1. In Marshall Berman’s “Sign of the Times: The Lure of 42nd Street,” he writes about the “extreme turnover in buildings and signs”; “Sign of the Times: The Lure of 42nd Street,” Dissent Magazine, Fall 1997, 77, https://www.dissentmagazine.org/article/sign-of-the-times-the-lure-of-42nd-street. [return to page 1]

2. In the process of mapping Flesh, to try to piece together particular scenes on the street, I initially turned to Google Maps. Do a street view for the scene where Joe stands outside a newsstand near a subway entrance, and it is entirely unrecognizable. While the subway entrance in the film has the classic green wrought iron style that we still see on countless subway entrances, this particular one at the Lexington Ave and Fifty-third Street subway entrance has been turned into a modern glass station. Where the one and two floor businesses stood, there are only skyscrapers and chain stores.

3. Gary Comenas, “Flesh (1968),” Warhol Stars, 2016, https://warholstars.org/flesh.html.; Flesh originally premiered at the Garrick Theater on September 26, 1968 and then moved to the 55th Street Playhousein August of 1969. Pink Narcissus premiered at the Cine Malibu on Fifty-ninth Street between Third and Second Avenue on May 24, 1971. Andy Warhol and Paul Morrissey’s Lonesome Cowboys premiered at the 55th Street Playhouse in May 1969. When Flesh moved uptown from the Garrick, it originally replaced Lonesome Cowboys, but then they were billed together as a double feature when it returns in September 1969.Wakefield Poole’s famous Boys in the Sand would also premiere at the 55th Street Playhouse a few years later in 1971. Morrissey’s Women in Revolt also premiered at Cine Malibu a year after Pink Narcissus in March 1972.

4. The project started as The ghosts of Times Square: a zine exploring representations of Times Square through film in 2018. The zine included a much shorter and rougher exploration of Flesh and Pink Narcissus as well as other films and a copy of a barebones map. A colleague Callen Zimmerman and I made copies of this zine and left them in strategic spots amongst Times Square phone booths and newsstands for people, locals and tourists alike, to find as a reminder of the history of the space whose paths they traversed. I was fortunate enough to be able to share this zine with Samuel R. Delany in 2019.

5. Samuel R. Delany, Times Square Red, Times Square Blue (New York: New York University Press, 1999), xiii.

6. Sometimes referred to as the “Disneyization.” Often attributed to Sharon Zukin in The Cultures of Cities (1996) and popularized by Alan Bryman in The Disneyization of Society (2004). One such example of these changes is that in the film Taxi Driver (1976) Travis Bickle takes his date Betsy to see a porn film at the Lyric Theatre, which is where the Harry Potter play is now showing.

7. Berman, “Sign of the Times,” 78.

8. Delany, Times Square Red, Times Square Blue, xviii.

9. Delany, xiii.

10. One also imagines how COVID-19 has changed the shape of Times Square and the surrounding areas as many places have been forced to shutter. For how many already struggling businesses, was this their death knell?

11. Lauren Berlant and Michael Warner, “Sex in Public,” Critical Inquiry 24, no. 2 (January 1, 1998): 551, https://doi.org/10.1086/448884.

12. David J Bell, “[Screw]Ing Geography (Censor’s Version),” Environment and Planning D: Society and Space 13, no. 2 (April 1, 1995): 129, https://doi.org/10.1068/d130127.

13. Bell, 129.

14. Delany, Times Square Red, Times Square Blue, 146, emphasis in original.

15. Berlant and Warner, “Sex in Public,” 562.

16. Larry Knopp, “From Lesbian and Gay to Queer Geographies: Pasts, Prospects and Possibilities,” in Geographies of Sexualities: Theory, Practices and Politics, ed. Kath Browne, Jason Lim, and Gavin Brown (Routledge, 2007), 23.

17. Knopp, 23.

18. Knopp, 23.

19. Berlant and Warner, “Sex in Public,” 558.

20. Berlant and Warner, 560.

21. Emma Pérez, “Queering the Borderlands: The Challenges of Excavating the Invisible and Unheard,” Frontiers: A Journal of Women Studies 24, no. 2/3 (2003): 127.

22. Douglas Crimp, “Our Kind of Movie”: The Films of Andy Warhol (Cambridge, MA: MIT Press, 2012), 23.

23. Delany, Times Square Red, Times Square Blue, xvii–xviii.

24. Colton Valentine, “Against Queer Presentism: How the Book World Neglects the Archive,” The Drift, October 25, 2022, https://www.thedriftmag.com/against-queer-presentism/.

25. George Chauncey, Gay New York: Gender, Urban Culture, and the Making of the Gay Male World, 1890-1940 (New York: Basic Books, 1995), 21.

26. Jeffrey Escoffier, “Gay-for-Pay: Straight Men and the Making of Gay Pornography,” Qualitative Sociology 26, no. 4 (December 1, 2003): 533.

27. Escoffier, 531.

28. Two of the instances I have come across in my own research of Dallesandro include Physique Pictorial Jan 1969 vol. 17, #2–4 and in Mars magazine #30 from 1968 where he is listed under the pseudonym Joe Catano. Kendall shows up in Bidgood’s spreads as well as a few covers for The Young Physique and Muscleboy, both in stills for Pink Narcissus and other creative shoots. These two magazines diverged from earlier physique magazines—with a larger format as well as color covers and spreads—geared toward the growing newsstand market in urban centers.

29. Brian Clamp of CLAMPArt (the gallery which represented Bidgood most recently) said Bidgood had pointed this out as the location of his apartment at the time. It has since been torn down; Young Physique magazine starts teasing photos for Pink Narcissus starting as early as 1964 as James Bidgood was contributing photos to the magazine under the name Les Folies des Hommes, which also appears in the opening titles for the film.

30. Ger Zielinski, “James Bidgood: Reveries and Mariette Pathy Allen: Rites of Passage, 1978–2006. Museum of Sex, New York: March 28–September 8, 2019,” Afterimage 46, no. 3 (September 3, 2019): 65, https://doi.org/10.1525/aft.2019.463009.

31. Tony Rayns, “Andy Warhol Films Inc.: Communication in Action,” Cinema (UK), no. 6 & 7 (1970): 46. [return to page 2]

32. The Queer Reveries of James Bidgood (Wolfgang Astert Films, 2000), https://vimeo.com/189395930/61b480c579. 

33. Thomas Waugh, “Cockteaser,” in Pop Out: Queer Warhol (Durham, NC: Duke University Press, 1996), 53.

34. Joe Dallesandro tweeted that he was originally in background scenes at the party in Midnight Cowboy but did not make it into the final cut furthering the connection of these films at the time: https://twitter.com/DallesandroJoe/status/689610486048944128.

35. Richard Dyer, Now You See It: Studies on Lesbian and Gay Film, 2nd edition (New York: Routledge, 2002 [1990]), 165.

36. Juan A. Suárez, “Disquieting Soundtracks: The Sonorities of Experimental Cinema,” in A Companion to Experimental Cinema (Hoboken, NJ: John Wiley & Sons, Ltd, 2022), 191, https://doi.org/10.1002/9781119107934.ch9.

37. Suárez, 191.

38. Suárez, 192.

39. Suárez, 202.

40. Although Bobby Kendall’s character is unnamed in Pink Narcissus (perhaps he is Pink Narcissus), I hereby refer to his character as “Bobby” for simplification and Joe Dallesandro’s character in Flesh as simply “Joe.”

41. This is particularly salient in the case of Pink Narcissus because Bidgood did not have the final say in the released version because the film was taken out of his hands for someone else to edit. When the film was originally released it said: “Directed by Anonymous” as well as “Produced, Photographed and Written by Anonymous.”

42. June L. Reich, “Genderfuck: The Law of the Dildo,” Discourse 15, no. 1 (1992): 123, https://www.jstor.org/stable/41389251.

43. Laura Mulvey, “Visual Pleasure and Narrative Cinema.,” in Film Theory and Criticism: Introductory Readings., ed. Leo Braudy and Marshall Cohen (New York: Oxford University Press, 1999) [1975], 843.

44. Mulvey, “Visual Pleasure and Narrative Cinema.”

45. Alexander Doty, Making Things Perfectly Queer Interpreting Mass Culture (Minneapolis: University of Minnesota Press, 1993), 13.

46. D. N. Rodowick, “The Difficulty of Difference.,” in The Difficulty of Difference: Psychoanalysis, Sexual Difference and Film Theory (Florence, United Kingdom: Taylor & Francis Group, 2013), 11.

47. Caroline Evans and Lorraine Gamman, “The Gaze Revisited, or Reviewing Queer Viewing,” in Queer Romance: Lesbian, Gay Men and Popular Culture (New York: Routledge, 1995), 47.

48. Thomas Waugh, Hard to Imagine: Gay male Eroticism in Photography and Film from Their Beginnings to Stonewall (New York: Columbia University Press, 1996), 44.

49. Waugh, 44–45, emphasis in original.

50. Most of work on the gay or queer gaze focuses solely on “gay spectatorship” or the audience’s relationship to the film, I am interested in the gaze as it also relates to the characters in the film and the way they perform that gaze for each other and for the audience.

51. A. H. Weiler, “The Screen: Paul Morrissey’s ‘Flesh’: Movie by Associate of Andy Warhol Opens Male Prostitute’s Story at Garrick Theater,” New York Times, September 27, 1968, sec. Movie Review. Where there is currently a move to use the term “bisexual” outside of the gender binary more in line with how “pansexual” has been historically used, likely at the time, it was used in the more binary sense.

52. Vincent Canby, “Screen: ‘Pink Narcissus’: Movie at 2 Theaters Is Story of Homosexual,” New York Times, May 25, 1971.

53. I hesitate to refer to these moments as “fantasies” as the entire film seems to be part of a greater fantasy and instead opt for the term “daydream” to describe the shifts in time and space.

54. Tearoom is a queer slang term for a public place, usually a public restroom, where cruising and sex between men takes place.

55. This scene is very orientalist, and so many scholars have used the term “harem” to describe it.

56. Though many of the scenes were filmed in Bidgood’s Times Square-adjacent apartment, somewhat ironically the scenes of “Times Square” were mostly filmed at a studio on Broadway somewhere between Houston and West Third Street as Bidgood had relayed to Brian Clamp of CLAMPArt.

57. Bobby also doubles in the Roman court scene. He is simultaneously the Roman statue/emperor figure as well as the slave/prisoner.

58. Bruce King, “King’s Reviews: Pink Narcissus,” Gay Scene, June 1971, 12.

59. James Bidgood and Bruce Benderson, Bidgood (Köln: Taschen, 2009), 111.

60. Bidgood and Benderson, 66.

61. Dyer, Now You See It, 160. Dyer uses this phrase to broadly describe the scenes on the street in Pink Narcissus.

62. “Unseen Bidgood: A Memorial Exhibition,” CLAMP, accessed October 27, 2022, https://clampart.com/2022/08/unseen-bidgood-a-memorial-exhibition-photographs-by-james-bidgood-1933-2022/.

63. “Unseen Bidgood.”

64. I have chosen to use the term “cock” first to keep with the tone of the film because of the fantasy/soft-core porn quality of these Times Square scenes in Pink Narcissus. Although there is no dialogue, this is the term that is used in the film itself. It appears on various signs including a sign for a “Cock Rock Festival.” [return to page 3]

65. Parker Tyler, Screening the Sexes: Homosexuality in the Movies, First Da Capo Press edition. (New York: Da Capo Press, 1993 [1972]), 177.

66. Dyer, Now You See It, 160.

67. James Lithgow and Colin Heard, “Underground USA and the Sexploitation Market,” Films and Filming Magazine, August 1969, 26.

68. David E. James, “Andy Warhol: The Producer as Author,” in Allegories of Cinema: American Film in the Sixties (Princeton, NJ: Princeton University Press, 1989), 67.

69. Jon Davies, Trash: A Queer Film Classic (Vancouver: Arsenal Pulp Press, 2009), 49; Nicholas de Villiers, “How Much Does It Cost for Cinema to Tell the Truth of Sex? Cinéma Vérité and Sexography,” Sexualities 10, no. 3 (July 1, 2007): 356, https://doi.org/10.1177/1363460707078336.

70. Rayns, “Andy Warhol Films Inc.: Communication in Action,” 43, emphasis in original.

71. Lithgow and Heard, “Underground USA and the Sexploitation Market,” 20.

72. Rex Reed, “Remember My Forgotten Movie,” The New York Times, Feruary 2, 1969.

73. Davies, Trash, 37.

74. Davies, 48.

75. John Rechy, City of Night (New York: Grove Press, 1963), 43.

76. James Bidgood and Bruce Benderson, Bidgood (Köln: Taschen, 2009), 111.

77. Barry Reay, New York Hustlers: Masculinity and Sex in Modern America (Manchester: Manchester University Press, 2010), 80.

78. Reay, 206.

79. In the process of mapping Flesh, to try to piece together particular scenes on the street, I initially turned to Google Maps. Do a street view for the scene where Joe stands outside a newsstand near a subway entrance, and it is entirely unrecognizable. While the subway entrance in the film has the classic green wrought iron style that we still see on countless subway entrances, this particular one is not and the Lexington Ave and Fifty-third Street subway entrance has been turned into a modern glass station. Where the one and two floor businesses stood, there are only skyscrapers and chain stores.

80. Waugh, “Cockteaser,” 55.

81. Although Bryant Park is technically bordered by Forty-second Street on one side, Joe’s avoidance of “Forty-second Street” is actually that of the Times Square area colloquially known as “The Deuce” of Forty-second street between Broadway and Eighth Avenue.

82. Reay, 94.

83. de Villiers, “How Much Does It Cost for Cinema to Tell the Truth of Sex?,” 355.

84. Rechy, City of Night, 72.

85. Edith Hamilton, Mythology: Timeless Tales of Gods and Heroes, Reprint edition (New York: Little Brown, 2013 [1940]), 111. [return to page 4]

86. Hamilton, 112.

87. Gilad Padva, “Saint Gaga: Lady Gaga’s Nostalgic Yearning for Queer Mythology, Monsters, and Martyrs,” in Queer Nostalgia in Cinema and Pop Culture (New York: Palgrave Macmillan, 2014), 176, emphasis in original.

88. It should be noted that in the myth of Adonis, he was also turned into a flower upon his death.

89. Richard Dyer, “Seen to Be Believed: Some Problems in the Representation of Gay People as Typical,” Studies in Visual Communication 9, no. 2 (May 19, 2017): 5, https://repository.upenn.edu/svc/vol9/iss2/2.

90. Dyer, Now You See It, 72.

91. Bidgood and Benderson, Bidgood, 40; this is in reference to an earlier shoot for the magazine The Young Physique but also aptly describes this mix of masculine and feminine in Pink Narcissus.

92. Dyer, “Seen to Be Believed,” 13.

93. Jennifer Doyle, “Tricks of the Trade: Pop Art/Pop Sex,” in Pop Out: Queer Warhol, ed. Jonathan Flatley and José Esteban Muñoz (Durham, NC: Duke University Press, 1996), 198–99.

94. Davies, Trash, 47; James, “Andy Warhol: The Producer as Author,” 79.

95. Kerwin Kaye, “Male Sex Work in Modern Times,” in Male Sex Work and Society, ed. Victor Minichiello (New York: Harrington Park Press, 2014), 45.

96. Kaye, 45.

97. Kerwin Kaye, “Male Prostitution in the Twentieth Century Pseudohomosexuals, Hoodlum Homosexuals, and Exploited Teens,” Journal of Homosexuality 46, no. 1/2 (December 2003): 33.

98. B. Ruby Rich, “The New Queer Cinema,” in Queer Cinema: The Film Reader, ed. Harry M. Benshoff and Sean Griffin (New York: Routledge, 2004) [1992], 54.

99. Russell Sheaffer, “Representations of Male Sex Work in Film,” in Male Sex Work and Society, ed. Victor Minichiello (New York: Harrington Park Press, 2014), 70.

100. Thomas Waugh, “The Third Body: Patterns in the Construction of the Subject in the Gay Male Narrative Film,” in Queer Looks: Perspectives on Lesbian and Gay Film and Video, ed. Martha Gever, John Greyson, and Pratibha Parmar (New York: Routledge, 1993), 152.

101. Aaron Travis, “Close Up: Pink Narcissus,” Studflix, October 1986, 7.

102. Miss Rosen, “Unseen Photographs by Queer Art Pioneer James Bidgood,” AnOther, September 16, 2022, https://www.anothermag.com/art-photography/14356/unseen-james-bidgood-photographs-memorial-exhibition-clamp.

103. "Unseen Bidgood.” [return to page 5]

104. Ellis Hanson, “Introduction: Out Takes,” in Out Takes: Essays on Queer Theory and Film (Durham, NC: Duke University Press, 1999), 18, emphasis in original.

105. Valentine, “Against Queer Presentism: How the Book World Neglects the Archive.”

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