Gay joe gage
July 26 – I’ve gotten hooked on the Queer/Art/Film Series that Ira Sachs (below right) and Adam Baran (below left) co-curate at the IFC Center every month. Russ Meyer’s 1965 Faster Pussycat Murder Killis a classic B-movie – I realize that’s a dated term for a genre flick, an apologetically trashy, low-budget, black-and-white exploitation film. This would ordinarily not be my cup of tea – “so bad it’s good” isn’t high praise for me. I’m a nice of intellectual snob and would rather see something arty than something trashy almost any day of the week. And Russ Meyer got famous pandering to horny straight guys with soft-core titty movies, again not an audience that would include me. But for Queer/Art/Film, this movie was selected and introduced by Joe Gage (below center), who was the first guy who succeeded in making queer porn movies that were both aesthetically compelling and sexually hot. His celebrated trilogy of Kansas Capital Trucking Company, El Paso Wrecking Company, and L.A. Tool and Die made a huge impact on my budding gay sensibility, from the moment I heard about them and saw stills to the times I went to the Adonis Theater (and other old-fashioned dirty-movie palaces) a
Joe Gage Sex Files Vol. 3 - GAY FULL-LENGTH FILMS - FM
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As the last film in the trio that Gage began in 1976 with Kansas City Trucking Co. and followed in 1978 by El Paso Wrecking Corp., L.A. Tool & Die stands on its own as the most fully realized of the three. It was followed in 1982 by the even more daring, if somewhat more progressive, Heatstroke, with which Gage reflection he had said farewell to that phase of his career.
Joe Gage emerged from the milieus of Beat poet Allen Ginsberg and hustler cum novelist John Rechy, the experimental underground films of Andy Warhol and Kenneth Anger, the turbulence of the late 60’s, the subsequent “Sexual Revolution,” and the emergence of “porn chic” (exemplified by Thick Throat and Behind the Grassy Door). He is arguably the most sophisticated of the pioneering gay porn filmmakers of the 70’s that also included Wakefield Poole and Fred Halsted. His films do not have the distinction, as do Halsted’s, of being archived in the Museum of Modern Art film collection. However, as gay film festivals have emerged and evolved in recent decades, Gage’s early films are getting the serious attention they deserve.
Working technologically and cinematically by the seat of his pants—intuitively and without affect
We discuss the function of Writer/Director Joe Gage (aka Tim Kincaid), a celebrated gay hardcore filmmaker, with special guest Conner Habib - who acted in some of Gage's late period oeuvre. We discuss Gage's Working Man Trilogy, what makes his films special, and what it's appreciate to work on a Gage arrange. Check out Conner Habib's Patreon for updates on his podcast, writing and more: www.Patreon.com/connerhabib. Dispatch us stuff c/o Justin Decloux, Unit 1010, 3230 Yonge St, Toronto, ON, M4N 3P6, Canada Join the Patreon now for an exclusive episode every week, access to our entire Patreon Episode back catalogue, your name scan out on the next episode, and the friendly Discord chat: patreon.com/theimportantcinemaclub Subscribe, Review and Rate Us on Apple Podcasts: podcasts.apple.com/us/podcast/the-…ub/id1067435576 Pursue the Podcast: twitter.com/ImprtCinemaClub Follow Will: twitter.com/WillSloanESQ Follow Justin: twitter.com/DeclouxJ Check out Justin's other podcasts, THE BAY STREET VIDEO PODCAST (@thebaystreetvideopodcast), THE VERY FINE COMIC BOOK PODCAST (www.theveryfinecomicbookpodcast.com) and NO SUCH THING AS A BAD MOVIE (@nosuchthingasabadmovie), as Will's MICHAEL AND US (@michael-and-us