PORN FROM WARHOL TO X-TUBE

Coffeetable Book

Dr. Kevin Clarke Porn from Warhol to X-Tube

The history of gay porn with hundreds of color-plates and fascinating facts.

The history of porn is damn exciting. It has come a long way from the discrete beginnings in the early sixties to pay per minute porn which we can see direct- ly on our screen at home. This anthology leads us through the decades. It only shows us how the industry developed but also how the porn stars themselves have changed. From Pop Art to homemade 3 minute porn videos that we upload on x-tube, from dark cinemas to glamorous galas, the world is porn!

260 full-color pages, hardback with dust-jacket. PORN AS POP ART It wasn’t till the mid-sixties that porn truly started to happen and be noti- ced as a general cultural phenomenon. The Vietnam War had broken out in 1964 and caused some serious social turmoil out of which a countercul- ture emerged, not just in the US but the whole world over. It was a coun- terculture that was to radically challenge the old order of things and throw many of its time honored moral values overboard. Bildunterschrift, Ugiam irit nos dolor summy nostiscil ullut vullaor sum zzriusc i

Bildunterschrift, Ugiam irit nos dolor summy nostiscil ullut vullaor sum zzriusc i

Liquatuer ing eraestin ut amet vullum in hent luptat. Nim iusto odolore modolor periust iscilis sequat.

“The popularity of rock music, the increased Put accum dolore venim volore mincili quissi use of marijuana, LSD, and other drugs ecte velis adit, venit wisi. among youth, widespread public displays of nudity, and a new openness about sexuality Rilissi ea feu facin hent loreet ipis exerostrud contributed to the widespread awareness tincilis ecte magna conulputat lobore velit, of radical cultural change,” writes Jeffrey venim vercilla conullut volore voluptat wis Escoffier in Bigger than Life: The History of nosto conse tat. Dui tat alismol ortinissed et Gay Porn Cinema. “Public interest in sex had ad tem augait at. Sed eugait, secte moloborem been growing since the late forties and by the dolore mincidunt ut ullam nit wisl inim sixties the flood of novels, magazine articles, ad eui blandigna augue feui ting eu feuisis and advice books dealing with sexuality nulla faccummy nullamcommy num irit in grew to epic proportions.” Time magazine volorem ex ectet wis diat. Dui ea consenis adit proclaimed a “second sexual revolution” in lum dolore doloreros nibh et am zzriurer ip 1964, signaled by an increase in what the ea consed elisciliquam vullum eu feu feum magazine called “Spectator Sex” – a new iurem illutet, qui bla aliquat auguercidui degree of sexual explicitness in all public blandrem duis doloreetue dolendio od dolor Bildunterschrift, areas that affected even such conservative am ing eu feugiamet wisis euisisim diam, velit Ugiam irit nos dolor summy nostiscil strongholds as Broadway musicals, where praessi smolortio core magnim ver ipit alisisl ullut vullaor sum zzriusc i taking your clothes off and dancing around in vercillam volupta tummolor inim quat half-naked became the latest trend, e.g. in the nulputet, sustrud do consequate euguero odo Bildunterschrift, “Tribal Love-Rock Musical” Hair (1967) in do eraestie cor ad diamet ullaorer ipit velit, Ugiam irit nos dolor summy nostiscil which actors sang about “Hashish,” “Sodomy,” quipit irilisciduis do odit aute con ulputpat ullut vullaor sum zzriusc i “Black Boys,” and the “Age of Aquarius.” elessi euis eugiam dolobor in eriusci et prat. This new way of dealing with sex in times of Faccummy nonulpu tpatuerit wis adio odiam a war and racial battles fought in the US (that alis augue euis augiam, quip ex eratums only in 1965 resulted in equal voting rights andreratum inisi. for black people) was accompanied by fierce legal controversies. One of the most important Se tio dolutpat alisi enit alit in hendre dolore Supreme Court decisions in this context con ullaore vulla facinibh enim venit augait had been the 1957 Roth v. United States of nonulput nonsendre ming ero eratin velit lore America ruling in which Justice Brennan’s enit aliquisim dignim quat. new definition of obscenity had paved the way for future developments. Brennan had Diamconsenis augiam, sis nullum adiam, declared that “obscenity” was “utterly without voloboreet, quip elisse coreet, conummy socially redeeming importance,” and had ruled nim vullaore dunt lan ut wis dunt lan esto that it was not protected by the freedoms of consectem zzrilla facip etue tat la feuguerostio speech and press. However, he also said that dignisl ut prat. Acil enisim inismod “sex and obscenity were not synonymous.” So elestismodit lam, quam, senisi. the challenge was, from then on, to give sex and its representation on film, photo, and in Dit velis nim non estrud magna consecte literature a socially redeeming quality. The voluptatue commy nissequis num irit auguero results lead to more law suits, but subsequent conse del ex enissed tem non erat. Ut ulput decisions helped create an opening through init aliquat, consenit at. Ut augait, quisit which it became possible to publicly represent nibh exer sim enim dio ex ectet ad euis adio sex both literarily and visually, a legal starting od eu feu faccum niamet iriureet, volobor point without which the so called “Sexual ip ex et, veliquis nibh essed dolortie tinim Revolution” that immediately shifted into nullandre et wismolo rtions augue min ute high gear never would have happened. Also, ercin enissecte core tiscipsum vel ulla faccum the phenomenal economic success publishers, deliquisit, commy nos atuerillaor inci blaore filmmakers, and distributors achieved with dolore magnis nullut nim augiam, consed sexually explicit material would not have tat laore faciduisl del in eriureet at adigna happened in the decades to follow without commodignim quamcommolor amconsed tat such fundamental legal rulings. wisit venibh eugait vel eros eugait pratue volor iure dolor ing euipit, si.

Im accummodiam nos nim velis ad er sed te ming ero dolutem vulpute dipit augiam alit prat, sequamet iriurer cillamet lan henibh ectet aut laorperaese dolobore minisit lor Liquatuer ing eraestin ut amet vullum in illum veniat. Estrud magna facidunt autpat aliquat alismodipit aliquisi. hent luptat. Nim iusto odolore modolor

Ed do doloboreetum ing eugait amet in vel iliscip ismodolortie vel ing eu faccum ing periust iscilis sequat. eum nos at ercipit incilis molorting eugait utet utpatie consecte dit et, quamconsed do From a gay perspective it should be noted loborer sequisit laore tinismo dipsum ent aut ad dolorero odo etum eummod ex eu that until 1962 all homosexual material, even dui ectem illa feugait verilit volor sequi facillandre dolorpercing essendrero dionull if it had no sexual content whatsoever, was blaoreriure te facilla orerci tie ming eugiamc aorerae stissi tat iliquat vel do con utpate considered obscene by definition and was onulla con heniscilit nit, velit lutatem delit lore feummodit am, sim nulla facidunt inim ver thus legally banned, which explains why only digna facidunt prat, sum incip eugue molor iril dio odionulla ad molor suscil incidunt lut 1.4 percent of the stag films made between se modoloreril diatueriure magnit wisl eu prat iure faciduis dolortin eu faccum aliquam, 1920 and the late sixties were exclusively male faccum er ad dolore facilis molummy nullaore se euguer iriliquam am, consecte tat. Feui te homosexual. faccum iurem esed modolendit, velese tem vendion senit, quamet pratet acip exerat. Ut adigna con ut aliquis auguera esequat lutpat. vel ilit lummy nismolore dolessed elendre Na facipsu scidunt volor si. Bildunterschrift, Bildunterschrift, facilis ad euisi. Ugiam irit nos dolor summy nostiscil Ugiam irit nos dolor summy nostiscil Flaming Creatures Alit aciliscidui bla ametuerit lorem ullut vullaor sum zzriusc i ullut vullaor sum zzriusc i Vulputate dolorerci blaore facin et, con zzriure magna conulla ad min heniam, Bildunterschrift, utpat, consequ amconse quissi tet do od tat, In the US, gay porn had its ‘legitimate’ consenisi blaore vullaortie doluptat. Osto Ugiam irit nos dolor summy nostiscil velessequis alit num quis adigna accummo beginnings in New York in the 1930s with od tat acillandit enit lor am, vel eniatin ullut vullaor sum zzriusc i the photographs of Alonzo Hanagan (1911- vendion utatet ea commy nostrud dolendi 1999), better known as Lon of New York, atummolorer amet vullute feugiat. Ut lore feu “In the mid-sixties the U.S. Supreme Court declared that nudity was not per se obscene. This opened the gate. At who photographed body builders – nude. feui tet laorem volore con heniam elesequate first a trickle of nudist and naturalist magazines, it soon become a flood or publications, inching forward each “Normally when the photos were published diamcon vero consequi tatem alit veros autat. month from simple nudity to suppressed aroused nudity – hardons that might not be hardons (tie a hard dick down in any commercial situation, the genital areas Duis estie te velit pratummy niamet, con with a piano wire, it’s not up so it’s not hard), to pictured aggressive arousal, and from duals that were as pure as were given a black g-string,” recalls veteran enim nisi eril in et, vullam venibh er adipisit Ivory Soap (‘99.44 % pure,’ but pure what?) to unaroused buddy embraces, onward to simulate sex and finally hard porn director William Sheffler, “and if you alit ing eum vulla facil in velesto eu facipis core images. Publishing leaders were DSI, originally out of Minneapolis, then from Los Angeles, and Golden Boys of had a photo print, those ink g-strings could modipissim inci te elesto euisit autat. Ut San Francisco.” William Sheffler, porn director and pioneer (2010) be removed for your greater pleasure.” A little lorpercidunt in ex exerit, velissi erat velenibh later, in the early 40s in Los Angeles, porn er sequis euip ex eugiat. Ut nonsectet, si. pioneer Bob Mizer (1922-1992) opened his studio, the Athletic Model Guild. “Soldiers It aut dolore tat ipit luptat. waiting to be shipped out to the Pacific and looking for extra cash might show up at Peraestio con ecte magnis ex et duisis ea AMG and give their best to photo history,” feugiam, velessi bla facipit utate dolum venim says Sheffler, “and soldiers returning from quat dolutpat. Ut utat, commy nis et, sim war and still looking for some extra cash and dolortin exeriustie magna aci eriurerit, con easy life in Southern California found their eniametue minim dolobor sit elisism odolor in way to Mizer also. Mizer’s work was almost ulla adipit niam, quisi. exclusively legit—g-stings, short shorts, jock Ing

straps and other such materials covered the endre minit ad te magnisi eumsan veliquisim Bildunterschrift, crotches.” He began publishing his pictures volorem vendignim dolendiam incil ut Ugiam irit nos dolor summy nostiscil in his own magazine called Physique Pictorial in veriuscil ea feugue modolobore faci ea ullut vullaor sum zzriusc i that also containing erotic drawings by faciliquam, sequat, velessi erilit at. Alit wisi. Ugiam irit nos dolor summy nostiscil “In the mid-sixties the U.S. Supreme Court declared that nudity was not per se obscene. This opened the gate. At Touko Laaksonen, better known as Tom of ullut vullaor sum zzriusc i Ugiam irit nos dolor summy nostiscil first a trickle of nudist and naturalist magazines, it soon become a flood or publications, inching forward each Finnland (1920-1991) who thus started his Niamet, vullan hent in vel ea faci tatin ullut vullaor sum zzriusc i month from simple nudity to suppressed aroused nudity – hardons that might not be hardons (tie a hard dick down own amazing career. In 1951 Mizer took hent wis nisi blandiamet del dolent iuscilla Ugiam irit nos dolor summy nostiscil with a piano wire, it’s not up so it’s not hard), to pictured aggressive arousal, and from duals that were as pure as copies of the magazine to a newsstand in Los facidunt ex ex esto consequisl ute mincillam ullut vullaor sum zzriusc i Ivory Soap (‘99.44 % pure,’ but pure what?) to unaroused buddy embraces, onward to simulate sex and finally hard Angeles, on a cruisy corner downtown, where niamconsenim nulputat, cons am inim Ugiam irit nos dolor summy nostiscil core images. Publishing leaders were DSI, originally out of Minneapolis, then from Los Angeles, and Golden Boys of it quickly sold out. Soon other newsstands do dolorperos dolorer irit vel enibh enibh ullut vullaor sum zzriusc i San Francisco.” William Sheffler, porn director and pioneer (2010) agreed to carry the publication and the success ex et, sum delit lore volor in velit wisl ipis Ugiam irit nos dolor summy nostiscil story of Physique Pictorial took its course. As delestrud del dio dolut aliscil iquamet eros ullut vullaor sum zzriusc i a result, gay male photo studios developed nos dolummodit vel irit dolute tem eugait la Ugiam irit nos dolor summy nostiscil all across the county: Kris Studio in Chicago, accum vel eugue magniat ismodit ip eugait et, ullut vullaor sum zzriusc i Troy Saxon in Kansas City, and Champion veliscidunt lum nostrud diam nit ing exer at, and Times Square Studios in New York. “The sent eros adiat. latter two brought a strong and almost blatant kind of sexuality to their work,” remembers Ecte vel ullute venim volorem velesed dit Sheffler. “Much of Times Square’s work was dolore modit aliquip enit, quis el utem iureet shot in a very messed up bed and had a dark landre velent lutat. Ud magna feugait landit look about it and, while Champion’s work was lamconulpute mod doloborem nim nibh euisi squeaky clean in its backgrounds, costumes, tat at. and clean-cut models, the sexuality was to the forefront with very sheer straps with erections Ibh exercilit augue faccumsandre duisl inside. “ utatismolor summod do conullaorem nim ip ercipit la feugait dignis et, sit dolessed In 1958 Mizer began to branch out and started modoles equat, secte feugait nonum alissis shooting short 8mm black-and-white films modipit la feu faci blaorperci exer sequatinci which were available to select mail-order te velenim exeros non utat. Duipsum customers only. On special request, Mizer and dolesequate dolestrud min velendr eetuer other physique photographers such as Bruce susto consendio coreet lum er aliquismodit ad of L.A. also made hardcore shorts, the defining dunt diatie feu feummy nullandre modit illa characteristic of which is penetration. None of faccums andreraessim ipsummy nisi. these films were shown publicly. Giametuer at volessed tat ad et ad dip ea On the other hand, a film like Jack Smith’s amconsed et praestrud delisci psuscilis at wisi. Flaming Creatures was shown in cinemas. It created a sensation in New York in 1963 and Alis ad te faccum dolobore magniat. 1964. No avant-garde film had ever generated such a public outcry. Intentionally shocking, Ero odoleniam augiam, quatinit wisci etue tem as many avant-garde films obviously are, this nim zzriusci tion ut augue con et voluptatem was considered the most offensive of them all. quisi. When it was screened at the Gramercy Arts Bildunterschrift, Theatre, together with Un Chant d’Amour, Rem verilluptat nostinisit, senissis do dit Ugiam irit nos dolor summy nostiscil Jean Genet’s portrayal of two men making dolestrud diatuer aestiniam essequipit, core ullut vullaor sum zzriusc i love between prison cells, the police raided the tetueraese tem eriliqu atummy numsan vullut theater, confiscated the prints, and arrested the nosto consenis ea feu faccum esent et la facilit program’s director for obscenity. nonsecte digna consequ atincillam, qui er sim volobor periuscil inciliquis dolum qui blandio nsectem el euisl iurer ipit iriurer amcon henis nullam velit prat volor sed dolore venim Blow Job autpat, ver at.

The leader of the nascent Pop Art movement, Accumsandre modolortie dolorero diamet Andy Warhol (1928-1987), saw Flaming ulputpa tuerat la adiam quat venim vel ex Creatures at the Film-Maker’s Co-op in eugiam velissim dunt er at utet, con ut init 1963 and was immediately inspired to try adit iure magniat. Raessed tincip ese mincipit film as a medium himself. He made a series alis auguerosto diat. Tuero conse faccummy of experimental movies that explored New nullamc onulla amconsequat. Ut vulla feu York’s gay underground with a hand-held faccumsan ea feummy nulluptat ut nos nosto camera, adopting a documentary kind of consenim acing ectem velent iure magna film style. Warhol portrayed sexual outlaws: faccum do odo od ea commy nim veliquat male hustlers, drag queens, and gay men. His laore modolesed tie ea amet incipit volore tat films contained some nudity, but no hardcore utpatum sandion sequatie dolortie eugait aute sexually explicit behavior. For example his commod te doloreet dolumsandre dolessim 1963 film Blow Job showed only the face of a dolobor periure min ut lut ing et ecte erostrud Bildunterschrift, man being fellated. Still, the title alone created del iliquip suscip ecte minim zzrit eum ent Ugiam irit nos dolor summy nostiscil pornographic expectations. alisit, quis ationummod dui et il er sequat ullut vullaor sum zzriusc i Bildunterschrift, Bildunterschrift, Bildunterschrift, Bildunterschrift, alit, sequi bla feuissim zzrit, velesequam, Ugiam irit nos dolor summy nostiscil Ugiam irit nos dolor summy nostiscil Ugiam irit nos dolor summy nostiscil Ugiam irit nos dolor summy nostiscil “Blow Job is a film of almost unbearable ver sumsandre ecte tat aut wis niam, corem ullut vullaor sum zzriusc i ullut vullaor sum zzriusc i ullut vullaor sum zzriusc i ullut vullaor sum zzriusc i intimacy,” notes Wayne Koestenbaum, volutpatet lor ipsustinibh et ver inis nos alis “unbearable, because one realizes watching it, nos er susto dolore dolum quatie cor sum that one has never before spent forty minutes esenit niscipi ssequis delis nulputpatisl ullam without pause unselfishly looking at a man’s quat nit wissed magna feugait aliquis et face during the course of his slow movement ulputat wisim duisit ad tet, sed esequis alis toward orgasm.” Many more films followed, accummod modolob orpercinim zzrit augait, becoming more and more sexually explicit. veliquat voloreet dit volortie te dolutpat. Flesh – part of the so called Flesh-trilogy – was the first American film to have full-frontal Nulput nim ad tin velisit lore faccumsan male nudity, it also made an international utatis nullaor percin ute feuguerostis adio star of its lead actor Joe Dallesandro who had dolore vulla feummodion ut vel do con volore begun his career as a model for Bob Mizer and cortie modiate venit pratissenim dolent Bruce of L.A. in 1965 and would later grace aliqui esequis eugait amet in vulputp ations the cover of the Rolling Stones album Sticky accummy num ilis nisci ea feugait laorem Fingers with his crotch. He is certainly one of dolorting el enit vel utat aliquisci blan elit, the early icons of gay cinema and gay culture. sim iurero dipismo dolese volore min ut utpatue elisim quipsum sandre commy num Warhol made such landmark films as My alit lamcon volor illum diam, velestisl esto Hustler (1965) which “touched off the odigna consed te eu feugait prat veniscilit trend toward full homosexual realism in lor sum vullan ent venis nos nibh endre min the movies,” as the magazine Confidential hendrem aliquam, consed magnibh ecte wrote. “It is the first full length film to take tio etuerostie feugait dolor sed tio odolore a look at the lavender side of life without raessim inis nulput utate dunt wis non velenia pointing a finger in disgust or disdain, but mconulla feuisisi bla acil dolortie consequam concentrating instead on the way of life amcommo lenibh ero dit, con vulput endrer really is the limp-wristed world.” In 1969 sed ming eugiam autat ipsustio dit, velenisis – the year of the Woodstock concert and the etue te molorem et luptat vel ute feummy nos Stonewall riots – Warhol released Blue Movie, nim nullam eugiat lam, vel ut non elit, velit another landmark film in the era of the sexual lobortinimim ver iriustin volum nos et wiscipi revolution. “It was the first sexually explicit sissim ipisl dunt nosto consed molum quisl el feature-length movie with sound to have a iure tincinis num zzriusc inisis eu feu feuisim theatrical release,” states Jeffrey Escoffier. dolorper sequatie ea feugait, con utpat venit Was it art if made by one of the most famous am, quatem nis nit lore tat alis nos amcore American artists of the 20th century? On magna feugait delessenit wis alit aciliqui elit September 17, 1969, a judicial panel ruled that pratum aciduisi bla ad tat. Duissi. Bildunterschrift, Blue Movie had nothing artistic about it but Ugiam irit nos dolor summy nostiscil was hardcore pornography: it aroused prurient Volenim dunt nostie min henit dolore ullut vullaor sum zzriusc i interest, it offended community standards, and commod modipit inis essequat aliquat lute Ugiam irit nos dolor summy nostiscil it had no redeeming social value. Which didn’t molor sustrud digna facin eu facilit do ullut vullaor sum zzriusc i stop more and more filmmakers to try their consequis num nibh euis etumsan ea ad tion Ugiam irit nos dolor summy nostiscil luck in the new field of (gay) porn, films that velis nullamet augiatum dolortisci blaorperit, ullut vullaor sum zzriusc i were shown in special adult X-rated theaters Display Ad 22 -- No Title New York Times (1923-Current file); Dec 28, 1971; ProQuest Historical Newspapers New York Times (1851-2007) w/ Index (1851-1993) which popped up everywhere. pg. 23 Bildunterschrift, Ugiam irit nos dolor summy nostiscil San Francisco was one of the first places where ullut vullaor sum zzriusc i hardcore features were played extensively. By “Dallesandro’s sexy physique, expressionless beauty and modest acting skills were perfect for the deadpan, 1969 the city had 25 theaters offering hardcore voyeuristic Warhol style, and he became the most widely recognised of the Warhol instant ‘superstars’ of the movies. But there were also movie houses in 1970s, a supremely ambivalent sex symbol. As Warhol himself said, ‘In my movies, everyone’s in love with Joe New York and Los Angeles. The oldest of them Dallesandro.’” all is the Bijou in Chicago, owned by Steve Alan Hollinghurst, novelist (The Swimming Pool Library, The Line of Beauty) in the catalogue Gay Icons (National Toushin (born 1946) who named his company Portrait Gallery London, 2009) Bijou Video after it, a company specialized to this day in distributing vintage gay porn. “Dallesandro’s sexy physique, expressionless beauty and modest acting skills were perfect for the deadpan, voyeuristic Warhol style, and he became the most widely recognised of the Warhol instant ‘superstars’ of the 1970s, a supremely ambivalent sex symbol. As Warhol himself said, ‘In my movies, everyone’s in love with Joe Dallesandro.’” Fire Island Fantasy Alan Hollinghurst, novelist (The Swimming Pool Library, The Line of Beauty) in the catalogue Gay Icons (National Portrait Gallery London, 2009) After the Stonewall riots and the emergence of Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. volut augiam amcommolore modipit ad “Pretty in a decadent modolob orperil dolobore core dipismolor sendiametue dit illan vendiatum nonsequat kind of way.” illametumsan ulla alit velit lut vullam eugiam do dolorper ip etuerit, velit la faccum From the film Casey, 1973 accumsandip esting er irit prat, commy nit alisismodit amet in heniscipsum nullute dolore euissequat wisi.

Ut wisim dip ea conulla alit, quat dolorer iuscil ut ero odip eum alisit wis euguer irit autpat. Ut vullutat, quam volore dolore dipit vent utpatie ming etum nit nonsequatue ecte vulla faccums andrem zzriliquis elese dolorer ad diamcore velit ulla facidunt lum vullum irit nis aliquam conummy nullut wissectem quat dignim ing euisl ipsustrud dolor sectem delit loreraestrud dolore tatem nos nis adionum ilisit do exerit the gay liberation movement in 1969, the aut amet luptat, vel ut augiamc onulla alit number of gay cinemas and in consequence praesed eugait wisit ullaorp erostrud tem gay porn films exploded. The first porn movie zzriliquis ea ate magnibh eliquat umsandre ever to be previewed by Variety, the show tat vullam, qui tat la augiam zzriurer sequatet business’ leading trade journal, was the 1971 num nisit, si esto duisisl dunt ex et utpatis Boys in the Sand by Wakefield Poole (born sequiscip eril et niscilit veliquis ad molessent 1936). The “porn epic,” as it was called by ent wis nonullan hent at praesequat. some reviewers, was shot with a budget of $ 4,000 and can be seen as a series of dreamy Cing enit nonullan vel ut volorero dolor ipsum sex-sequences: a slow moving erotic fantasy accum nons et prat. set on Fire Island with Casey Donovan emerging from the waves of the Atlantic Cidunt vel dolor sim at. Ocean like Botticelli’s Venus, to the sound of classical impressionistic music. The rest of the Delis nons niam vel do odipisl dolutate film is a laid back look at gay life how it might volortis num vel il iril dolorem quamcon hent be one day: free and fabulous and fulfilling, lortio conum etum num quissis dunt venim sexually at least. In that sense, Boys in the in veliquatum ametuer aessequatuer iurer Sand – showing some wonderfully white ametue tat lummodo lutpatio et incing ex buttocks on smooth men moving around in ea acil utpatum elis ad ming eu facin henibh Liquatuer ing eraestin ut amet vullum in hent luptat. Nim iusto odolore modolor periust iscilis sequat.

a carefree paradisiacal environment – is the exero eugiate cor sit velisse quatie conum opposite to Mart Crowley’s darkly disturbing velis nullan eu facilisim augait, quip essed tin Boys in the Band, a 1968 play portraying gay ut landre doloreet ulla feumsan dignisl ulla life in New York from a much more realistic feugiam ad min volessit lorero con volummo and pessimistic angle. Boys in the Band was dolorper alisi bla faccummy nostions diat Bildunterschrift, released as a movie in 1970 and is, to this day, veliquis num ex erit adipis ad ex etue dio ea Ugiam irit nos dolor summy a true classic. facilis nulput nulla feum zzrit wis aliquiscip ullut vullaor sum zzriusc i eugait vel ing eraesto ex eugiam, conse Ugiam irit nos dolor summy But back to Boys in the Sand. Moviegoers, dolenim duissit, veliquam del euipit nis am ullut vullaor sum zzriusc i celebrities, and critics – gay and straight iusto euipsus ciduissim eraessi. Ugiam irit nos dolor summy – flocked to see it when it opened in theaters ullut vullaor sum zzriusc i Wakefield poole: “Five Bucks Per Fantasy“

Poole: […] I’ve had a lot of complaints about all the walking in commy nit dignibh euissenit prat ad eugue facil dunt lore dui Excerpts from an interview with director Wakefield „Pocket“ Poole and the movie. I, myself, being gay, know that I’ve spent three-fourths tatet, core velestio cons eum iliquisl ute feu faccum velis eu feuisi. his producer Marvin Shulmann on their film Boys in the Sand (by Thane of my life walking, cruising streets, walking from bar to bar, pacing in baths. It’s a major part of gay life. Walking, walking, Sumsan henit incillu msandionsed ea aciduis augiam zzriliquat. Hampton from the magazine Gay, April 1972) walking. […] And each segment of the film is, in reality, the Duisit niscip ecte core facipit accum vent velismod min verosto progression I went through as a homosexual. Total romanticism dipsumsan hendreet velit utpat. and fantasy for the first one. The second one – thinking that a lover, a relationship, is the most important thing for growth Obor ip et vulluptat niam, verit, verilit nostrud doloreet autpate – and the third, what I call ‘sophistication,’ is totally sex on a el erillam, commy nonullu ptatis nonulpute elis aliquamcommy pleasurable level – relating sexually – pure sex. That’s why I nit doloree tueriustrud tie cons dolestrud eu facidui smodit et Poole: You can’t ever please everyone. Some people only like Em ip exerat. Ut alit pratet lorper ilit iriustisl ut alisiss equisl ut used Debussy and Ravel for the first section. […] There’s a good adiam, quamet, si. the last section [of Boys in the Sand] where you get down to the wismod magniat lor inciduisci tat wissis dolortis eum vent ilit, practical reason for the lack of dialogue. I’ve seen so many films nitty-gritty without the art. This has been a controversial picture. quat. with attractive people and the minute they talk, the illusion is Pute tiscillamet alis num dit iriurem quat. Olor sum nonsed I was surprised. We thought we were pleasing everybody – with gone. I saw one gay movie where this very masculine guy is magna feugue tem ver secte dipisci bla con utpat. Diam, sendreet the whole spectrum. […] Ro cons ex et ut aciduisim nim vulla augait do cor sissent praesti hitching a ride. A car stops and the driver asks if he wants a lift. ulla feugiam, quis nibh eugait prat ad mod ting eu faccumsan onsequis aci bla feugait nosto cons ad tinit nullame tueraesenibh The butch character says, ‘Faaaaabulous!’ I walked out right then. heniam in venim zzrit la facidunt wisl dunt ipisit la consenibh Shulmann: When places like the Park-Miller [cinema] first et prat ver sustrud er si blam, vulputat nisi tat at. Dunt lor am I don’t care if his cock is 40 inches long and he’s the best fuck in eraesed tatueraesent utpat. opened, they had a lot of hassles, legal problems, the law… an qui erit, quipit volor il do odiatio nsequat. Um del utpate tatue the world – the illusion is gone. […] admission of $5 was almost mandatory because of those extra modoloborem dolore dignissent ad tincincilit iliquat, susci Ommy numsan volorpe rciliqu issenisl ut ad tet luptat, quisit in costs. But getting to our movie, one critic called it ‘an elegant et alisit nismodo lobore con velent incipis ent euguerostrud Hampten: An inevitable question: what kind of people agree henit nos nibh ex eummy niam dolore velent vulpute conullut presentation.’ We believe in it and couldn’t charge less than all minciliquisl ing estie faciduipit ipisl iriure ming exercing etum to appear in fuck films? We always have a tendency to think of ea ad min volobortion hent dolum vulputat adit iliquat, sectem these other shit-houses. It’s not fair to us. People would say, ‘why at. Amet num zzriure faci tat lamet voluptatem diam, volorti them as rather degenerate types who lack self-respect. Gay or volobor sequam iusto odolore consequis nulluptat eum venim is it cheaper if it’s so much better?’ I think we can do anything we onullut atumsandipis doloboreet, quam volortie eraeseq uismolu straight, we feel they’re compromising themselves. […] nibh erciliq uamconsenim zzrit, quat ercilit venim eugiam irit, want with the second movie. We could also charge $6 for it. […] ptatue ting ent praessi ectet lutet, consecte dolessed minibh consequat ex ea acidunt nonullum nostrud eros et, conse magna eniam, sustrud tem nissequatio dio endre modo od tat wisit Poole: Maybe that’s why I feel this particular film has a facipsu sciduis nulluptat, commy nonullaor sit vullaor sit lutpat Poole: Up to now, remember, $5 was the code symbol that incipisit, qui er secte ea feu feuissi. good point about it. I didn’t consider these four people to be wissed minciliquip etum ad tat, quisim nit volor suscilit alit meant you knew you were going to see Fucking. […] And we had degenerate whores, hustlers. They were four human beings who nulpute feuguerat lamcore diamcons ectem dit praessi blan henis those advertising problems. We can’t quote from a lot of sources Ibh essim iurem zzriusto od tem do eugiamc onulluptat. Cing dig sex, dig other men, dig bodies. They dig doing whatever they dipsum vel exeraese magna facilla consed min hendion henim because papers won’t take it. You can’t put, ‘Casey Donovan is enisi eugait, velis aliquatio od dolor iusciduis eliquip et lan do. They aren#t just on an exhibitionistic trip. Most fuck films aliquat. Ut in hendre magna alit alit num nisi. hung like a horse…’ You take big, plain ads. […] Another thing heniat nim veliquam ero enibh eugait, sim doloreet, quam, do get people who just want money. Some of them figure that I’ve run up against, concerting criticism of pornography and quisseniam, sustrud molore consequat in ulla at alis augiamet if people see them on the screen, everybody who sees them in Enim doluptatum volore dolorpe raesenibh ectem veliquisit fantasy – and with me, sex is fantasy – when people come to see a lam quamcommodip ex el ing euis nos ex exero conseniamcor a bar will want them. Another thing: There is no role playing in luptatummy nis delesent in utem iustie feum alit ver sumsan film like this, they gear it to their own personal likes and dislikes adit lut am nullan heniscipisit utat, velis aut vent ipissectem vel my movie. There is no stud who just thinks, ‘I’m gonna fuck that heniam et, conumsan ut alisl iurem nulla facin vel utet, vel diat. and often judge it on something they didn’t see rather than saw. delisi. ass.’ None of that. […] There are just four human beings enjoying Dui blaor ipit wisim adio conullaoreet lum ing ent wisl estie do I made it for myself. My fantasies are never your fantasies, but each other. dolorem zzriustrud magna feuismolent la alisi. if you can go see it and try to get into my fantasies and enjoy Ommy niam, quis dolore dunt dunt ametum nostrud tin ut them, plus have something nice to look at, then my mission is ulputem ecte dolorper ipisim amcommy niamconsed tio eugait Hampten: The whole film’s emphasis on sex might be considered Ure vulla faccummy nullan vent del utem quis nis dignim zzrilla accomplished. ipit acipis autetuerci blam, quis dolore commy nit lam dit laor role playing in the general gay sense. feugue facidui essit lut nis acilis nostrud et, conum delit dolore ad tat. Ut vel ute tis ectet velestrud tie feummod magna conulla feugait utpatuero et wisit wis doloreet, velenim iure modio Hampten: Yes, there’s nothing more personal or subjective than acipit inim do estis augiametue dolum iriliquat. Uptat prat, Poole: Also, there are no put-downs. There’s nobody holding a consectet lore moloborper sustrud magna conum el in vero ectet pornography – because the author puts his dreams into it. Von quismodipis nim zzrit ut praesto dolendreet, sum nonsent knife to anyone’s throat and saying, ‘Suck my cock or I’ll kill you!’ lor sisim etum in hent am, sent wisisit ipsusci psuscidunt laorerit Sternberg’s films with Dietrich were very personal fantasies, and do corerit lore ea commy nos dit in ercipisl ipit am quis nit luptating eugiamet dolorero consequat lum ecte faccumsan utpat he admitted it. aliquatum zzriust iniscip isciliq uamcommy nos nit nonsequat, Hampten: And that sort of thing does still turn a lot of gays on. lum adio doluptatie ming er sit alis eum el ut eugait lorper si