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Other Waters obsessions are equally unlikely but rather less savoury. “It’s a cult! He’s beyond fame and beyond race.” The most shocking chapter of the book is probably the first, which begins thus: “I wish I were Johnny Mathis.” In person, Waters is happy to elaborate on his veneration of the 70s crooner. “The lowest-level entry job in showbusiness,” he says, “is the crew member who has to wipe dirt off the bottom of porno stars’ feet.” Role Models contains an entire chapter on his porn fetish and ends with Waters (who says necrophilia and scatophilia are “the only perversions I haven’t tried”) advocating the parlour game ‘Which dead celebrity would you like to fuck?’ Waters’s selection? Italian arthouse director Luchino Visconti. He once spent weeks searching for a shot of what he calls “the last taboo in porn” – a dirty foot. Waters’s outsider obsessions also extend to porn. His favourite song, he says, is The Monster Mash. Role Models details his passion for strip bars – gay and straight (“as long as they’re bad ones”) – not to mention trawling what he calls Baltimore’s “monster bars”: “I’ve danced with the monsters I had brought home from my favourite redneck bars blurting out ‘it was a graveyard smash’ while sniffing poppers,” he recalls. Waters describes himself as “a workaholic six days of the week and an alcoholic on Fridays” when he hits the town “like a coalminer”. “I enjoy the company of murders, rapists and child molesters.” “I can’t help it,” he says of his visits to jail. Whether he has become “respectable” is another matter, even though he has been on the jury at Cannes and taught in prison. The success of films like Polyester, Cry-Baby and, most famously, Hairspray (“Their Hair Was Perfect But The World Was A Mess”) changed that at least. “They knew I was the bad egg.” When his mother saw his 1969 movie Mondo Trasho, the poor woman started crying: “She said I was going to go crazy and die in a mental institution.” “My parents never blamed the crowd I ran with,” he writes in Role Models. Genuinely odd, intensely angry, Waters spent his youth rebelling against the church, his school and his suburban surroundings. Why? I wanted to strike fear in the hearts of my playmates”). A few of the people featured in the book include: Tennessee Williams (“Hoping to one day own a dirty movie theatre, I planned to show Baby Doll for the rest of my life”) Rei Kawakubo of Comme des Garçons (“fashion having a nervous breakdown”) The Wizard Of Oz’s Wicked Witch of the West (“who I have been copying my whole life”) and Patty McCormack, the 11-year-old who played Rhoda the heartless child murderer in The Bad Seed (“I wanted to be Rhoda.
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Waters’s new book, Role Models, a memoir recording some of the influences that shaped him, has given him another chance to add to his repertoire of tales. Articulate, seedy and obsessive, his films, his art books and installations, even his one-man show This Filthy World have incited acclaim and disgust in equal measure across the world. He once told me his early films were “made as terrorism”, political acts directly influenced by 60s radicals the Weathermen and the Yippies. Waters is one of the great independent film-makers, a true subversive.
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That’s more than most chickens achieve in their lifetimes!” “It got to be in a movie and it got fucked. He cuts the chicken’s head off and he shoves it in to his crotch.” A disgusting act of animal cruelty? Put you off your roast dinner? Well, Waters couldn’t care less. Let Waters take up the story: “The son is fucking Cookie. No, there was also a sex scene in which a chicken is both molested and killed on camera. But that was not even the film’s most controversial shot. Branded by Variety as “surely the most vile, stupid, repulsive film ever made”, it’s remembered by most for the scene in which Divine eats dog faeces. The animal featured in Waters’s 1972 classic, Pink Flamingos. My favourite story, though, concerns a chicken. What is the ultimate John Waters anecdote? A master of irony, a man renowned for his outrageous, scandalous wit, most conversations with the film-maker, artist and raconteur turn up stories of dark bars in Baltimore, cult criminals and obscure dangerous movie stars.