(About video mansex, so not for kids or the sexually modest.)
On the 24th, “A day with Danny Vox in the ultimate fantasy t-room”, an appreciation of the actor Danny Vox in Joe Gage’s Titan porn video Mens Room Bakersfield Station (2004), a long and complex production set in a fantasy t-room in the Bakersfield CA bus station. Now some words on Gage and his career in filming mansex.
Tim Kincaid (born July 2, 1944) is an American film director, film writer and film producer often credited as Joe Gage or Mac Larson.
Born in Santa Barbara, California, and raised on Catalina Island, Kincaid wrote and directed an influential trilogy of gay films, collectively referred to as either “The Kansas City Trilogy” or “The Working Man Trilogy” in the late 1970s [for HIS] under the name “Joe Gage.” The films, Kansas City Trucking Co., El Paso Wrecking Corp. and L.A. Tool & Die, were praised for their consistent portrayals of male/male sex occurring between rugged, masculine men who came from blue-collar and rural backgrounds and who related as “equal partners” — avoiding the frequent stereotypes of such men as effeminate inhabitants of urban gay neighborhoods, or who were caught up in a constraining “you play the woman, I’ll be the man” mindset of dominant/submissive roles. While the sex was sometimes rough and occurred in disreputable venues such as truck-station restrooms, the characters in the Gage films often displayed bonds of male camaraderie that went beyond fleeting sexual intercourse, and that more or less entirely ignored the boundaries of “homosexual” and “heterosexual” social identity.
L.A. Tool & Die (the high point of the trilogy) could have been named Days of Sodomy and Roses: the first scene is a steamily mansex-packed scene in a sex club: fucking, sucking, jacking off, sprays of cum; you can almost smell the sweat, testosterone, and jizz. And then, as described in the Wikipedia entry, it becomes a love story:
L.A. Tool & Die is a 1979 American pornographic film directed by Tim Kincaid, better known as Joe Gage. It is the concluding film in what has come to be known as Gage’s “Working Man Trilogy”… It stars Richard Locke and features Will Seagers and Paul Barresi in a heterosexual scene with Becky Savage.
John Burger, the author of One-Handed Histories: The Eroto-Politics of Gay Male Video Pornography, describes the film as “the story of an unrequited love, in which Richard Locke follows the man of his dreams across the country. They eventually live happily ever after.” Burger adds that this film came at the very end of the pre-AIDS filmmaking, when “all levels of erotic experience were faithfully documented by the porn industry… men could be whores, men could be monogamous or men could cruise the spectrum in between.”
More from the Wikipedia entry on Gage:
To a perceptive viewer some of the characters in Gage’s films can be clearly understood as “gay identified” [Vox’s character, eventually, in the Bakersfield video; both the protagonists, uncomplicatedly, in L.A. Tool & Die], while others are just as clearly intended to represent bisexual men who normally inhabit the heterosexual world [and identify as straight] and may even be happily married [MSMs, in other words]. Many other characters — perhaps most of them — defy easy categorization, however. “I never went out of my way to emphasize the butch or straight attributes of my guys — I always sought to portray them as representatives of the average, ordinary, for the most part, working-class citizen.” The Trilogy films also were praised for their cinematography, editing, music, sound design and use of natural locations.
For all of these reasons, Kincaid’s aesthetic sensibilities had a significant impact not only on his contemporaries in the adult film world but on gay-male culture as it was developing in the 1970s and 1980s. “He’s . . . the first artist who dared to suggest that sex between men was more about camaraderie than romance, more about hot action than a lifestyle. While his characters were always working-class Joes, his ’70s epics became blueprints of sexual tension-building and were also stylistically innovative.” Numerous filmmakers of today cite the Gage films as being highly instrumental in their own development, and at least one gay singer-songwriter has used the phrase “a Joe Gage face” in his lyrics, knowing that for some listeners it would immediately evoke a certain kind of male handsomeness, in much the same way that “Gibson girl” or “Patrick Nagel” bring to mind a specific type of feminine beauty. “The “Gage Men”, as they were known during the heyday of the ’70s, appeared more sexy Average Joe than Abercrombie & Fitch. They tended toward the hairy and the hunky …”
[Digression on Gage man Richard Locke. That face:
Locke together with fellow Gage Man Clay Russell in El Paso:
And in “Locke and cock” on AZBlogX, two shots of Locke from Kansas City: #1, full-frontal Locke in harness, displaying his very handsome cock; #2, Locke worshiping cock, with the caption: “Often as he offered his dick for sucking, Locke was a fool for cock, an ubercocksucker who loved to take loads in his mouth”.]
In addition to the trilogy, Kincaid directed (also under the name Joe Gage) several notable gay adult films in the early ’80s, including Closed Set and Heatstroke. Under the pseudonym “Mac Larson”, Kincaid directed several-lower budgeted and grittier titles, but these films did not have the same lasting impact as those that he directed under his “Joe Gage” moniker.
Since then, he has written and directed numerous films under contract with the Titan Media Studio, including Back to Barstow, Arcade on Route 9 and the successful Men’s Room series which featured a strong emphasis on watersports.
The mens room trilogy: Mens Room Bakersfield Station (2004), Gale Force: Mens Room II (2005). Men’s Room III:Ozark Mtn. Exit 8 (2008). I have all of these, plus the following Gage videos for Titan: Back to Barstow (2004), Closed Set: Titan Stage One (2006). Arcade on Route 9 (2006), Campus Pizza (2007). Of these, the standout is another very long and complex video, Arcade:
Alex Brawley, Cole Ryan
The breathless TLAGay review:
I’m officially in the mood to play some video games! The fun begins at the breakfast table with daddy Brett Anderson suggesting that he take [his son] young Matthew Matters to the Arcade on Route 9 to celebrate his 18th birthday. Then the credits roll and we’re off to Travis Hill Community College where Adam Young, coach Peter Axel, and doctor Alex Brawley are engaging in an off-the-field cock-sucking threesome. The idea is that the doctor needs to collect a sperm sample from his star player, Adam, but in the end they all end up shooting loads. If you’re lucky enough to be watching TitanMen’s Director’s Edit, you’re also treated to Adam getting hosed down with golden streams of piss courtesy of Peter and Alex.
Josh West picks up hitchhiker Cam Kurtz in scene two and asks if he’s ever been the Arcade on Route 9, but before they can ever seriously consider making the trip they pull off to the side of the road for a taste of each other’s cocks. Cam has a beautifully large uncut piece of meat, and after they take turns sucking each other off, he ends up cum-covered and happy as a clam, proudly displaying both luscious loads on his taut body. Once again, the Director’s Edit allows time for both guys to piss all over each other.
And finally, we make it to the Arcade, which is really just an all-out suck and fuck fest starring all the aforementioned hotties as well as Dominic Pacifico, Ken Mack, Cole Ryan, Josh Powell, Jody Scott, Jake Deckard, and Matt Cole. An exceptional film, Arcade on Route 9 has a ridiculously long running time, clocking in at over three-and-a-half hours (not that I’m complaining), and it’s perfectly rounded out by huge loads of cum and – in the Director’s Edit – warm streams of piss. Hip-hip-hooray for Joe Gage!
Very long, lots of intergenerational sex (including a long scene in which dad teaches his son the wonderful ways of glory holes), continuity over the long arc of the video provided by Anderson and Matters, but with many digressive episodes in locations outside the arcade, so not nearly as unified as the Bakersfield mens room video. In the director’s cut, prodigious amounts of piss, sprayed all over everything (a kind of zenith of masculine dirtiness; this is an incredibly messy flick). One standout: uberbottom Cole Ryan (the counterpart to Danny Vox in the Bakersfield video), who likes being dominated by older men: