In 2001 producer-director Dick Wadd released the gay pornographic horror film Niggas’ Revenge. Bobby Blake and Flex-Deon Blake made their last film together in it. In his autobiography, My Life in Porn: The Bobby Blake Story, Bobby Blake gave the movie a whole chapter. He called it the most powerful and the most expensive film of his career, and one of the most controversial adult films ever made. He had decided to retire, and this was the picture where he meant to take it to the limit. It sits at the edge of bondage porn: race-play revenge, a cage, impact, piss, and sexual torture. It is a payback fantasy, not an SSC lesson with limits talked through in advance. Everyone on screen is an adult, including the performers playing the neighbors.
Three neo-Nazi white supremacists come to the Blakes’ residence, shouting racial slurs, harassing and bullying them, trying to force them out of the neighborhood. The muscular Black neighbors have had enough. They lock the captives in a cage, beat them, piss on them, and sexually degrade them. Eric Top Stud, a light-skinned Puerto Rican performer, is invited in to join the abuse. A separate scene is coded as incest: Chris Blake, the only Black man in the film placed in a submissive role, has sex with Bobby Blake. That is the film’s setup. They are not real relatives, and they are not minors.
Who is on top, and what Blake later said
The cast marks the power split. Tops: Bobby Blake, Flex-Deon Blake, and Eric Top Stud. Chris Blake is versatile. The neo-Nazi white bottoms are Chane Adams, Dallas Chalmers, and Bud Cockerham, credited as Bud. Crystal Blake appears briefly, written as a relative of the Blake brothers.
Most of the plot was left unscripted. Bobby Blake was ending a long career as a gay porn star. For this last film with his ex-partner Flex-Deon Blake, no strings attached, he wanted the upper hand and the freedom to do what he felt like doing. Scenes were left to him on the day, so the surprise and the unease of the other people — the three submissive performers and the director — would stay real. During the shoot, two of the white actors were concussed by the force of the pounding. Production stopped until they were hydrated and brought around. In the book Blake contrasts his domination with Flex and Chris. He says the other two did not have the same force when a scene actually had to be held, and that Chris, hired as a top beside him and Flex, ended in the pillory taking Bobby anally. He praised the three white actors for accepting an extreme with no limits set: the belt, a two-by-four broken over their asses, slapping, spitting, and making them drink piss were real, not faked.
Blake later said this was the only film in his career with condomless anal sex. He had done HIV/AIDS awareness work before and after he retired. He called the bareback choice a mistake made while he was caught in an extreme mentality, and he told viewers, especially younger ones, not to take it as permission. Practice safer sex. Trade reaction split. Robert Franklin at GayVN gave it three stars out of five, wrote that it really pushes the envelope, and said it is not for the faint-hearted. Some people in the business admired the intensity. Others refused it because it uses racism as entertainment and because bodies were actually at risk on set.
Tim Dean, and the 2009 sequel
Tim Dean, a professor at the University at Buffalo, goes through the film in Unlimited Intimacy: Reflections on the Subculture of Barebacking. He argues that, in order to conjure the transgressive charge of unprotected anal sex between gay men, the film fetishizes several taboos at once. He notes that it is Dick Wadd who draws an analogy between U.S. racism and German anti-Semitism, while also using an old porn convention: interracial sex meted out by Black men to white men. Dean writes that black/white difference makes a starker picture than other ethnic differences, and that the same contrast in bareback sex makes invisible differences, such as HIV serostatus, seem visible, which adds weight to the idea of revenge. On fetish marks, he describes the shaved heads and musculature of the African American performers as phallicizing the whole body. Flex-Deon Blake’s piercings, and the chain-link harnesses and black leather boots the dominant men keep on, read as a leather and SM code even though the story is revenge horror, not dungeon etiquette. Dean also argues that the film breaks the cultural ban on incestuous sex. Site copy that presents Flex and Bobby as real-life partners feeds the illusion of spontaneous, authentic desire. The three African American men are shown as brothers. The turn Dean isolates is Bobby fucking Chris beside the stocks, so the fantasy is interracial and incest-coded. Again: adult performers, playing a setup.
In 2009 Dick Wadd released Niggas’ Revenge 2 with none of the first cast. Four dominant Black men — Butch Blackmore, Jay Dupree, Jae C, and Ro — and four neo-Nazi white submissives — Rich Wrangler, Boy Fillmore, Jake Wetmore, and Chris Kohl — replay the template on a desert ranch. The Black men lock the white neighbors, who have been taunting them, in a chicken pen, beat them, piss on them, and abuse them verbally, then take them out one by one for sexual degradation, torture, and anal rape. Mister H appears and orders them quiet during the sodomy. The sequel shows the formula could be moved without Blake-era stars.
For readers who care about current kink ethics, the film records a different production ethos: star-driven extremity, real impact, and a bareback failure the star later admitted. It is not a model to copy. It is one case in bondage-porn history of racial revenge, cages, impact, watersports, leather gear, bareback risk, and incest coding stacked into a retirement statement about taking it to the limit. Blake’s chapter and Dean’s chapter are the responsible pair: one voice from inside the shoot, one from cultural theory. Neither replaces personal ethics in real play. The beating, the cage, the piss, and the bareback sex are what the film contains. They are not instructions.
