Paul Shippnek at GEVI
Paul Shippnek – COLT OLYMPUS 2 (1973)
This guy’s porn career may well have been a handful of COLT photographs w/Erron, a film with Erron and Tom Del, and an appearance from those that appear (barely) in COLT OLYMPUS 2 (1973)
readying this post, I am wondering if I got ALL these pics from this post – Vintage: Erron, Del, Paul Shippnek (All About Erron) ?? In any case, interesting how difficult it is to get good face pics, or good cock pics of this model.
Director: Jason Sato (1982)
a scene from Skin Flix – 3-Way Orgy – “Joe goes over to two friends’ house. The friends just picked up Brad Peters and are starting the sex. Joe is invited to join in but is too angry so he declines.”
OR – hairy Brad Peters (still have that videography in my “drafts” folder) has a hot 3-way with 2 other guys
what’s wrong with this picture?
So, as I am reviewing the scene, I realize (think/assume) I’m hearing the instrumental version of Blondie’s Call Me , but jsut to be sure do a shazaam on it and find it’s actually Palm Springs Drive. So then I shazaam the rest of the clip:
OK, enuf work for one day (this took me longer!)
“The evening we loaded-in and prepared to install the vaunted SurroundUSound system a sedan packed with “bridge-and-tunnel” boys and their girlfriends slowed as they passed; the hunky driver leaned out the window and asked if we knew the location of a new club called “Studio 54”. We–California and Chicago dudes– of course had no clue.”
I’ve said it a million times before, the haunting theme, those first few minutes of SOUND, not imagery, always sends me back to a dark all-male movie theatre. sigh. Of course, the intoxicating sounds weren’t only coming from the big screen, but behind the screen’s “secret spot” in the seats, downstairs in the cubicles, but it still always had the background noises from the films themselves, this one most notably.
Born Again by Charles Colson (who “found new life – not with success and power, but while in national disgrace and serving a prison sentence.”).
more sounds – Episode 22
Jack (1973) (66 minutes running time; original 82 minutes? possibly “the Rambles” scene missing or cut?) The version here is from Quality X, so I’m surprised it’s missing footage!
Director: John Stephens
(here’s the larger file, which I will keep up for awhile – Jack 1.1 gb download – in case anyone wants to download/keep it).
Starring: Dano Martin (Jack), Bob Jones (Henry in the apartment), Leo Link (Lonny in the dream), Bob Benelli (Danny the shoeshine boy), Phil D’Angelo (Glen the lover) and Robert Lamb (Roger in the park)
original music score by The Beautiful People.
OK OK OK – how long has this been in the drafts folder, waiting for me to edit the below review that I forgot to note who wrote it and where it appeared??? grrrrrr – so now, do I leave the entire review, or..
and… I have not actually looked at the film, except enough to get some screen grabs… feedback appreciated, including what’s hot, what’s not in the film.
trivia – partially shot at New York’s legendary Continental Baths; and the second cameraman: A VERY NATURAL THING director, Christopher Larkin.
“Jack is a young Manhattan executive who has the hots for his upstairs neighbor, a man whose attention is concentrated on his wife and child.
oops – I can’t recall where I got this long quote from – if you know, let me know and I can give credit!
Producer-director-writer John Stephens has laid a heavy helping of his own poetry over one of the major sex scenes and, in addition, taped a conversation with two voices and has it competing on the soundtrack with visuals of an obviously different conversation between two actors in a park. Consequently, we hear people talking when no lips are moving, and see lips moving but hear no voices. It’s confusing to say the least – not knowing whether to pay attention to the screen action or try to get the gist of the soundtrack discussion.
The poetry reading completely destroys any eroticism the sex scene might have had because the sentiments being expressed are not conveyed by the screen action. Quite the opposite. The words are sugary romantic, and the sex depicted anything but. Audiences for this type of film do not want a lot of talking during the sex.
Stephens has also recreated the dinner scene from TOM JONES, a bad idea since nothing can ever equal the original. However, there is some interesting photography, particularly of the Central Park Rambles and the Continental Baths.
They did come up with something original though, a scene of Jack masturbating in a bathtub, with the camera poking underwater to catch the action closeup. Terry Charles has done a good tight job of editing the sex but falls short on the outdoor stuff, which is just a beat too slow in following Jack’s progress walking the streets and park.”
“If you enjoy hot daddies, rugged dudes, raw sex, chiseled models, and vintage male icons, I’ve got something for ya! This site consists of over five years of Tumblr posts I migrated at the end of 2018. I post new content regularly.”
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of course my interest in going over there is the VINTAGE (NSFW) – Classic gay porn from the 70s and early 80s; but of course it’s still fun to poke around the full site for a selection of GAY PORN, VINTAGE (NSFW),VIDEOS (NSFW), HOT MEN, and TUMBLR_LEGACY – I’m confident there’s no overlap!
take Vintage: Wanted – a great overview of the Steve Scott film, with loads of pics and animated GIFs. Not to mention features like Hot Dads and Dudes, Hot Dudes and Men, Random: COCKS and VINTAGE: (fill in star/pair) – and he actually gives credit where he nabs pics! I would (sure) if I could keep track. Check ’em out, have fun, but COME BACK~!
Michael & Phillip (1974) – turn volume UP! – heehee!
“[Michael and Phillip] were well known among San Francisco barflies as “The Two Davids.” [Michael] was born on August 25, 1947 in Binghamton, NY. He found his way to the San Francisco Bay Area in the late 1960s and blossomed almost immediately within the gay scene. He was a well known waiter/bartender for many years, starting out at the Gilded Cage, then on the P.S., then Kimo’s where he worked for eight years. In 1978, he won the California Groovy Guy competition, which was then sponsored by Databoy magazine.” – from GEVI
would love to know more about them, as a couple, and as individuals. and to get a decent pic with both their faces at same time!
previously – MAKE ME LAUGH – talk dirty to me – yes I posted the same video some years back
a month later, from the NYTimes – Wakefield Poole, Pioneer in Gay Pornography, Dies at 85 – a good job, some details I didn’t know, so perhaps worth the wait. For those without subscriptions, I’ve posted the article below.
By Alex Vadukul
One New York night in the early 1970s, a dancer and budding filmmaker named Wakefield Poole went to see a gay porn flick called “Highway Hustler” at a run-down theater in Times Square with his friends. As he settled into a tattered seat, he prepared to spend the next 45 minutes or so enjoyably aroused.
But as the film rolled, he experienced nothing of the kind. He thought that the movie was sleazy, that its sex scenes were unnecessarily degrading. He started laughing out loud, and one of his companions fell asleep.
“I said to my friend, ‘This is the worst, ugliest movie I’ve ever seen!’” Mr. Poole, who died on Oct. 27 at 85, recalled in 2002. “Somebody ought to be able to do something better.”
The Stonewall uprising in Greenwich Village had occurred two years earlier, and Mr. Poole, like countless gay men of his generation, was empowered in its aftermath. What he had witnessed onscreen that night didn’t resemble the sexual liberation he was experiencing as a proud gay man in New York.
Thus, armed with a 16-millimeter Bolex camera, Mr. Poole decided to do something about it. He headed to Fire Island Pines, the secluded summer Eden for gay men just off Long Island, and there began filming experimental movies with his friends, capturing them making love on beaches and in shady groves.
And he did so with an auteur’s touch, as if he were some very horny version of D.A. Pennebaker, striving to portray artful realism in the male intimacy he was documenting.
Mr. Poole soon made a feature-length, surrealistic movie called “Boys in the Sand” (the title a spoof on “The Boys in the Band,” the groundbreaking 1968 play and 1970 film adaptation about gay men in New York), and its release in 1971 proved revelatory. He was hailed as a pioneer of gay porn, and the film became a crossover hit that changed attitudes about pornography among both the gay and straight audiences that lined up to see it.
The movie, with the adult film star Casey Donovan, was composed of three steamy vignettes: First, Mr. Donovan materializes from the ocean Venus-like to ravage a young man lying on the sand; then, at a beach house, he tosses a dissolving magic pill into a swimming pool, causing a hunk to emerge from the water; lastly, he pleasures himself while admiring a telephone line repairman working outside his window.
When “Boys in the Sand” opened at the now gone 55th Street Playhouse in Manhattan, it became the talk of the town. The sex it portrayed between Adonic men frolicking in the Pines came across to viewers as blissful and guilt-free. Soon, celebrities like Liza Minnelli, Rudolf Nureyev and Halston were also lining up to see it.
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“I wanted a film,” Mr. Poole said at the time, “that gay people could look at and say, ‘I don’t mind being gay — it’s beautiful to see those people do what they’re doing.’”
In a memoir, “Dirty Poole,” published in 2000, he related how, during the film’s release, its producer sneakily bought an ad for it in The New York Times, leading Mr. Poole to speculate that the paper’s advertising department may not have looked at it too closely. Variety reviewed the movie, a rare instance of critical coverage of hard-core gay pornography by a mainstream publication (though it took a dim view of the film). Even its marquee billing challenged precedent: It displayed Mr. Poole’s real name.
While “Boys in the Sand” marked Mr. Poole’s official debut as a filmmaker (he had made some experimental short films earlier), his first passion was dance: He had led an impressive career performing in the New York-based company Ballets Russes de Monte Carlo and helping with the choreography of Broadway shows involving the likes of Richard Rodgers, Stephen Sondheim and Noël Coward.
“There weren’t a lot of people who were out,” Mr. Poole told South Florida Gay News in 2014. “Just seeing my name above the title on a theater made its impact. Hundreds of people saw ‘Boys in the Sand’ and came out after seeing the film.”
The year after “Boys” appeared, the landmark film “Deep Throat” was released, commencing a golden age of American pornography.
“Wakefield was determined to elevate the gay porn genre,” Michael Musto, the longtime Village Voice writer, said in a phone interview. “This was a time when you had to leave your home to see pornography. It was a communal experience by necessity, and you had to be seen in your seat. He removed the shame of it.”
Mr. Poole’s next hit, “Bijou,” followed a construction worker who stumbles on an invitation to a private club, where he joins a psychedelic bathhouse-style orgy. Then came “Wakefield Poole’s Bible!,” a creatively ambitious soft-porn movie that reimagined tales from the Old Testament, but it flopped.
Frustrated with its failure, Mr. Poole started afresh in San Francisco, which had become an epicenter of the gay rights movement, although his troubles only worsened there: He broke up with his longtime partner, and he became addicted to freebasing cocaine.
He soon directed a documentary-like film, “Take One,” in which he interviewed men about their carnal fantasies and had them act them out on camera, engaging two brothers in one notorious moment.
Mr. Poole eventually moved back to New York, holing himself up in a cold-water flat in Chelsea to break his cocaine addiction. Trying for a comeback, he released “Boys in the Sand II” in 1984, but it didn’t make a splash.
The AIDS crisis had begun, and the carefree gay paradise depicted in his original movie suddenly felt a world away.
“The reason I stopped making films was the AIDS situation,” Mr. Poole told an interviewer. “I lost my fan base to AIDS. I saw them all die. It’s a miracle I’m not dead. Cocaine saved my life. I did so much coke, I couldn’t have sex.”
Walter Wakefield Poole III was born on Feb. 24, 1936, in Salisbury, N.C. His father was a police officer and later a car salesman. His mother, Hazel (Melton) Poole, was a homemaker.
Growing up, Walter fell in love with a boyhood friend, and they would crawl through each other’s window to be together. But their romance ended when Walter’s family moved to Florida, settling in Jacksonville. Years later, he said, after his friend had married a woman and started a family, they rekindled their passion one night.
Walter caught the dance bug in Jacksonville and started studying ballet seriously. When he was 18, he headed to New York to pursue dance further and joined the Ballets Russes de Monte Carlo when he was 21.
He turned to moviemaking in the 1960s, captivated by the experimental films of Andy Warhol.
As he pulled away from pornography in the mid-1980s, Mr. Poole needed to find a new way to make a paycheck in New York, so he studied at the French Culinary Institute and later landed a job in food services for Calvin Klein.
He retired in his 60s and moved back to Jacksonville, where he died in a nursing home, a niece, Terry Waters, said. He left no immediate survivors.
As Mr. Poole grew older, enthusiasts of gay history and vintage pornography collectors began revisiting his work. A documentary, “I Always Said Yes: The Many Lives of Wakefield Poole,” directed by Jim Tushinski, came out in 2016. New York art house theaters like Metrograph and Quad Cinema screened “Boys in the Sand.”
In 2010, Mr. Poole, then 74, was invited to the Pines for a screening of his classic, although some gay residents there weren’t thrilled about it.
A local film festival, responding to their complaints about the X-rated content, had declined to show the movie, so an opposing faction of residents organized their own event. Their group included a man who lived in a summer house that had been used in the film.
That night, Mr. Poole was introduced to a packed auditorium as an unsung hero who had helped transform the Pines into an international destination. (“Boys in the Sand” was seen widely overseas.) He took the stage to applause.
“What has happened here with the controversy is why I made this film,” he told the crowd. “It’s the ultimate of what I wanted this film to do, and that’s to not only make controversy, but to overcome controversy.”
He added: “When I first came to Fire Island, I felt free for the first time in my life. I didn’t feel like a minority and I wanted everybody to suddenly feel that. So I said, ‘I can make a movie that no one will be ashamed to watch.’”
