Avery Willard

The story of Salome, who danced for the head of John the Baptist, has long been a source of fascination to scholars and artists.

As the camera moves elegantly across Paul Ritchards’ body, abstract, superimposed images of New York City drift in and out of frame. The urban landscape begins to align with the landscape of the male physique.

A play with the porn standard of a minimum of narrative in order to stage a series of ritualised stripteases.

A head-to-toe leather-man parades around New York and becomes trapped in a Times Square haunt with a particularly seductive motorbike and floor-to-ceiling mirrors. The leather-man then emulates his namesake Greek myth by shagging himself, thanks to glorious optical-printing trickery.

This low-rent, hardcore version of a kinky Kenneth Anger film contains three sexual vignettes. The first, "Fright," is set in the pre-gentrified Hudson River docks area of Greenwich Village. The film begins with a cop arresting a young man for hustling. He takes him to an abandoned building where he, and his cop buddy, tie up the stud and proceed to have some really rough sex. The next story, "Nightmare," has a straight man falling off to sleep only to have "nightmares" of torrid gay sex. The final scenario, "Birthday," has a man receiving a human birthday present.

The story of Salome, who danced for the head of John the Baptist, has long been a source of fascination to scholars and artists.

The story of Salome, who danced for the head of John the Baptist, has long been a source of fascination to scholars and artists.

The story of Salome, who danced for the head of John the Baptist, has long been a source of fascination to scholars and artists.

As the camera moves elegantly across Paul Ritchards’ body, abstract, superimposed images of New York City drift in and out of frame. The urban landscape begins to align with the landscape of the male physique.

A play with the porn standard of a minimum of narrative in order to stage a series of ritualised stripteases.

A play with the porn standard of a minimum of narrative in order to stage a series of ritualised stripteases.

A play with the porn standard of a minimum of narrative in order to stage a series of ritualised stripteases.

A head-to-toe leather-man parades around New York and becomes trapped in a Times Square haunt with a particularly seductive motorbike and floor-to-ceiling mirrors. The leather-man then emulates his namesake Greek myth by shagging himself, thanks to glorious optical-printing trickery.

A head-to-toe leather-man parades around New York and becomes trapped in a Times Square haunt with a particularly seductive motorbike and floor-to-ceiling mirrors. The leather-man then emulates his namesake Greek myth by shagging himself, thanks to glorious optical-printing trickery.

This low-rent, hardcore version of a kinky Kenneth Anger film contains three sexual vignettes. The first, "Fright," is set in the pre-gentrified Hudson River docks area of Greenwich Village. The film begins with a cop arresting a young man for hustling. He takes him to an abandoned building where he, and his cop buddy, tie up the stud and proceed to have some really rough sex. The next story, "Nightmare," has a straight man falling off to sleep only to have "nightmares" of torrid gay sex. The final scenario, "Birthday," has a man receiving a human birthday present.

This low-rent, hardcore version of a kinky Kenneth Anger film contains three sexual vignettes. The first, "Fright," is set in the pre-gentrified Hudson River docks area of Greenwich Village. The film begins with a cop arresting a young man for hustling. He takes him to an abandoned building where he, and his cop buddy, tie up the stud and proceed to have some really rough sex. The next story, "Nightmare," has a straight man falling off to sleep only to have "nightmares" of torrid gay sex. The final scenario, "Birthday," has a man receiving a human birthday present.

A head-to-toe leather-man parades around New York and becomes trapped in a Times Square haunt with a particularly seductive motorbike and floor-to-ceiling mirrors. The leather-man then emulates his namesake Greek myth by shagging himself, thanks to glorious optical-printing trickery.