BijouBlog

This was the most momentous and professional endeavor in my porn career. And, it literally fell out of the sky!

A friend in San Francisco by the name of Lewis was connected with the Gage brothers from his own film performances. He knew me and of the upcoming third part of their Working Man Trilogy, L.A. Tool & Die, and passed on a positive recommendation. A very casual but professional interview followed. Soon, I was on my way to L.A. to play the part of Wiley.

I was flown down and given pleasant hotel and dining accommodations. Upon arrival, I was taken to the various sets and given a copy of the script. There was a lot of "activity" on these sets already. Just as in other major studio productions, segments were not always in chronological sequence. I also found out right away that most of the film technicians were from the major studios in town. Cameramen, lighting techs, gaffers and the like were "moonlighting” on this film. It explains the high quality of the finished product.

I basically started in the middle of the story line and proceeded to the "well-gushing" finale. They needed me to do a flashback military scene without a mustache. That was done after most filming was completed. I didn't know that they were going to call upon me to "act" in the film. In the flashback scene in the military, I had to lament the loss of a close buddy who died in my arms. That was a stretch... but, I loved the challenge.

Mr. Locke and I "met" before the shooting. So, we knew and liked each other already. Both of us had a professional attitude about this genre of film making. That helped us out with some of the retakes and set adjustments that happened during some sex scenes. With my background in lighting, I even got involved in setting the tone for the love scene in the van. It was sort of comical. There I was stark naked and at half mast repositioning lighting gear aimed into that van. I didn't think any viewer would have been the wiser after I viewed the dailies for that scene!

One astonishing bit of spontaneity was the gas station bathroom stall scene. I don't know what came over both of us. But, for me it was one of the hottest and unscripted events in the flick! I think that was the only time in the filming I heard the word "cut!" lol

All in all, I was very proud to be a part of the film. It received great press among the gay mags and papers. Another thing that was quite different was being stopped on the streets of San Francisco and being told... "I didn't know you could act!" IMHO, if there was a Gay Academy Award, this picture should have gotten it.

Bio of Will Seagers:

Will Seagers (also credited as Matt Harper), within his multifaceted career and participation in numerous gay communities across the country in the '70s and '80s and beyond, worked as a print model and film performer. He made iconic appearances in releases from Falcon, Hand in Hand, Joe Gage, Target (Bullet), J. Brian, Steve Scott, and more, including in lead roles in major classics like Gage's L.A. Tool & Die (1979) and Scott's Wanted (1980). He brought strong screen presence and exceptional acting to his roles and was scene partners with many fellow legends of classic porn.

Hamburger Mary's was a landmark restaurant/hangout in San Francisco's South of Market/Folsom area for decades. It was known for its food, drink and music. But, most of all for its outrageously gay staff! My other half, Tom, was part of their original family and worked for them forever. Since we lived a mere two blocks away, I would find myself there almost nightly to take in the view et al.

It was one night in the late '70s that I noticed the very handsome Bill Harrison (the lead in Wakefield Poole's film Bijou) at the bar. He noticed me gawking and smiled back. I was a bit chagrined for being so obvious! (Lol.)

I was sitting at the counter in the main dining area with a vacant stool next to me. He came up behind me and asked if it would be all right if he could sit down. I said sure! After a second or two of (heated) and unnatural silence, he introduced himself to me. I did not know him or recognize him to be the porn star that he was. We ate and talked, passing heavy sexual vibes back and forth. When finished, I asked if he would like to come back to my place. He smiled and nodded yes.

I don't remember the short walk home nor the quick ascent up the stairs to our 2nd floor apartment. What I do remember was shedding clothes as fast as humanly possible in the living room, never even getting to the bedroom. We hugged, wrestled and devoured each other right there on the living room carpet. I was eager and astonished by his endowment as well as his handsome manly looks. Never having been a great deep throater, I quickly used my other talents. And I remember I never used a drop of lube. I was so on fire I didn't need anything. It was one of the hottest scenes that I was ever in. I only wish it had been captured on film.

Being a generous person of sorts, I had the strange urge to call my friend Roy who was orally talented. I don't remember much of the call... except the urgency of getting Roy over here while the heat was on! Roy arrived and jumped right in. Bill seemed very pleased at having two toys to play with. The three of us were a writhing mass of flesh! It was a great Dessert!

Bio of Will Seagers:

Will Seagers (also credited as Matt Harper), within his multifaceted career and participation in numerous gay communities across the country in the '70s and '80s and beyond, worked as a print model and film performer. He made iconic appearances in releases from Falcon, Hand in Hand, Joe Gage, Target (Bullet), J. Brian, Steve Scott, and more, including in lead roles in major classics like Gage's L.A. Tool & Die (1979) and Scott's Wanted (1980). He brought strong screen presence and exceptional acting to his roles and was scene partners with many fellow legends of classic porn.

By Josh Eliot

I spent hours at a time staring across the street at a filthy looking restaurant called the Go-Go Kitchen. It wasn’t the restaurant that caught my attention so much, but the exterior door next to it. A door leading to an upstairs apartment where every shade of rabbit fur coat was walking through it, sometimes with a man, sometimes without. It couldn’t have been more obvious. I’m no fool, I saw Dawn: Portrait of a Teenage Runaway starring “Jan Brady” on NBC in 1976. In that movie, Dawn became a sex worker, and she always wore a rabbit fur coat while walking the Sunset Strip in Hollywood. I’m not sure whose name was on the lease for that apartment, but he must have had a lot of “daughters” with a suspiciously similar dress code.

It was 1980 and I was working in the ticket booth at the Screening Room Theater, a place with quite a history. The first full-length adult hardcore feature legally shown in the United States premiered there in 1970, and today there’s a plaque on the building stating so. The film was Alex de Renzy’s Pornography in Denmark: A New Approach. It was billed as a documentary, which helped it avoid legal troubles.

In the 1980s, the Screening Room was a XXX Gay Cinema with live shows on stage. As I sat there analyzing the sex workers' behaviors, I felt two hands begin to rub my shoulders; it was my boss, Frank Ross. In addition to managing the theater, Frank became well known as an actor, producer and director. Some of his features include: Face to Face (aka San Francisco), Black Pack, Black and Bi and Made in the Shade and its sequel. He was a true New Yorker, a bit intimidating, with handsome looks and a tattooed muscular body.

When he interviewed me for the job, he struggled with the idea of whether or not to hire me, because I had just turned 18 the week before. He was very protective of my naivete and took time before exposing me to all the different areas of the theater and its playrooms. As weeks passed and we became more comfortable with each other, he started sharing stories of his sexual adventures. His trysts blew my mind but helped me get more comfortable with accepting myself. I envied my co-worker who was already comfortable in his own skin and would go up to the projection booth and play around with Frank regularly. A dancer named TK, who would talk with me in the booth after the live shows, invited me to go to the Trocadero Transfer with all the dancers. He knew the doorman, so I got in no problem.

It was my first time seeing fan dancers, being in a club this size and bonding through party favors with the dancers. At sunrise, we were all at the beach where TK and I went into a cave by the Sutro Baths and played around. Sutro Baths and Lands End Beach are notorious gay cruising spots. When I came into work the next day, Frank had this shit eating grin on his face, like a proud papa. I guess strippers do kiss and tell. Frank totally patted himself on the back for kicking my ass out of the closet, and I guess after months of his influence, he did.

Frank’s most infamous film as producer was made while I worked for him. He was excited to tell me the details, about a prison guard and convict who are handcuffed together during an escape. “Oh, like The Defiant Ones,” I said, “I love that movie.” He was impressed that I made the connection and invited me to watch them film on the movie set. The shoot was the next day, around the corner at the Bulldog Baths on Turk Street.

 

The infamous bathhouse had a real prison cell set, and he was very excited about it. It was too nerve-wracking for me, so I never went to the set. What a huge mistake! The feature turned out to be Wanted, starring Al Parker and Jack Wrangler. Frank Ross was producing and Steve Scott (Inches, Performance, A Few Good Men, Screenplay) was directing! Let me put this in perspective… this is how I see it: you have Steve Scott who is like the Martin Scorsese of gay porn, Al Parker is the Robert De Niro, and Jack Wrangler is Leonardo DiCaprio. The best of the best for that era, there is no topping that cast or crew. A huge regret not going to that set! FUCK!

I don’t know if my life would have taken a different direction had I gone to that set or not, but after leaving my Screening Room job in 1981, I wasn’t exposed to the Adult Film Industry again until I was hired at Catalina Video in 1987. Sadly, I recently found out that Frank Ross passed away on May 20th 2021, which made me think back about our time working together. Because we worked on different coasts, he never knew that I ended up working in the same industry as him. I wonder how he would have reacted.

But do you know what the real burning question in my mind is?

Are there still girls going in and out of that door next to the Go-Go Kitchen?

Bio of Josh Eliot:

At the age of 25 in 1987, Josh Eliot was hired by Catalina Video by John Travis (Brentwood Video) and Scott Masters (Nova Video). Travis trained Eliot on his style of videography and mentored him on the art of directing. Josh directed his first movie, Runaways, in 1987. By 2009 when Josh parted ways with Catalina Video, he'd produced and directed hundreds of features and won numerous awards for Best Screenplay, Videography, Editing, and Directing. He was entered into the GayVN Hall of fame in 2002.  

Born in Jersey City, N.J. in January of 1951, I spent the early part of my youth in the northern part of the state and my teens at the Jersey Shore. The very beginning of my teens was when I realized that I was gay and enjoyed it at every chance! Also, in my family's move to the shore I made a life long friend, Michael, who was also gay. Although we had no sexual relationship, our friendship made it a lot easier for both of us to better understand our blooming sexualities.

My education was fairly typical for the times. Parochial school for the first two years and then public school through high school. My 2nd grade public school teacher was from France and helped to create a life long interest in the country, language and culture of France. Oui, je parle français!

College years were not productive. I was in the tumult of coming out and exploring my sexuality. I studied engineering and journalism. I did not have the discipline for either of them. During these years I lived in Jersey City and would take the "PATH" train over to Christopher Street and see what trouble I could get myself into. That is where I was "discovered," while cruising the streets, by Man's Image Studios and Lou Thomas. (Lou, with Jim French, started Colt, and later went on to start Target Studios in 1974). Lou and I hit it off and remained friends for years.

 

Realizing college was not right for me at the time, I decided to take a break. I went to work for Eastern Airlines as a flight attendant. I spent two years with them. First in New York at JFK, where I got to utilize my French in flights between NY and Montreal. The following year, I was based in San Juan, Puerto Rico.

After my stint with the airlines, I moved around the country a lot in the '70s. I moved back to NY in '74. I had several more episodes of being "discovered" on the streets. Two of the photoshoots were actually straight. One for a hair magazine and the other for a ladies' magazine, Viva.

After NYC came Tempe, Arizona (near Phoenix). My roommate/friend from San Juan had won a scholarship at A.S.U. and wanted to know if I wanted to move out there with him for the school year. Not tethered to NYC by anything serious, I agreed. My first gig was bartending at the Newtown Saloon and then the local disco - Maggy's, both owned by the same men. That lasted for most of my one year stay in Arizona. My final gig in AZ. was working for a man named Phil in his porn warehouse. He owned most of the "Book Stores" in the Phoenix area. It was interesting to view the workings of the porn industry.

In 1976, I received a phone call from Lou Thomas asking me if I was interested in working on Fire Island for John Whyte. It was perfect timing; Arizona was winding down.

I worked in The Pines for John Whyte for three summers... glorious ones at that! Mostly as a bartender, waiter and life guard; my job was loosely structured to say the least. Lou Thomas imposed on John Whyte to "borrow" me for a few hours one afternoon while I made a flick with Bruno ("Bruno and Will" in Bullet Videopac 6). It was a hot and steamy flick and I went right back to work that afternoon after a quick cleanup! Lots of other movies were shot in a similar fashion on Fire Island. 1976, my first season on F.I., I met Chuck Holmes, owner of Falcon Studio. He invited me to come to San Francisco and work for him. I took him up on that and wound up living in S.F. for 14 years... 3 were bi-coastal with summers on Fire Island.

At the end of the first Fire Island season, 1976, a large group of the guys from John Whyte's "Boatel" moved en masse to San Francisco. I had a job waiting for me with Chuck Holmes.. so I was set! I couldn't believe S.F. - I thought that I had died and gone to heaven! The men, the men, the men! Lots of work with various studios commenced, including working with Al Parker and his lover. This went on for over a decade, intertwined with various other full time jobs including manning San Francisco's first gay gym, The Pump Room, and becoming an electronics maven at Eber Electronics in the Castro, which was my first real selling job.

Shortly after moving to San Francisco, I met the first love of my life, Tom Beebe. He knew exactly who I was and placed no expectations on me in terms of my "film career." We lived together in his small one bedroom apt. in the South of Market neighborhood for thirteen years until he passed from AIDS.

Music. Another big part of my life. During the last year that I worked on Fire Island, I had a wonderful affair with a man named Michael. Michael moved to San Francisco, as well. He was instrumental in creating the club Dreamland. He asked me to be part of the family and work on lighting. I had been making tapes and circulating them around town with success. Eventually, I was asked to DJ at the club. Easter Sunday Tea Dance 1980 was my debut. I played there briefly and then moved to playing music at the bars in the Castro... primarily The Badlands and Moby Dick Bar. I could feel a change coming. On Labor Day Weekend of 1991, I left S.F. and returned to the east coast to start a new version of myself.

After a few brief solo years, I met my spouse Alan in 1995. We met on the dancefloor of NYC's Roxie - a NYC dance club. It was the very weekend I returned from a non-productive year in South Beach. From this point on I rekindled the salesman part of myself as well as the musical part. I sold pianos and organs and taught the basics of organ techniques. I still have and play a massive Allen Theater organ. I also revisited the consumer electronics field in Santa Fe, N.M at The Candyman, where I managed the audio/video department.

Now at 71 and retired in the Southwest, I frequently reminisce about this great adventure called my life!

Bio of Will Seagers:

Will Seagers (also credited as Matt Harper), within his multifaceted career and participation in numerous gay communities across the country in the '70s and '80s and beyond, worked as a print model and film performer. He made iconic appearances in releases from Falcon, Hand in Hand, Joe Gage, Target (Bullet), J. Brian, Steve Scott, and more, including in lead roles in major classics like Gage's L.A. Tool & Die (1979) and Scott's Wanted (1980). He brought strong screen presence and exceptional acting to his roles and was scene partners with many fellow legends of classic porn.

Thank you to Will Seagers for providing the photos featured in this blog.

By Josh Eliot

My first sexual memory was at age 6. My favorite TV show was Lost In Space. Aside from loving the adventure the Robinson family was going through, there was just something about Don. Don West was a dark haired, handsome, masculine guy whose character had a love interest with the Robinson's daughter Judy. I would lie awake at night thinking about Don taking his shirt off, showing his muscular chest and imagining him rubbing and grinding himself on top of Judy. I'm sure it was not the kind of imagery Producer Irwin Allen wanted to achieve when he developed Lost In Space, and I wasn't sure at the time why I was feeling this way, but for some reason I was having the feels for Don.

My next big "red flag" about my sexuality was when I was around 12 years old. In 1974, streaking was all over the news in America. Living in rural Rhode Island, my brother, sister and I were best friends with our cousins of the same genders and age. We would build forts in the woods near our homes and streak naked through the fields. The summer of '74, I remember us being naked all the time! Not just in the field near the forts, but down by the train tracks, in empty factories. We were Free!

One day that summer, my cousin brought a magazine to the fort that he found between his mom and dad's mattress. The magazine was called Mama's Taste for Cock. I'm pretty sure it was all in black and white and maybe not even a magazine, but a newspaper. I don't remember much about "Mama" because it was all about the cock. This had to be the first time I saw photos of an erect dick and it was a real attraction for me. Somewhere towards the last few pages, we saw this white stuff all over Mama's face and we thought what the hell is this? My older brother said that this was semen, and explained it the best he could. He was three years older, so he was already able to ejaculate (with the help of Head & Shoulders) in the shower. A day or so later, my cousin and I were determined to “cum” so we got some shaving cream, took it over to the fort and rubbed it all over our cocks. Nothing happened, as we were too young to ejaculate.

At 16, my friend David and I were in downtown Providence when we walked into an adult book store. Shocked that we weren't kicked out, we started looking through the products. Most of my childhood I collected 8mm movies. Castle films, 50' reels that had about 3 minutes of movies like Frankenstein vs the Wolfman, Abbott and Costello and Dracula, to name a few. I was always shooting short movies on my 8mm camera, editing them and playing them back on my projector. So when I saw a Swedish Erotica 8mm movie for sale at this shop, I just had to have it.

 

I saw one with two guys and a girl. I can't tell you what the girl looked like, but one of the guys was blond, masculine with a hairy chest while the other was brunette, bearded and handsome. I would watch that movie on my projector when I knew my parents weren't around to barge into my room. At one point the guys double penetrated the girl. This was eye opening for me; it was the first time I saw this or even knew it was a thing! The first thought that came to my mind was how each of the guys must feel when their dicks were rubbing against each other inside the girl's snatch. I imagined that it made them each get harder because they were touching each other.

My friend David and I were emboldened by our trip to the porn shop and raised the ante by sneaking into the Rustic Drive-in in Smithfield, RI. The Rustic showed a triple feature of XXX movies. David was tall and always looked older, so he would drive the car while I would hide in the trunk or the floor of the back seat with a blanket over me. We watched such classics as Eruption with John Holmes, Inside Desiree Cousteau and Pretty Peaches with Sharon Kane.
 

In 1980, after graduating high school at the age of 17, I moved to San Francisco. I attended The San Francisco Art Institute for film studies. One day in class, my instructor George Kuchar brought in a 16mm copy of a movie he wrote and starred in called Thundercrack, co-starring Marion Eaton. The move was shot in black & white, beautifully filmed, with elaborate sets and filled with hardcore sex scenes! This was shocking to me. Being from a small town and closeted about sex, the fact that this film existed and the instructor was showing it to a classroom of students made me feel like this was an art form that was perfectly acceptable to a wide audience. It really opened my eyes and made me see hardcore sex on film from a whole new perspective.

 

My first few weeks in the city I lived at the Harcourt Residence Club, a place where you would share a room and receive free meals. The Harcourt was located on Larkin Street on the border of the Tenderloin neighborhood. When I looked out my bedroom window I could see a movie cinema in the distance. The marquee displayed the title: Wet Shorts. Wet Shorts? I was intrigued. This had to be an adult cinema. I was still 17 and could not go in, but I definitely needed to check it out. I walked past the cinema and saw an image that literally burned into my brain until this day. The Wet Shorts movie poster featured a close-up of a pair of blue jean short shorts with some hairy legs and a bulge. After turning 18, I worked for another cinema in the tenderloin selling tickets. It was called the Screening Room Theater. It was an All Male Adult Theater with live dancers.

Little did I know at age 12 when I was looking at a magazine called Mama's Taste for Cock that I would someday be shooting sex scenes and pulling hard core photos for magazines.

Little did I know at age 16 that when I watched Pretty Peaches at the Rustic Drive-in, I would someday meet Sharon Kane and establish a long working relationship with her.

Little did I know that the Screening Room Theater where I worked in 1980 was the same theater where Sharon Kane worked in the 1970s. Alex de Renzy, who owned the Screening Room Theater, made the movie Pretty Peaches and introduced Sharon Kane in it.

Little did I know that on my 25th birthday in 1987, I would be hired by William Higgins' company Catalina Video. The same company that produced and released the film Wet Shorts.

This is my first blog for Bijou World and I am excited to share some of my experiences and perspectives.


A Note from the Editor:

Little did Josh know that I (Steven Toushin/Bijou) purchased the lease for the Screening Room (at 220 Jones Street) during the time Josh worked there (the manager at the time was filmmaker Frank Ross). After a few months of extensive renovation and a name change (Savages), Savages had its grand opening.


Bio of Josh Eliot:

At the age of 25 in 1987, Josh Eliot was hired by Catalina Video by John Travis (Brentwood Video) and Scott Masters (Nova Video). Travis trained Eliot on his style of videography and mentored him on the art of directing. Josh directed his first movie, Runaways, in 1987. By 2009 when Josh parted ways with Catalina Video, he'd produced and directed hundreds of features and won numerous awards for Best Screenplay, Videography, Editing, and Directing. He was entered into the GayVN Hall of fame in 2002.