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This collection of scenes from vintage gay porn films made between 1972 and 1991 has nothing to do with normal sex! Sexual hypnosis, extreme fisting and extreme penis pump action, an 18 1/2" long cock, a kabuki striptease, an erotic museum of living statue men, a dreamlike glory hole sequence, a threeway with a doppelganger, hallucinatory fuck scenes, and much more are included in this Bijou Video original compilation! One of several featured brightly colored dick animation sequences from Paul Armen's Fresh (1991) kicks of this collection. Onto a segment from the 1972 classic, American Cream, by Rob Simple (aka playwright Jean-Cleaude van Itallie), entitled "The Office." Full of social commentary on America, masculinity, and desire, this scene begins with sunglassed executive (Robert Rikas, star of Jack Deveau's Left-Handed and the Peter de Rome short film "Prometheus," featured in The Erotic Films of Peter de Rome) pulling out his file of head shots of men and whacking off at his desk. Rikas fantasizes about these men, who he controls via his workplace position of power, and about himself as archetypal dominant figures: a military man and a leather guy. Still jerking off, the executive calls in his secretary (who must politely overlook his blatant sexual actions), then male employee Doug Romain (whose own office is filled with jingoistic salvos to exhort him onward and upward to corporate success), to participate in his flights of fancy. Rikas orders Romain around and fantasizes about Romain as a sailor, in a tutu, and beside him in submissive poses. Romain complies with Rikas' wishes, stripping for him and eating his ass while he's on a buisness call - but Romain shifts into participating in the goings on by entering into his own fantasy world, transmuting his degredation and inferiority to the fulfillment of his own desires. Romain fucks Rikas on the floor and eroticizes found objects in the office, shoving Rikas' boot and a water bottle up his ass and pissing on the floor. Sitting on Rikas' stiff pole, the director overlays images of Romain sitting on the Washington Monument, impaling it with his asshole, in a comment on American culture and the worker's plight in American society: getting fucked. Romain becomes increasingly incensed and, in a rage, tears up Rikas' office (breaking a framed portrait of Richard Nixon in the process) and throws Rikas down for furious humping on his desk, spanking and plowing Rikas' upturned ass before splashing cum on his face. All to military-themed music. Rough, clever, and nasty! Next is a comical sequence from director Alexander Leven's early fetish film, Whatever Turns Ya On (1972). Nude, sculpted beefcake Jim Cassidy chases a slight, winged man wearing fairy wings with a net, as a mature daddy-type sits and watches, jacking off. The daddy wears only boots, a leather hat, and biker jacket, and works himself up to a climax as Cassidy attempts to catch the winged man in the net. After that is a scene from Jack Deveau's ambitious classic, Drive (1974), in which protagonist Kirk Luna watches a wild bathhouse orgy unfold. He peers around a corner and witnesses extreme fisting and double-fisting: a man with his arms deep up two men's asses at once; two men's arms simultaneously up one asshole. To an eerie soundtrack featuring whispers, elephant trumpets, and lion roars, this action continues, while other men entwine elsewhere in the foggy room. Next, in a quick excerpt from Philip St. John's popular 1985 release, Below the Belt, lanky Grant West dreams of himself tied up in a dark room full of green smoke. A masked ninja approaches, posing threateningly, and wraps nunchuks around West's cock. Just then, handsome Chad Douglas intervenes, knocking out the ninja and rescuing West, carrying him away, nude. Then comes the famous penis pump scene from the Al Parker-directed Strange Places, Strange Things (1985). Scott Taylor ("The Sultan of Solo Sex") and silver-haired, bearded Ivan play with vaccuum pumps (on their already large cocks) and enlarge their meat and balls to distorted, truly remarkable proportions! They keep increasing the size and Taylor even puts his enlarged cock in a pump and flattens it. Both men bend over and conduct a double self-suck session, and Ivan gets his huge meat to at least 11 or 12 inches! The scene ends with Ivan jacking off, wearing a metal cock ring, and Taylor self-sucking to a massive cumshot. Following that, in a selection from another kinky Al Parker-directed release, 1987's Turbo Charge, Parker himself plays with a penis pump with a bearded, and very hung, black man (James Williams). They use an Accupump to get Williams' mammoth cock and balls many times their original size, as Parker hungrily sucks, licks, and attempts to fit them into his mouth. Parker reapplies the pump and puts a marble inside it, within William's foreskin. Pumping this up more, he removes it and sucks on Williams' inflated foreskin until he draws the marble out into his mouth. They repeat this cock trick several times. In a stylized segment entitled "Kabuki Tease" from Michael Goodwin's Goodjac Too (1987), Cutter Sharp performs a dance on stage in white makeup and a long wig. Backstage, he strips down, revealing his extremely hairy body. He removes the wig and makeup and jacks off in front of a mirror. Wearing a cockring, the viewer hears tinkling music in the background as the dancer, almost tance-like, jerks off and orgasms before his reflection. Up next, from Jack Deveau's 1974 film Strictly Forbidden, a handsome young man (Thomas Jeffries) enters a mysterious exhibit in an art museum, encountering a group of nude male statues that come to life! As he wanders through the disply, statue Hugh Allen becomes animate at Jeffries' touch, and the two embrace and kiss. Allen shows Jeffries the other strange displays the museum has to offer. The excellent, trippy glory hole scene from Steve Scott's Rough Cut (1978) is featured next. A mustached blue collar type enters a dark area and paints sex graffiti ("dick," "cock," "fuck show," "hard") and a glory hole outline on the wall. Soon the painted images morph into three-dimensional reality: a big, juicy boner pops through one of the magically created glory holes. An arm emerges from another holes and our man rubs it down with Crisco. A second arm joins it and they grope the man, then tear his shirt in two! Cocks shake behind a line of four holes. The man takes turns stroking, then swallowing each hard, trobbing dick and bathing in the creamy load each prick delivers! He licks cum off his own shoulder, then paints over the glory holes, making them disappear. After that, we have a quick sequence from Ralph Ell's campy 1971 film, The American Adventures of Surelick Holmes. In a public bathroom, two men are getting head (accompanied by comically exaggerated sucking sounds and moaning). After they shoot loads on the men's faces, one of the suckees vomits into a urinal and the other suckee stands to take a piss beside him, eyeing the puking man. The pissing man grabs the man kneeling at the urnial and pulls him over to get a blowjob. A redheaded man enters with his cock out, holding a large double-headed dildo. He approaches, stroking himself, and uses the dildo to knock out the man giving head. He kneels and begins blowing the other man, in his place, then pulls out a switchblade and slices off his cock! Next, we get a glimpse of Johnny Cook, "Mr. 18 1/2 Inches" from the short film, Long Dong Silver (1985). We see Johnny emerge on stage, wearing a shirt that says "Long Dong Silver," as an announcer calls his name. He joins two women who help him undress, exposing his shockingly long cock, which hangs all the way down to his knees! The three dance, as Johnny twirls his cock around, even spanking one of the women with it. Next comes a scene from the Al Parker-directed film, Hard Disk Drive (1985), in which judge Blake McDonald sentences young, horny defendant, Chase Turner, to hard time. This takes place before a jury of strange cut-out paper men, whose faces change in reaction to the sexual goings on in the courtroom. Blake shoves his hard boner down Chase's throat, and Parker offers us fantastic close-ups and dynamic camera work as the brown-haired punk lathes Blake's stiff cock. Blake returns the favor, then rides the guy's meat atop the bench. The youngster soon bends Blake over and plows him doggie-style before both men gush their jism (to smiles and applause from the "jury"). In the following sequence from the Toby Ross film, Tough Guys Do Dance (1991), a young man who is sexually obsessed with women (played by Jared Young) is sent to a therapist (Bill Crane). The therapist hypnotizes the man, wearing women's stockings, high heels, and perfume, then seduces him. The two fuck atop the therapist's desk while Young is under hypnosis. After they're done, Crane brings him back with a snap of the fingers and Young remembers nothing, but Crane assures him (with a coy look into the camera) that he is cured. Following that, Christopher Dock roughly fucks John Houston against a slab of raw beef in a in a meat packing plant in a scene from the Marvin Merkins-directed film, From Paris to New York (1977). Back to Goodjac Too - this time for the short "Interrorgaytion," which stars masculine Keith Ardent as a suit and tie-clad airport employee. Suddenly, he's being undressed by black gloved hands, but it is revealed that they are not his own. Many anonymous pairs of gloved hands grope Ardent's body and remove his clothing. He wears a leather harness underneath and has one pierced nipple, along with a large, mushroom-headed cock. One mystery man, masked, hooded, and clothed entirely in black, ties Ardent to a chair and jacks him off. It appears that Ardent is tied up somewhere in an airplane that is taking off. Ardent and the masked men continue to touch his body and jerk him off to a large climax. Next, in a very quick look at Rope That Works (1984, from the infamous Slave and Master series), director/star Professor Fledermaus pulls a masked man on a swing towards him with a rope. This man is tied to the swing and, each time he approaches, Fledermaus grabs the man's cock, then releases it as he swings away. Fledermaus begins interspersing flogging the man's cock with gently stroking it, alternating between these each time he approaches. Following that are several very psychedelic and unusual sex scenes from director Peter de Rome's 1976 horror/porn, The Destroying Angel. Artistically cutting between shots of the beach, overturned shoes, and star Tim Kent being impaled with objects on a bed, the first sequence is intensely hallucinatory. A man stands over Kent, sticking the end of a blue-painted baseball bat in Kent's mouth. He then shoves a cucumber in there, then spits on Kent's upturned ass and tries to fit the baseball bat inside it! Zooms into Kent's face show him cringing and gasping as this happens, and Kent's hairy sex partner spanks him with his hand, then with a cucumber, and sticks a banana and his fingers in his asshole. Quick edits of men in tight jeans touching themselves, red-capped mushrooms (which Kent eats), and Kent sliding onto the floor of his bedroom bring us into the next scene, in which a group of shirtless men in blue denim (whose faces we don't see) grope themselves and each other, standing over Kent. They pull out their cocks and some swap blowjobs. Kent reaches for the men, but can never touch them. They begin pissing all over Kent's body, and cum on him. Kent sees himself, nude and with a maniacal look on his face, masturbating in a bed at the start of the next scene. Kent watches in horror as his doppelganger, wild-eyed, offers a mushroom to handsome young Philip Darden. More frantic cross-cutting to the piss orgy sequence flashes before Kent's eyes as Darden, blank-faced, takes the mushroom and eats it. Darden and Kent begin fooling around, but Kent sees his doppelganger also in bed with them. Kent asks Darden how many of them there are in bed and Darden tells him it's just the two of them, while stroking both their cocks (in a nice moment of trick photography). Kent looks frightened, clutching the sheets and withdrawing, as he watches Darden fuck his double. Then it's Kent getting fucked, looking across the room at himself, alarmed. Kent's double cackles. Sometimes we see just two men and sometimes we see three. Kent bends over his own body and peers at his own face as he watches himself get fucked. Darden continues to operate robotically, exhibiting no emotion. Kent kisses Darden while he fucks the other Kent, eats Darden's ass while the other Kent blows Darden. Seemingly insatiable, the men continue in their frantic action, even after cumming, as the camerawork becomes increasingly distorted, unable to snap out of this state of erotic possession. Finally, we have a series of sequences from Slave and Master series video, Fisting Ballet (Dave Nesor, 1985). In New York's Mineshaft, burly biker Leather Rick continuously has his thick, meaty arm up the canyon of an ass of the Tantric Master, who, all the while, gracefully twists and undulates in a sling. The Tantric Master does not just lie in there, as is the case with many fisting bottoms. Sometimes he takes the lead and twists and undulates and fucks his ass on the fist, twirling himself in the air by the sling's chains, all with incredible and amazing dexterity that makes the movie earn its title. Sometimes Leather Rick takes the lead and pushes his slave's body around in the sling with his fist, aggresively swinging him around. Leather Rick so penetrates and possesses the Tantric Master's hole that sometimes it looks like the Tantric Master is a living puppet on Rick's hand, an extension of the man. The full version of this movie has this action taking place for nearly 60 minutes, with barely a moment passing in which Rick's fist is not up the Tantric Master's ass. A quick shot of "The End" written on a man's bare ass (from Night of the Occultist) ends this compilation.