Adam Gay Video (November 1994), Part Two

In his editorial column found in this November 1994 issues of Adam Gay Video (which has been broken into two parts), editor Dave Kinnick discusses a major shift in pornographic actors and agents during the middle of the 1990s. As Kinnick explains, prior to this change, both actors and agents were all housed in Los Angeles, which made it easy for directors and producers in the pornographic industry to find quick replacements and survey talent prior to booking them. However, after the shift, many began to emerge in other cities and states, some as far as Boston, who mined the local populace for talent and farmed them out to studios in Los Angeles. As Kinnick contends, this change introduced a wider range of talent, but also made it harder on directors and producers, since they could not find quick replacements and had to stick with undesirable models because they already paid for plane tickets and hotel rooms. In this second half (see the first half here), stills from the pornographic films Breakaway, Driven to It, Raw Stock, Sauna Paradiso, and Woody’s are paired with profiles on models Matt Dietz, Tony Hampton, Ray Ed Harley, Hunter Scott, Martin Valko, Brandon West, and Mark West.

Adam Gay Video (November 1994), Part One

In his editorial column found in this November 1994 issues of Adam Gay Video (which has been broken into two parts), editor Dave Kinnick discusses a major shift in pornographic actors and agents during the middle of the 1990s. As Kinnick explains, prior to this change, both actors and agents were all housed in Los Angeles, which made it easy for directors and producers in the pornographic industry to find quick replacements and survey talent prior to booking them. However, after the shift, many began to emerge in other cities and states, some as far as Boston, who mined the local populace for talent and farmed them out to studios in Los Angeles. As Kinnick contends, this change introduced a wider range of talent, but also made it harder on directors and producers, since they could not find quick replacements and had to stick with undesirable models because they already paid for plane tickets and hotel rooms. In addition to Kinnick’s article, this issue also contains stills from the pornographic films House Rules, Night Watch, Posing Strap, True Stories, and Ty Me Up and profiles on models Donnie Russo and Cort Stevens.

Blueboy (November 1983), Part Two

Starting out as a writer for the magazine Woman’s Own, Mike Arlen transitioned into photography at the beginning of the 1980s, when the editor of a German magazine noticed a picture he had taken of two men in swimwear. At the editor’s request, Arlen shot his first nude model on a farm holding a lamb. The photos went to both the German magazine and Zipper, where readers expressed interest in his images but asked for different content, explicitly men in uniforms. As time progressed, Arlen went the route of David Hurles – becoming famous for his photographs of rugged, working-class men – and, like Hurles, he became both a close confidant and easy target for these men, with Arlen lamenting that his biggest regret was offering to post bail for many of them (an offer over a dozen of his models took and sent requests from prison). This November 1983 issue of Blueboy (which has been broken into two parts) features a showcase of Arlen’s work. Included in this second half (see the first half here) are photo spreads of models Bob and Victor and stills from the pornographic film Surge.