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by Nick Swallow
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Jake Jaxson‘s first film of the recently announced Porn Haus series is the tongue twistingly titled ‘Boys to Adore Galore’ (a name Andy Warhol originally gave one of his cock-drenched art projects). Now, I could talk about this fantastic new scene BUT I’m going to let Cockyboys fans tell you about it themselves… and then at the bottom of this page you can see the trailer for yourself!

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Check out the full scene on the site now!

Here’s Jake Jaxson’s essay about his inspiration behind his new series:

Andy Warhol was a Pornographer
By Jake Jaxson

I love Andy Warhol. In fact, I’m a disciple of what has become known as his Business Art Philosophy.

“Being good in business is the most fascinating kind of art. Making money is art and working is art and good business is the best art.” — Andy Warhol

My fascination with Warhol began when I was in high school. I would read anything I could about him. I dreamed of going to Studio 54 and even got excited when he would make his appearances on The Love Boat — a show I was forbidden to watch on Saturday nights. My mother called it The Lust Boat, but my babysitter was happy to look the other way and we would watch it together.

When I studied film in college, I was inspired and drew references from Warhol films — Bad, Heat, and Trash to name a few — preferring to cast self-described “freaks” in my early student films. I was naturally attracted to artist-turned-filmmakers — Warhol, Kubrick (a photographer) and Peter Greenaway (a painter) were my early inspirations.

But I kept coming back to Warhol, and his work invades my life. My partners and I collect his art — our first Warhol was a birthday gift to me from RJ. It’s a screen print of the image used for the poster of the Fassbinder film Querelle and it hangs in our bedroom, depicting two boys in a passionate embrace, one’s ruby red tongue reaching out to lick the ear of the other. We have drawings of boys and screen prints of drag queens and electric chairs (I know, I’m fucked up). As a tribute to Andy, I even painted the ceiling of our office metallic silver — a remembrance to The Factory that ruled fashion, pop art, and the 1960s.

Recently, I found myself referencing Warhol and porn in a series of interviews I did for CBC, Buzzfeed, and the Village Voice in defense of Jett Black’s expulsion from his ballet school and the art versus porn conversation. That debate is like a dog chasing his tail and neither bore me.

Other artists like Jeff Koons did it, and Warhol did too.

In fact, Andy reveled in it. He was very clear and connected to what he was doing with his “pornography” and understood its relevance to its time, provocation, and its value in the future. His early films could only be shown in porn houses or underground theaters — Blow Job, Bike Boy, and Fuck (retitled Blue Movie) in particular. Blue Movie was in fact confiscated by police and the theater owner was changed with obscenity. On September 17, 1969, a three-judge panel ruled that Blue Movie met the criteria for hardcore pornography on all three counts — it aroused prurient interest; it offended community standards; and it had no redeeming social value. Today, Blue Movie is nothing compared to what we see on basic cable or, God forbid, HBO.

In a 1970 Vogue Magazine interview titled “Andy Warhol, Movieman: It’s Hard to Be Your Own Script” by Letitia Kent, Andy gleefully wades into the art versus porn debate in regard to Blue Movie, and his words still ring true 40 years later.

KENT: Blue Movie has recently been declared hardcore pornography.
WARHOL: (feigning nonchalance) It’s softcore pornography. We used a misty color. What’s pornography anyways? The muscle magazines are called pornography, but they’re really not. They teach you how to have good bodies. They’re the fashion magazines of Forty-Second Street that more people read. I think movies should appeal to prurient interest. I mean, the way things are going now — people are alienated from one another. Movies should – uh – arouse you. Hollywood films are just planned-out commercials. Blue Movie was real. But I really do think movies should arouse you, should get you excited about people, should be prurient.

Even then, Warhol was predicting we would want to see and watch “real” sex. In fact, he famously said, “Sex is more exciting on the screen and between the pages than between the sheets.” I don’t necessarily agree with that, but in Warhol’s world of mechanical reproduction, repetition, and sameness, this is true for his work — and yes, maybe even porn. Perhaps that’s why it’s so prevalent and relevant today.

I now stop myself from saying that I used to work in “mainstream entertainment” because I believe my work now, as a filmmaker is as mainstream as anything else. Frank Rich from the New York Times said it best. “At $10 billion, porn is no longer a sideshow to the mainstream like, say, the $600 million Broadway theater industry — it is the mainstream.”

Andy knew this. In fact, in 1969 he and his film collaborator Paul Morrissey opened their very own porn cinema at 62 East 4th Street calling it Andy Warhol’s Theater: Boys to Adore Galore under the company named Poetry in Motion — a fitting name considering that Louis Carroll was the ticket-taker and Warhol superstar Joe Dallesandro was the projectionist. Apparently, he also had a sofa in the projection booth where he would see gentleman callers for a fee (when time travel is real, that’s going to be my first stop!).

After a decade of free love, Warhol’s porn efforts tapered off. A planned film titled Orgy was never realized, and his films like Chelsea Girls and Heat became more accepted into independent film circles and with audiences. After being shot by Valerie Solanas in an attempted murder, Warhol also became much more insulated and inaccessible. The silver studio closed in 1969 leaving behind an epic amount of creative expression in all mediums.

However, that did not stop Warhol’s pornographic pursuits. In 1970, Bob Colacello, Andy’s right hand man and editor for Interview magazine, recalled several delicious stories in his memoir, Holy Terror: Andy Warhol Close Up. In one passage particularly, he recalls walking into work one day and seeing Big Shot Polaroids all over his office, desk and chair drying from the night before.

“That was a hairy arm stuffed up a hairy anus in the Polaroids neatly arranged across the top of my desk. My shelves were lined with other Big Shots of more predictable penetrations: oral-genital, anal-genital, oral-anal–all male on male, and in extreme close-up. Even on my chair there were half a dozen shots of an engorged penis entering a mustachioed mouth. Andy had been at it again: photographing sexual acts between street hustlers and call boys arranged by Victor Hugo, Halston’s friend.”

Believing it not appropriate to have advertising meetings with big, fat cocks all over his office, Bob confronted Andy. But Andy was nonplussed. “Just tell them it’s art, Bob. They’re landscapes.”

Exactly! Next time you’re caught watching porn — or made to feel less than as a result — just declare, “It’s art, Bob! I’m looking at landscapes!” or, dare I say, “pop art!”

Today, Andy’s once pornographic film Blue Movie can been see at The Museum of Modern Art. His Polaroid series was in fact transformed into paintings and prints — known as both the Torso and Sex Parts series. But alas, his Porn House is now an East Village hair salon.

In celebration of sex on film, and inspired from Andy’s Poetry in Motion porn house project, I am launching our very own PORN HOUSE FILM FESTIVAL! We’ve put together a set of films that capture some of the many emotions that accompany the making, the watching, and the participation of gay porn — storytelling, reality, docu-sex, and anything that stimulates the mind, heart, and our sexuality.

First up, we have Boys Galore to Adore. It’s a little thank you tribute to my constant enigma – an artist who can be anything and nothing all at the same time.

These are my landscapes, Bob!

Love Always and Be Nice,

Jake Jaxson


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