My hard-on belongs to Daddy

(Warning: men’s bodies and man-man sex discussed in plain language, though explicit photos are on AZBlogX, not here. There’s also some suggestive straight sexual material. In any case, not for the kiddies or the sexually modest.)

The slogan comes from a Channel 1 Releasing (gay porn studio) ad for Fathers Day, today, featuring daddy – boy films; it’s a play on the song title “My Heart Belongs to Daddy” (more on this below). A cropped shot from one such film, the 2011 Catalina flick Daddy It Hurts!:

Reading the photo. The cropped photo shows Spencer Reed as the daddy (or Daddy) and Cole Harvey as the boy (or Boy). (Reed appeared on AZBlogX in 2011 and was mentioned there in 2013. Harvey is new to my blogs.) The full photo (the front cover of Daddy It Hurts!) is #1 in my posting on the flick on AZBlogX; it showcases Reed’s hard cock and Harvey’s bubble butt, casting the pair as top and bottom, respectively, and it has overheated text supporting this interpretation:

Muscle daddy Spencer Reed horned up and hungry for hot tender holes and stiff throbbing cocks!

Beefy boner daddies primed for some rigorous ass screwing

#2 on AZBlogX is the back cover of the DVD, with Reed fucking Harvey (both standing up) as its central figure.

Back to the photo above where we see a beefy Reed, a slim Harvey; a dark-haired Reed, a blondish Harvey; Reed with mustache and beard, Harvey clean-shaven, Reed significantly taller than Harvey. So: bearish daddy top paired with a twinkish boy bottom.

Previous postings on the roles and relationships here:

for Fathers Day in 2012: the posting “For Dad”, with text on gay daddy – twink flicks

for Fathers Day in 2014: the posting “DILF days”, with text on DILF and on Daddies and their Boys

early this year, the posting “Exemplary twink”, on Sam Truitt in Daddy Chasers

and a few days ago, for Pride Month, the posting “Wrapped for June”, with Kyle Kash in Daddy Issues

Digression on the song “My Hard-On Belongs to Daddy”. This I stumbled on my accident. It’s on the album La Muerte De Manuel Granero (2007) — Manuel Granero was a Spanish bullfighter, who was born 4/4/02 and died 5/7/22 in the ring — by Lágrimas(De)Eros (a Belgian-Spanish duo whose music, according to their own description, “blends folk elements, orchestral manipulation and experimental sound”). Unfortunately, I haven’t been able to find a copy of the song I can listen to.

Daddy Flicks. Now some inventory of Daddy porn flicks and videos-on-demand available from the supplier TLAgay, focusing on their naming patterns.

Some are plays on titles and other formulaic expressions, often with daddy standing in for father:

Make Room for Daddy; What Daddy Wants Daddy Gets; Daddy Knows Best (also Daddy Does It Best); Big Daddy; Daddy Issues; Daddy’s Little Angels; Daddy’s Big Boy [Big Boy restaurants]; Daddy Chasers [chubby chasers?]; Daddy Hunt [man hunt?]

Some are straightforwardly, even crudely, sexual:

Daddy Meat; Bareback Me Daddy; Bone Daddy; Daddy’s Boner; Gang Bang Daddy’s [daddy’s ‘daddies’]

Some emphasize the asymmetrical nature of the daddy-boy relationship, especially by casting the boy as submissive or by treating the boy as a novice:

Daddy Please!; Thank You, Daddy; Spank Daddy; Thank You, Daddy; Daddy It Hurts!; My First Daddy

And some emphasize the high masculinity of the daddy by locating the action in characteristic working-class contexts (working-class men being stereotyped as “real men”):

Truckstop Daddy; Grease Daddies; Grease Pit Daddy’s [daddy’s ‘daddies’], Dad’s Automotive; Daddy’s Workplace; Demolition Daddy [also: demolition derby?]

“My Heart Belongs to Daddy”. From Wikipedia:

“My Heart Belongs to Daddy” is a song written by Cole Porter, for the 1938 musical Leave It to Me! which premiered on November 9, 1938. It was originally performed by Mary Martin, who played Dolly Winslow, the young “protégée” of a rich newspaper publisher.

In the original context, Dolly is stranded at a Siberian railway station, wearing only a fur coat, and performs a striptease while singing the song. Surrounded by eager Siberian men, she says that since she has met “daddy”, she will flirt with other men, but won’t “follow through”. “Daddy” is her sugar daddy, a newspaper magnate introduced with the words, “I’ve come to care, for such a sweet millionaire”.

On sugar daddies, see my posting of 4/9/13.

Martin sang it again in the 1940 movie Love Thy Neighbor. Again she wears a fur coat, but the setting is a show within a show and the act is more conventional as she wears an evening gown beneath the fur. The words to the introduction are altered, the innuendoes being toned down. Her best-known movie performance is in the 1946 Cole Porter biopic Night and Day in which she plays herself. The film recreates Martin’s audition then segues into her performance in the original Siberian context. She again performs the striptease, discarding her muff and then the fur coat, while mustashioed Siberian men follow her every move, eventually fainting when she removes her coat to reveal a skimpy figure-hugging costume beneath.

In Britain, the song was a hit for Pat Kirkwood who performed it in the 1938 revue Black Velvet. This led to her being dubbed “Britain’s first wartime star”. The song was thereafter associated with her.

Marilyn Monroe sings the song in the film Let’s Make Love (1960). The introduction is completely changed. She introduces herself as “Lolita”, who is not allowed to “play with boys”. A verse is added in which she invites a boy “to cook up a fine enchilada”. The lines do not conform to the rhyme scheme of the rest of the song, but have been used by many other performers since.

Marilyn Monroe in performance:

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