Friday, November 19, 2010

2010 Year In Review - from DISTRACTION

Publicity photo from Titan's DISTRACTION by Brian Mills
2010 got started with, uh, well...a big bang...with the release of Titan's DISTRACTION. It was the first of six films I'd made to be released in 2010 and it set the tone for the year perfectly.  In DISTRACTION, I am paired with gorgeous Scott Alexander (seen taking a post-scene shower below) and we had a fantastic time together. If you haven't seen DISTRACTION, click on any of the photos to check it out!

Sexy Scott Alexander showering post-scene after wrapping DISTRACTION

Sunday, November 14, 2010

Pics of the Day - 11.14.2010 - My films for Joe Gage

69 action with Brandon in CLOSED SET ORAL REPORT
2 GUYS ON A COUCH - shot for
Fucking Spike in JOCK PARK
Dean Flynn riding my dick in BATTLE CREEK BREAKDOWN
Jerking off with a couple of "straight" guys in THE NIGHT BEFORE THE WEDDING
I've had the privilege of being directed by Joe Gage in several projects and, tonight, I am privileged to honor him in "An Evening With Joe Gage, Revolutionary Filmmaker. Come meet legendary director Joe Gage and me...and see a rare big screen showing of the 1979 film, L.A. Tool And Die at the LONG ISLAND GAY LESBIAN FILM FESTIVAL - Films, Filmmakers, Receptions, Galas, Panels more! Full Schedule: 


(l. ro r.) Ray Dragon, Joe Gage and Matthew Ford on location shooting JOCK PARK 
Joe Gage explaining the scene on location shooting JOCK PARK


[Great cinema is not created by making conventional films—and revolutionary cinema goes straight to the edge, exploring uncharted territory as it shakes us up visually, politically, culturally, and sexually, with no holds barred.]

The early films of Joe Gage are ├╝ber-potent dissections of mid-20th Century American life and culture–unique and defiant works of virile, unabashed pornography raised to the level of art. Begun when he was 32, his iconic “Working Man’s Trilogy” belongs to the genre of road trip/buddy films even as it appropriates and subverts them.

Although it concludes the “Working Man’s Trilogy,” begun in 1976 with Kansas City Trucking Co. and followed in 1978 by El Paso Wrecking Corp., 1979’s L.A. Tool And Die stands on its own as the most fully realized of the three.  It was followed by the even more daring if also more linear 1982 Heatstroke, with which Gage thought he had said farewell to that phase of his career.

Emerging from the milieux of Beat poet Allen Ginsberg and hustler-cum-novelist John Rechy, the experimental/underground films of Andy Warhol and Kenneth Anger, the ferment of the late 60’s and the subsequent “Sexual Revolution,” Joe Gage is the most sophisticated of such pioneering gay “porn” filmmakers  of the 70’s as Wakefield Poole and Fred Halsted, whose films, unlike Gage’s, have the distinction of being archived in the Museum of Modern Arts film collection. Working technologically and cinematically by the seat of his pants- intuitively and without affectation–the young Gage drew upon his eclectic knowledge of film from Hollywood classics to the French New Wave.

He also tapped deeply into the potent anger of men living in the heartland of mid-century America yet forced to the margins as “sexual outlaws.” Like the filmmaker himself, Gage’s players are “real men” in every sense of the word, crossing boundaries of race, class and ethnicity; side-stepping rigid sex roles and the  oppressive stereotypes of a moralistic, heterosexual society that defined homosexuals as effeminate, perverse or dangerously deviant. Women (never caricatures) appear too, fleetingly but in sexualized roles that broaden the films’ thematic territory. These scenes remind us that homosexuals and heterosexuals may have had more in common beneath the surface than society allowed us to think.

Politically subversive, Gage’s films are never overtly didactic, preachy or self-conscious. Possessing the anthropological authenticity of an auteur who “lived” the era, the films work mostly on the subliminal level. Shot in 16mm, they are economic in content, defined by a cinema verite style in which complex soundtracks, emerging mostly from car radios–local advertisements, news reports, right-wing Christian talk radio, jazz and, especially, lively country western music–are juxtaposed unobtrusively with deft, evocative imagery and the unfolding narrative, enhanced by loosely interwoven, telling vignettes.

The final ingredient is Gage’s trademark building of tension, as men (young and old, forced to convey their desire in unspoken looks and coded language, experience the risk and thrill of approaching the forbidden—and then crossing over.

Gage’s films do not cover the entire landscape of how homosexuals, bisexuals—and men without any labels at all—lived their lives from the 1950s to the 1980s.  His focus is mostly on rugged and assertive working-class men. “Flaming faggots,” transvestites and drag queens living on the margins–sometimes indulged as entertaining freaks, more often facing unwavering contempt and potential violence–do not make an appearance. We do not meet those struggling to find love and maintain monogamous relationship within a world that sought to keep them apart, far more likely to offer them shock treatments than wedding rings.  There’s no handful of Mattachine Society gay activists courageously picketing the White House, or early post-Stonewall gay pride parades.

And of course the manifold lives of gay intellectuals and artists from Aaron Copeland and James Baldwin to Alan Turing are missing.  But who can say to what extent any of these men intersected with the “Gage Men” or took part in the kind of living reflected in these films?  After all, however differently they struggled to carve out spaces for themselves, ultimately they all did so within the stultifying confines of the same repressive society.

Working as both an artist, pornographer and subtextual activist, Joe Gage raises in relief the smug hypocrisy of that society, allowing his very real actor/participants to toss aside (or in its face) its most cherished taken-for-granteds.  It is almost as if post-Holocaust Jews, having been accused of crucifying Christ and persecuted for it for centuries, were saying, “Yeah, right – we did kill Jesus!  Mary’s next.”  The places homosexuals of the day were forced into were not ghettos, but an underground of abandoned shacks, seamy backrooms, public bathhouses and johns, dangerous by-ways in parks, and mafia-controlled bars regularly raided by police.  The “Gage Men” take full advantage of these places. They insist too, on inhabiting (and will not be driven from) mechanic shops, the gymnasium, ranches, small towns, cities, the cabs of Mack trucks and the great American highway itself, running the whole length of Route 66 and from sea to shining sea.

Sometimes disturbing in their obsessive sexuality, often brazenly exuberant, Joe Gage’s films are ultimately liberating works that proclaim the humanity of “regular” men told they were not–determined to live their lives, in any way they could, despite the hostility of a society that would not even let them breathe.

Gage promoted his work with newspaper ads and cheerfully defiant, tongue-in-cheek trailers that acknowledged their playful intersection at the border of mainstream films and hardest-core porn.  Assertions of his works’ legitimacy as well as insider jokes between his colleagues and his gay audiences, these trailers may have signaled that Gage not taking himself too seriously.  Such were the times, however, that Gage, however transcendent an artist, may also have felt himself not allowed to take his work too seriously.  They were, after all, “gay porn”–films intended for men to “get themselves off.”

A gap of nearly two decades followed Gage’s 1982 Heatstroke, which was, with two minor exceptions, his intended valedictory to his unique, auteur-style version of pornographic filmmaking. Meanwhile the gay porn industry to which he had helped give birth had become a full-fledged industry. Gage was summoned back in 2001 and was soon working for the high-end Titan Media making a new round of videos. He strives in these to maintain the “Gage edge” while satisfying the commercial demands of those eager to exploit the now potent “Gage Brand.”  But his return to more constrictive if intelligent porn filmmaking may yet open doors to explorations we can only now imagine.

Wednesday, November 10, 2010

Pic of the Day - 11.10.2010 - new work by Allen Todd Yeager, 2010

"Bryan and Taylor" 2010 by Allen Todd Yeager. 9"x12" oil on Gesso panel, $1800
The moment Todd Yeager asked me to pose for him with sexy Taylor, I practically screamed "YES!" As you can tell, we got along very well. I hope we get to, uh, "work" together again soon! Erotic art collectors and enthusiasts should direct their purchase inquires through Mr. Yeager's website: or his Facebook page here.

Monday, November 8, 2010

Pic of the Day - 11.9.2010 - from the new book: JEWELS

I'm thrilled to be represented in the new book JEWELS with this photo by Mark Henderson! You'll also see photography and artwork by my talented friends, Thomas Synnamon, George Gozum, Michael Epps, Harvey Redding, William Donovan, Henning von Berg, and Anthony Gonzalez... And gorgeous models including Chris Porter, Samuel Colt and my friend Sam Devries. I coudn't be more proud to know all these boys!

Pic of the Day - 11.8.2010 - From Titan's SWELTER

Me, David Anthony and Gio Forte

Click any photo above to watch what says "is sure to be one of the year's most talked-about scenes." See SWELTER on-demand now at

Saturday, November 6, 2010

Join me 11/14/2010 for AN EVENING WITH JOE GAGE

I am honored to have been invited to celebrate "An Evening With Joe Gage, Revolutionary Filmmaker" on Sunday, November 14th. Come meet legendary director Joe Gage and me...and see a rare big screen showing of the 1979 film "LA Tool and Die" Friday, November 12 through Thursday, November 18, 2010. LONG ISLAND GAY LESBIAN FILM FESTIVAL - Films, Filmmakers, Receptions, Galas, Panels more! Full Schedule:

The festival takes over the Cinema Arts Centre in Huntington for the 13th year on November 12-18. The festival is the biggest gay arts event on Long Island with over 2,000 attendees each year. "Once again the festival hopes to reach many segments of our Long Island LGBT community," states festival director Steve Flynn. "This year the festival will have programs concerning gay seniors, Hispanics, Transgendered, drag queens, political documentaries and of course romantic comedies." The festival promises to be cutting edge. "We are not afraid to shake people up, to challenge Long Islanders with our programs and this year will be no exception. We have a Tony-nominated playwright, a Long Islander that is a legend in the gay adult film industry, a video lecture on Gay film horror and documentaries on Marriage Equality and gay seniors and so much more", said Flynn.

On Sunday, November 14, the festival will present an "
Evening with Joe Gage." An interview with pioneering adult filmmaker Joe Gage, including trailers, a reception and a rare big screen showing of the 1979 film "LA Tool and Die." Mr. Gage is famous for his working man trilogy of adult films in the seventies which celebrated the average Joe and influenced 1970's gay male culture. Adult Film star Bryan Slater will be appearing with Mr. Gage. Mr. Gage is now a Long Islander and is still making films. The festival states this will be an adults-only screening.

Members $10 • Public $15
(includes Reception + LA Tool and Die)
Reception in the sky room sponsored by Tula Kitchen

There will be a Q and A with Joe Gage (and me) starting at 6:30 pm, followed by a reception at 7:30 and the screening at 8:30.


Taking the train, from New York City
From Penn Station (34th Street and 7th Avenue) take the Long Island Rail Road (LIRR) to Huntington.  Train schedules are available HERE or by calling 631-231-LIRR. An off-peak round-trip ticket costs $16.00 (peak round-trip costs $21.75).   Once arriving in Huntington, we recommend taking a cab to the Cinema Arts Centre (<10 minutes, $8.00).  Our address is 423 Park Avenue at the intersection of Park Ave and Main St (25A) in historic Huntington Village.  But don't worry, every cabbie knows how to get here.

Joe Gage is an American film director. Born in Santa Barbara, California, Gage directed an influential trilogy of gay films in the late 1970s: Kansas City Trucking Co. (1976), El Paso Wrecking Corp. (1977) and L.A. Tool and Die (1979). In addition to the trilogy, Gage also directed several notable films in the 1980s: Joe Gage's Closed Set (1980), Handsome (1980) and Heatstroke (1982), all for his company Joe Gage Films. In the 1980s , Gage directed several action, horror and sci-fi low-budget films. He returned to directing adult material in 2001 with Tulsa County Line.

Gage's movies are known for building anticipation - men verbally dance around the subject of sex, staring at each other with a hidden desire that culminates in one of more of the players succumbing to their deepest animal instincts. Married men, older and younger pairings and group gatherings often play a part in a Gage film.

Pic of the Day - 11.6.2010 - © 2010 by Kim Hanson

Photo © 2010 by Kim Hanson.

Wednesday, November 3, 2010

Rave review of Titan's SWELTER from

Review of Titan's SWELTER from

"Not since Titan's momentous pairing of Francois Sagat and Marco Blaze in Overdrive has there been a dream coupling like David Anthony and Bryan Slater. The two 40-somethings are indisputably two of the hottest men in porn. Their bodies and cocks are things of wonder. And while the insertion of a third castmember was a little redundant for me (I envision myself as the ham in that sandwich), Bryan was thrilled at the opportunity - "Three-ways are fun, especially with Gio Forte and David Anthony! Once on set in Palm Springs, we were asked if there was anything we'd like to do in this scene. I was game for pretty much anything, stating only that, if possible, I would like to be in the middle of those two sexy men. Wishes do come true! Here is my first time (private or professional) fucking while being fucked - no wonder they call it 'Lucky Pierre'!"
[review continued below]

I'm Lucky Pierre!
All aboard the fuck train!
"With his remarkably ripped body glistening with sweat in the moonlight, stunning David whips out his monster cock and teases it as he rubs his body. Out of the darkness appears beefy Gio, a bald-and-bearded stud who wastes no time getting his hands and tongue all over David. Gio touches and sniffs David’s balls and cock, which gets whipped on his begging tongue. Gio finally opens wide as the veins on his neck burst. "Choke on it!" demands David as gagging sounds fill the air. What follows is a cock-worshipping session of the hottest degree, with the two smiling men into every aggressive, spit-soaked second of it. Gio chugs it like a pro, whipping it all over his face and bod and feasting on David’s sac. Just when you think it can’t get any hotter, super-toned Bryan shows up with his huge, super-stiff boner - a big beauty that competes for position inside Gio’s lucky mouth. As the two handsome studs kiss above, Gio gets assaulted by big cock. After the lengthy suck session, the three shoot - with Bryan wiping Gio’s cum onto his own hand and using it as lube. As day arrives, Gio works his way in between the tactile tops, sucking on David while getting eaten and fucked by Bryan. The two tops, their chiseled muscles tightening up, have their hands all over each other and a moaning Gio during the unforgettable fuck filled with kissing. Bryan varies his tempo, then switches positions with David as a smiling Gio yells "Pound it!" The hottest shot follows - a fuck train with Bryan impressively sandwiched between the two, fucking hard Gio as he gets slammed by David (with all three cocks hard as a rock). Bryan gets deep inside Gio, and soon the three spurt again - including a hot load from David that soaks Bryan’s leg, and a gusher from Gio that douses Bryan’s abs - ending what is sure to be one of the year's most talked-about scenes"

Pic of the Day - 11.3.2010 by Kim Hanson

Photo © 2010 by Kim Hanson.