Joe gage gay
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 linear, Heatstroke, with which Gage consideration 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 Rage, the turbulence of the late 60’s, the subsequent “Sexual Revolution,” and the emergence of “porn chic” (exemplified by Deep Throat and Behind the Lush 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 creature archived in the Museum of Modern Art production collection. However, as same-sex attracted film festivals have emerged and evolved in recent decades, Gage’s early films are getting the grave attention they deserve.
Working technologically and cinematically by the seat of his pants—intuitively and without affect
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Before we get on with Felice Picano’s guest review, I need to grab a moment to mark Out in Print’s 500th post. When William Holden and I started this blog (suggested by Steve Berman at Lethe Press), we had no notion it would run this long. It’s a unusual coincidence that our 500th post falls on Labor Day, because this has been a labor of love. I cannot state to you how much I’ve enjoyed sharing marvelous books with you–poetry, drama, gay fiction of all stripes and flavors, interviews, essays, and even the occasional music or video review. It’s been a marvelous ride, and it’s not over. It can’t be. There’s still so much to read, so much to share, and so much to utter . Thanks to all of you out there for clicking and bookmarking and buying and being deeply interested. As Duke Ellington used to say at the end of his concerts, we love you madly. And we intend to keep on being all you need to scan about all you demand to read. Okay, Felice–take it away.
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When the Queer Theorists finally stop screwing around discussing who in the nineteenth century might have been signaling in
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 Slay 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 same-sex attracted porn movies that were both aesthetically compelling and sexually hot. His celebrated trilogy of Kansas Municipality 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
Joe Gage is considered to be "the greatest gay porn director of his generation." In his own words, "my stuff is about guys who get up in the morning, travel to work, do their job and then notice what happens..." (http://www.buttmagazine.com/magazine/interviews/joe-gage/). His "Working Man Trilogy," released in the late 1970s, was a watershed show influencing the aesthetics of early pornographic films. Gage used highly masculine men, and was known for engaging storylines that took place outdoors or in "everyday" settings. He moved towards more experimental productions like that of "Closed Set" in 1980, eventually leaving the porn industry to direct more mainstream films, namely in horror. Gage returned to porn in 2001 and is still making films as of 2019 (https://www.gayeroticvideoindex.com/D/8/398.html).
"Joe Gage" is a pseudonym for Tim Kincaid. Kincaid was born in 1944 and grew up on Catalina Island, California. He has directed over 50 pornographic films and released a 24-part series titled "Joe Gage Sex Files" between 2003 and 2017.
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