The following text is an account of a fictional academic research project set in the near future. It describes the schools on Isla Espiritu Santo, off southern California, and how a policy that required adolescent males to be nude both in school and out was implemented, from the very beginning to the current moment of writing (late 2027).

As such, it is a parody of an academic project. This series begins with a historical essay, and then moves to testimonies from boys, girls, teachers, parents, and members of the community. It will include a representative photographic collection with the full consent and awareness of those who are shown. Tags include: young, old, intergenerational, bi, gay, cfnm, cmnm, and gay incest. Although it depicts mandated behavior in some instances, there is no domination (Dom) in the usual sense of the term. If you enjoy this, you may contact the author at GavinRower2@protonmail.com The full series has already been written, and will continue to be posted.

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JOE (PART 1)

Introduction: Joe (Johan), b. 2001, is the sole full-time art teacher at the public high school (shares large art studio with middle school art teacher, a lesbian woman), and coaches the boy's cross-country team. Joe is descended from Japanese American, Latino, and Navajo ancestry; he has been politely estranged from his family since coming out (cisgender gay) when he was in high school. Joe is 5'8", 130 lbs, very lean, since he runs so much as well as exercises and does yoga in his large loft apartment/studio on the island. His appearance is arresting, brown-toned with straight dark hair cut short, fine hair on his chest and on his calves, and merest suggestion of a treasure trail and close-trimmed pubic hair; he has dark, close-set eyes. His circumcised penis--his mother was Latino and Navajo and made that decision--is an elegant 3 1/4 inches flaccid, and nearly 7 inches when erect. Both of his nipples are pierced with small ringlets; he has dark green Celtic interlace armband on each bicep, a long artist's paint brush vertically up his linea alba (the slight depression between his pectorals and abdominals), a defined but not ostentatious six-pack, and ars longa vita brevis in small cursive letters above his left nipple. A small infinity loop appears to the right above his penis and closely cropped pubic hair. As an artist, he has designed his body very thoughtfully.

Joe came to the public high school in the Fall of 2023, immediately after he completed his California teaching credential. He came very highly recommended, both by educators and by artists. Joe works as a visual artist in a "new magical realism" style, typically in oil on canvas. His work has appeared in juried shows and during college he received very favorable critical recognition. He is equally passionate about his art and about communicating the value of art to his high school students, among whom he quickly became a favorite, in part because of his beauty. Before 2023 Joe had only episodic experience with public nudity, in a nude yoga class for gender non-binary men, on nude beaches, and in a controversial all-male Romeo and Juliet. In that production, the entire cast completely nude except for props (swords, masks, etc.), and the female parts were played by high school and middle school boys pretending to be women. The acting required frequent physical contact with college-age males. Joe played two parts, alternating between a highly-sexed, adolescent Romeo and a scrappy Tybalt. This public exposure encouraged Joe to apply to teach in the island's public high school, and he planned to teach nude. He began to teach and live nude on the island in late September 2023, a choice that put him on equal footing with middle school and high school boys, who began to turn to him as a mentor and guide.

Joe was very lucky to rent a loft-style apartment on the second floor of the former middle school building, re-purposed with the long-term decline in enrollments during the 2010s; the middle school had been folded into the high school building since 2018. His loft had skylights, plenty of room for his art, and a beautiful view of the bay from a substantial and very private deck, shielded from view both from the street and from other buildings. He built a platform for his queen-size futon so he can wake up looking at the bay; none of his window have curtains or blinds, and he loves the natural light. Soon after choosing to teach and live nude, Joe began to host a Friday-after-work BYOB happy hour for other men who taught nude in both the middle & high school and the Academy. These teachers gave Joe permission to tell their stories with no personal identification. Joe consented to the publication of these conversations (including controversial aspects), which have been edited for clarity and length. Insofar as these conversation were so long and detailed, I have split them into two parts.

You are in your fifth year of teaching at the high school, and fifth year of teaching nude. What was your experience at the beginning, and what has changed over that time?

Fall 2023 was pretty wild--it was my first semester, so I really could not compare it with another at the time. After 2022 and the vaccine really became available and effective, it took everyone a while to sort of wake up after that bad dream of the pandemic. On the island, that included the problem with sexting and fake porn videos, pretty awful ones. In 2023, within four months I was hired, moved to the island, began to teach, and then started to teach nude. I knew it would be a possibility when I interviewed for my job. But I never really considered it until it was happening.

Most of the boys had already been living nude all summer, and were getting used to it. Girls had seen many of them, so no surprises. That shift was hardest on boys that aren't particularly beautiful, or in shape, or somehow impressive, but the numbers and kinds of nude boys meant that the mystique of the "perfect body" was largely dispelled. Boys who were slowed in their physical development had nothing to be ashamed of--and boys who were advanced, who seemed to be 18 or 19 but were really 14, had some wind taken out of their sails. It was very equalizing, and when I saw how this is going, I really thought, I want to be a part of this. I quietly asked some of the girls that I thought were particularly bright or aware whether they would be offended or feel threatened if I taught nude. They all said definitely not, so one September Friday I announced that I would henceforth be teaching nude starting Monday, and I did. I never looked back.

I wondered when I began: would I lose all authority as a teacher? Instead, I think I gained authority, and a lot of cooperation, and that was especially good because an art teacher needs positive vibes, cooperation and engagement, and my teaching nude really engaged all the students. That year, my youngest class was 7^th graders, and some of them were really experiencing a lot of unexpected or unwanted erections. I think all the classes were looking at my penis that first Monday, and of course they didn't know about each of my tattoos. After that first day, I saw their eyes on my eyes again: my penis wasn't all that interesting after my first exposure.

Now? I have been teaching nude for enough time that it would seem strange to teach clothed. When I have taken students into the art museum or gallery shows, and we have to wear clothes, they seem very limiting, artificial. I have begun to ask artists to come out here to the island for a day rather than going in to see their work, and they almost always accept my invitation. Most are amazed that the nudity works so well, is just taken for granted now. By now the oldest boys in 11^th and 12^th grades were in 7^th or 8^th grades when required nudity began, so nearly their entire experience of the middle & high school has been as nude boys, and it is normal for them. They all were nude in the midst of their puberty, and their bodies are usually calming down now, so nudity is even easier. It's amazing to me how many boys chose to continue to live nude after graduation, and many want to attend college nude, part of that growing movement.

Clothed people will make a social statement by wearing particular clothes. That's obvious. A nude man or boy makes a different statement. He's much harder to place socially, at a glance. His statement is, in a way, the absence of making a statement. His body is his statement, and it's can't help but be a true one.

Nudity changed many things--what do you think hasn't changed?

(Joe paused.) Teenage drama is still the same, just with different ingredients, as is teenage lust, sheer horniness, now just more visible. Some of the jock boys, with their jock bodies, still presume to judge others, but they are much more easily humbled nevertheless. It's hard to diss someone else when you yourself go erect at unexpected moments. Even jock boys don't control their penises very well, or at all.

Human nature doesn't change, and that includes human nature for dramatic adolescents. Every young man still believes he's the center of the universe. It goes with being, say, fifteen years old. Girls continue to play the fashion craze game, but at least about the only thing that boys can do with that is shoes and caps, and believe me they exploit those to the fullest. Who's up, who's down.

The usual academic issues continue--kids who need help don't get it or won't get it, and kids from educated, especially well-off families still have all the extras, tutoring, enrichment activities, that help them get into better colleges. Sexual issues still play a big role in any social event or project, with jealous and envy.

Have you found it a challenge to be a nude man literally in the room with several or many nude pubescent or adolescent boys? Or girls?

Yes! What they are going through can't help but tap into the strange memories that every adult man cannot forget, and I can't forget mine, either--fortunately for me! What a nude male teacher faces, especially from the younger adolescent boys, is intense curiosity about his body. Since their penises changed so much so recently for them, they're very penis-centered, and they bring that perspective to their curiosity about the teacher. Many of them, especially in the 12-to-15 year old range, sense the power of a man's penis, and it turns most of them on. Boys often get hard when I'm paying attention to them.

The girls are a whole different matter. My nudity was titillating to them for the first day and interesting and sexy for about a week. Then it was pretty much back to normal. I have to get careful if I bend down around a desk not to wind up sticking my penis or my ass in some girl's face. It really helps that in an art room we're usually working on surfaces that are higher than usual classroom desks. I remember in the first week getting down on my hands and knees at one point to retrieve a set of colored pencils that had fallen out of a container and rolled all around, and I was aware of girls look at the way my penis and balls will hang down when I'm in that position. I made sure that they could never feel threatened by that. Girls who are really interested in penises are pretty rare, and there's lots of penis to see in the high school.

You mentioned a boy, especially a younger high school boy, likely might become erect when you're paying attention to him, or to his work in your art class. How have you handled that?

It happens daily, sometimes multiple times. I think that when so many adolescent boys are nude together, erections are like sneezes: when one person sneezes in a room, others start to sneeze or snuffle; when one boy gets an erection and pretty soon erections are showing up all around the room. Some kind of pheromone or something.

When I'm working with a boy, whether involving the whole class, or an individual conversation, and he gets an erection, I usually just say, "Ok, you have an erection, but let's get back to what we were doing." Name it, and its less distracting. Erections can provide a teachable moment. The boys' penises are public, and their erections will be public too.

My second year, I was teaching a boy named Cy, whom I also had in my 7^th grade class the year before. In a year he really grew to be a beautiful, tall, very thin boy who is both Persian and Indian, I think. His mother is a really marvelous woman and very supportive of all the teachers, and particularly of those who are nude. This was my 8^th and 9^th grade class, and sometime in late Fall, November maybe, we finished a project where I asked every student to create something that is symbolic or meaningful from his or her ancestors, whether personal ancestors or spiritual, cultural ancestors.

Yes, I have spoken with Cy and his mother, Laleh.

Great, so you can really imagine this.

Cy created this stunning, painted relief of a winged lion from a monument in the ancient Persian capital; he's very proud that he's named after King Cyrus. It was very striking, all green, golden, and ochre, and it was large, maybe four feet wide. I asked him to bring it up to the platform where we show art works so that everyone in class can see, so there he is on this platform a foot higher than the class, and already as a 7^th grade about my height. Cy was and is so beautiful and so shy and so smart, and I prompted him to explain what this image was and why it was important to him, he sprouted a very swift, full erection, in full view in front of the class. He was about seven inches, beautifully curved, and so hard that his glans full emerged from his foreskin, even with a drop of pre-ejaculate. He mumbled something and then went silent, embarrassed as he knew everyone was paying full attention to his erection.

Immediately I felt my own full erection, very fast, on the other side of the platform from Cy, and like him on full display. Quickly I said, "No, stop here and let's all chill out about what just happened. Cy is nervous, and he gets an erection, and he's tall so everyone can see, and now he's even more nervous and humiliated. He can't control his erection, and I can't control mine. Erections happen." I looked at the class, and asked, "how many boys have an erection right now?" About half raised their hands. "Girls, when a boy gets an unexpected or unwanted erection, it can really be humiliating. He's displaying his penis to the whole world, and to you in particular. It doesn't mean anything other than somehow something triggered his involuntary response. I did not want to get an erection right now, but I have one. We're just going to go move on, because these things happen, and I want you all to be very kind to Cy, and to any boy who gets an erection and feels embarrassed or humiliated. There is nothing for him to be ashamed of. Let Cy stand proudly with his erection, and show us his art, and in a while, his erection will go away."

This is the way to handle it, and Cy is still grateful to me for taking command of that moment. I must say, though, that it is a little dicey when a teenager gets and erection and an man gets one, too. When you live nude, every situation or event is implicitly sexual, and can become overtly sexual very quickly. Such events have to be handled carefully and thoughtfully and above all honestly, because males can't control their desires, but they can control how they act on them.

You played Romeo in the famous nude, all male production, and a boy thirteen, with a higher voice, played Juliet. These parts were played by boys in Shakespeare's time, but they wore clothes. You had to be physically engaged with him dancing, and caressing, and in the famous bedroom scene. Did that prepare you to deal with adolescent boys in the high school?

Yes, definitely, and I think that was one reason I was hired. (He paused.)

Can you say more about that?

Well, this does get us away from the high school, but it's part of my background, so OK.

The summer of 2022, just after we all got the vaccine, the university Shakespeare theatre club put the play on, not the dramatic arts program. I was 21, and had just finished my degree but was staying on to earn my teaching credential. We were all volunteers, and performed in a secluded, semi-open-air gated venue in a public park in August, so it did not interfere with any school or university work.

It was barebones theatre: a thrust "platform" stage with two levels, several entrances simply framed as doorways, steps up from the audience level, and minimal lighting, so we had to play in the late afternoon or early evening. When off stage we had to hide in back of the stage. The production didn't have to budget for costumes, obviously, but did have to provide a lot of body make up, as well as a hair stylist who also did body hair. Other than a few incidental props, such as swords, masks, a candle, a vial for poison, we had only ourselves, our bodies --no one in tights! We had only two stage hands to carry on a table or bench; we brought on anything else The balcony on the upper stage had a rope ladder. We used the steps from the audience level to the stage if we needed to sit.

Some of the university students had acted before. There was a public casting call for university students and graduates. I auditioned for a small, manageable part, so that I could continue my running since I wanted to do a couple of half-marathons. The director really surprised me by asking me to read Romeo's speech in Mantua, "Well, Juliet, I will lie with thee tonight." That night she called me to offer Romeo's part in in cast 1 and Tybalt in cast 2 (all the major roles were double-cast) for 15 performances. I told her I that I had planned to run races planned for just after closing--and she told me I should definitely still run because I would have to be in great shape.

So that night I started to learn the lines, and realized what a huge challenge this is: not only my lines, but the lines of my interlocutors, in case of a stumble, and with such a well-known script you have to get it right--the audience will already know all the lines, and will think "he mutilated that" in case of a mistake. Between rehearsal and running I was very busy; both took time, so I got a smart watch so I could consult the lines when I was on a run, because I was getting them in my head on my daily runs. I had some acting experience in high school and summer productions, but nothing as intense as this. Fortunately, I have a good memory, so I was off-book by the second week of six weeks of rehearsals. Every day I ran 5-10k at dawn, had morning rehearsal, afternoon rehearsal, some individual coaching, and fell asleep about 8 o'clock.

The director found not only enough boys, but the right boys. She had to handle it carefully so that she did not seem to be slumming for nude boys. She made the nude requirement clear from the beginning, so that everyone knew, and was surprised that only a few boys withdrew because of it. She found boys in a Montessori middle school, a ballet school, a metropolitan naturist groups, and through connections. She wanted a real variety of skin-tones, faces, and eyes, and found it. After she selected a boy for a second audition, she asked to see the boy nude, always with a parent in the room. Given all the later controversy, it might surprise you how many parents were completely willing to encourage their boys to appear nude in public, and gave complete consent. She had some more teenage boys whom we called boy-wranglers, made sure that every boy knew his lines, had whatever he needed, and was at rehearsal and in the right place.

Our first read-through and diction coaching was clothed, or bare-chested in sweats or lycra, and barefoot. We all had to learn to handle the language, first of all, and since we had so little else on stage, our acting and speaking would have to carry all the weight. The two diction coaches were excellent, and we had three movement coaches. Our gestures and movements had to be done right, because only our movements and language could really communicate what was happening. We were all learning to trust and support each other, and on the third day, the director asked us all to rehearse nude. At this point, parents hanging around were told to leave, so the boys wouldn't be distracted or embarrassed.

At the first nude rehearsal, we all stripped at once and stood in a big circle so everyone could see everyone. We were 15 boys from about the age of 10 to 15 and 20 men sixteen to early 20s, many different, ethnic groups, and skin tones, and faces. The movement coaches led us through the closing dance so that we would always wind up doing something familiar. No matter which seen or act, we always ended a rehearsal with that dance.

There are phallic allusions all over the language, and we didn't deflect any of them. All nude, how could we? This production attempted to reclaim some of the play's original, playful eroticism, and performing it nude stripped away any pretense. R&J all about bodies, and we gave them our bodies. It asked the audience to participate erotically as well, to suspend disbelief so early adolescent boys become girls, allow themselves to be feminine, masculine, or gender-fluid. Adolescent sexuality is the core of the play and the mainspring of the tragedy, and we made it overt.

This production asked a lot of the audience, so all the actors had to give everything, holding nothing back. It demanded active physicality from every part: a dominating bearish Prince; a foppish and ostentatiously gay Paris; a bawdy and talkative nurse; an explosively angry father Capulet. The casting coup was or were both Mercutios. One was this feline, slinky, fresh-faced, red-haired 18 year old. The other was a Caribbean guy, 19 years old, with resonant Bahamian English and medium ebony skin tone, one of the most stunningly beautiful men I have ever seen, with astonishing physical force. His dreadlocks were the envy of the entire cast. We presented quite a variety of body types, musculature, and hair treatment, from utterly smooth and hairless to shaved smooth, stubbly, finely haired, to full-on otter. Both Fr. Laurences were beautiful otters, and pulled it off brilliantly. Father Montague was appealingly middle-aged and a little chubby.

Tybalt was by far the easier character to act and memorize, because he's just not very deep; all his emotions are on the surface. He appears only in first and third acts, three exhausting fight scenes; he has to be very agile. When a character was wounded or killed, we had to have blood --in such a physical production, he has to bleed. The blood had to be timed precisely, and since we had no clothing, it had to be very quickly spattered around by subterfuge by another actor when the audience is distracted for barely a second by some other action. The swords were a really convincing, hard plastic, weighted so that they could be handled correctly--and if you got stuck by accident, it really hurt even if it did not draw blood. You did wind up with a visible bruise, that had to covered, or made you look tough.

By contrast Romeo is very emotional and hides none of his adolescent drama. He's either very reserved, or all-in: woe-is-me rejected; enraptured to the point of lust; enraged; complaining; or bent on suicide. I had to show all his emotions very openly with posture and gestures. I shaved my sparse body hair so that I could present a plausible 16-year-old, and my running made me very sinewy. I had to get in touch with my own wounded adolescent, when I felt so estranged from everyone. That for me was the period before and after I came out when I was 16.

My Juliet was a beautiful 13-year-old boy named Jamie, with pearly white skin, shoulder-length brown hair, and plausibly female voice. He was right in the middle of puberty, so it was anybody's guess where his growth would be during the two weeks of performances. Jamie really did teach the torches to burn bright. He had this almost regal calm, even in rehearsals, but could turn ardent quickly, with his very sexy peach fuzz.

The other Romeo was a very appealing African American exotic dancer, with a beautiful deep russet skin tone, really sex body, a voice like Leslie Odom, and this crackling intelligence, not at all what you expect from an exotic dancer. He was paired with this irresistible, impish Syrian boy, fourteen years old, and who had a real feminine caste, not effeminate, but alluring and sensual. Both these boys were sexy and seductive, so intensely that I wondered how far we were going to go, or would be permitted to go.

We rehearsed our scenes separately from the other Romeo and Juliet, so the two interpretations developed independently. The director reserved time and space for each pair to work out how we were going to handle all the physical contact. It would not do just to declare our love very politely across the stage. To keep it fresh, we never did the parts exactly the same way, so the rest of the cast had to make some adjustments every night. Jamie was all over me all the time, so we put together characters who thrived on adolescent affection with a ton of physical contact. He had or has this nubile quality that was really hard not to fall in love with, and I began to dream about him at night, as both Jamie and Juliet.

Jamie and I really built a relationship through this production. That was the crux of the performances, and focus of both support and denunciation. The "parting" scene Act III is headed "Capulet's orchard," but we played it in Juliet's bedroom, lying next to each other, spooning, on a wooden table that served other times as a Friar Laurence's altar and Juliet's bier in the tomb scene. We began lying in each other's arms, and at the line "Believe me, love, it was the nightingale," he pushed me on to my back, climbs up to straddle me with his butt right over my penis, obviously a fucking position, leans down and kissed me deeply, tongues and all. I sat up with him to face him for my lines, "It was the lark," and then he pushed me down on my back again and we kissed again. At this first line, "Yon light is not the daylight, I know it, I," still straddling me, he arched his back and exhaled as though I were fucking him deep and he were going to cum (pardon my language), so that "It is some meteor that the sun exhales" pretty obviously alluded to his cum imaginatively shooting all over me. By this time Jamie always had a full-on erection. Then we embraced and kissed again, and rolled over with his legs in the air, and my line "Let me be taken, let me be put to death,"clearly alluded to my approaching orgasm in him. We embrace and kissed deeply yet again so that the later line, "Come death, and welcome! Juliet wills it so" imaginatively coincided with the little death of orgasm. After my next line he replied, "hie hence, be gone away," we both rolled out of "the bed" --the top of the table--and almost always both had full-on erections, still embracing, and stroking each other's backs and shoulders. With Jamie in full heat, how could I have avoided going hard? The little bugger knew exactly how to stay totally in character and press all my buttons.

The other Romeo and Juliet acted this differently, with constant touch on the floor or bent over the table, with a lot of suggested oral and anal sex at similar places. They also wound up with erections.

The rest of the cast were really taken aback at our physical engagement, and we knew that we were creating something really appealing and really controversial; the red-haired Mercutio told us we should into porn. The question in everyone's mind was how far would we go with an audience in the house? We did all we intended in the dress rehearsal, and Jamie was so poised and confident, never stumbled with a line. I was more worried about our erections and the audience's response than he was. From the first performance he was 100% in character and committed, and our half-erections in the garden scene, still plausibly deniable if anyone cared, went fully hard in the bedroom, just as we rehearsed. The audience loved it. He kissed me full on, for a memorable moment, when he was supposedly trying to suck poison from my lips in the death scene. After the discovery of the bodies and the reconciliation scene, production carefully transitioned to a kind of company folk-dance at the end, and we took a company bow, but the audience went wild when Jamie and I came forward, holding hands, arm-in-arm.

The controversy was ignited exactly because of the emotional, sexual heat and physical involvement. One reviewer said that both pairs of actors incarnated intercourse in every sense, and the whole cast really brought out the many penis jokes, with sword play, dancing, kissing, and fighting. When the media explosion began, I had to suspend all my social media accounts because of course I was dragged over the coals. Fortunately I had already canceled most of them because I was going to become a teacher. Someone tried doxxing me and posted my previous year's address. I was staying with friends, and moved around. I had to change phone number, a pain in the ass with all those damn phone authentications. I'm pretty sure I was followed home after performances a couple of times. Throughout it all the boys' parents couldn't have been steadier. They were really out best supporters.

Somewhere some evangelical minister got up and claimed that we were presenting perversion, openly advocating man-boy sex, and abusing children. I couldn't and didn't give a shit, pardon me, about some fundamentalists or catholic priests somewhere--like the priests might have anything to say. The controversy was great box office, and the producer and director persuaded us to add a third week of performances, as well as enact a number of scenes for film/TV where they wanted close ups and more prominent camera positions than could be recorded during a live performance. When it was available as a full-length video, Logo and Hulu refused to show it on the grounds that it was presenting underage boys in sexual situations. Well, duh, like they didn't know that from the get-go?

Eventually a French network picked it up, and you can see on Youtube now. That was all gravy, really--we were only planning two weeks of a local, experimental, low-budget production. The director and producer have wanted to get as many of us back together as possible, and put on a Twelfth Night the same way--especially pointed since Viola will be a boy, pretending to be a girl, who then pretends to be a boy, who even further briefly then pretends to be a girl. Talk about gender-fluid; they did it all back then.

The web was full of photos, of course, some official--suddenly we had a real photographer. Others were taken in performance--even though our Princes opened each show with the usual spiel about the exits, and how phone flashes distract the players and the audience. Only one night did the director have to come out after the balcony scene to tell people again to put away their phones, or we would stop the show. That was effective, but still there were photos of all of us, and of each Romeo and Juliet, including erections where and when they happened. Months later at school, if any wanted to see my erection before one actually happened, they could find it online. No secret, and no big story, either. (Joe laughed.)

Anyway, after all that, and all that notoriety, teaching nude was definitely do-able, even a no-brainer.

Do you ever encountered Jamie since, or now?

(Joe paused.) He just turned 18 at the end of August --he was 12-to-13 during the performances, so we called him 13. Now he attends Santa Cruz, and told me he lives in the same house as Ethan, that tall swimmer kid from the Academy, famous for the dispute about nude swimming with the NCAA. Since Jamie and I grew so very close, we have continued to meet each other several times a year. He usually has come out here to the island where he can be unobtrusively nude, sometimes as long as a week. His parents have always been very open and positive about his sexual exploration, and very positive about is relationship with me. I don't want to say anything more than that.

Did the controversy make you fear for your future as a teacher? You were between your bachelor's degree and your teaching credential that summer.

I really did fear for my future, but the uproar vanished as quickly as it began, so it was not really in public consciousness by the next January when I began to look for permanent jobs. As so often happens, an artist who very much likes my work (and my performance as Romeo) lives on island and is a friend of a man on the school committee, so when the position of high school art teacher came open, he urged me to apply. It all worked out: my recent, receding notoriety might have helped me since I know the Principal was already putting together how to implement a policy requiring boys to be nude like the one at the Academy. He mentioned nothing about that, however, since it was still fairly confidential and in process; my friend tipped me off about it afterwards. The interview was obviously successful; when I learned about the likelihood of the new policy, I was thrilled and feared I might not be hired--but it all worked out, and here I am.

Incidentally, my friend later told me that one of the reasons I was hired was my clean record: I had worked with nude boys in a public, shared setting, and never had inappropriate sexual contact with any of them. My performance (which the committee viewed, I know) also suggested that I would be highly likely to choose to teach nude, and I did so with their blessing--and I proceeded to do so with appropriate transparency and care.

Thanks! (That concluded one conversation, and the next day we spoke again.)