is not Brad, no matter how good a scam he pulls. His ploys may work for a while, but eventually the truth "truth" outs him. Especially when Elaine, Brad's much older girlfriend who is known to take an interest in the hustlers in her neighborhood, shows up, it's hard not to make comparisons between the novel's storyline and LeRoy's fictional backstory of being taken in off the streets by a kind older woman.
I'm not making any claims here. Cooper, who was an early supporter of LeRoy's has come out fairly critically against the scam, as someone who participated in it unknowingly see his October 28, post "A JT Leroy Riff,". In any case, the connections are provocative. At one point, the "real" Brian returns to the site to make certain confessions, and observes that "now Brad is just a name.