BijouBlog

A former friend of mine who entered a lavender marriage with a former female friend (yes, I am a big gossip) reeled in horror when I told him my little kitten (who passed away from feline leukemia in 1989 after I had her for only six months) was in the room when I was jacking off. Yes, that little kitten might pick up some unsavory habits. Yikes!

In 2002, I got my cat, “The Honey,” (she passed away in 2013) who developed into the attention whore of the century. She would not only watch, but sometimes, while various sexual acts were going on, would do her usual “show the belly” routine, which in cat body language, means, ultimate trust. Once, my late partner was getting a blow job in my living room from another guy (I was out that afternoon), and he told me she was in fine “show the belly” form.

I don't think The Honey was getting off on the sex. Instead, another human was there who could supply her with attention. And given that cats are territorial, rather than trying to mark boundaries by excluding outsiders, she wanted to be inclusive, on her terms. As I used to say, if something major (a hot guy in full leather cop mode getting his cock sucked and boots licked, certainly major) was going on in her queendom, she had to be involved in it somehow.

The presence of cats seems to be a common trope, perhaps, in our classic gay films.

One of our classic films, The Night Before, does involve a gay couple picking out a kitten as part of their bonding. I'm not sure if one could imply the kitten was present when they have sex later.
 

In Always Ready, a cat sleeps on Casey Donovan's bed, the scene of many interesting activities, of course.

In From Paris to New York, a white fluffy cat jumps on the furniture and hangs out during the sex scene.

A cat in Wanted: Billy the Kid rolls around, trying to get attention, while two men have sex.

And in In Heat, during the frightening BDSM scene, a cat is chilling out in the background, indifferent to what is basically a home invasion.

(I'm not sure if cats can consistently function as “watch cats.” And they're definitely not “man's best friends.” They're not dogs.)

Tumblr, source of all things weird, even offers a site, Indifferent Cats in Amateur Porn.

Well, it certainly fits the criteria as it focus on the two most popular  Internet obsessions: cats and porn.

One totally awesome perk for working at the Bijouworld office (it isn't sex) is you never what you might find in the files.

Yes, files, think beige manila folders, not computer directories. We pretty much have anything, yes anything, related to gay sex dating to the beginning of the last century. Just ask!

I was looking for a retrostud to do a blog on for this week, and I pulled a file that contained a list of former jobs of 12 gay “porno” stars, by Leigh Rutledge, author of the book The Gay Decades.

Interestingly enough, these retrostuds didn't just work as the stereotypical bartenders or escorts or strippers.

Al Parker (below) worked as a butler, a video technician, and a personal aide to Hugh Hefner at Playboy magazine.
 

Keith Anthoni (below) was a waiter, an actor in Pepsi commercials (which one?), a stage actor, and a male stripper.
 

Steve Scott worked in the publicity department at Universal Studios.

Kip Noll (below) was very blue-collar; he was a machinist, an auto mechanic, and a carpenter.
 

Roy Garrett (below) was employed as a supervisor in a New Jersey cosmetics factory, as well as doing the bartender/male stripper thing.
 

Jamie Wingo (below) worked in marketing for a gay advertising agency and also, guess what, stripped.
 

Jack Wrangler (below) was a child television star with his own NBC series, Faith of Our Children. He also did bit parts on the Mod Squad and Medical Center. If my mother only knew …
 

Scorpio (below) was a male stripper in straight bars. He tried to get into modeling but found out from an agency that his job as a stripper killed his chances.
 

Richard Locke (below) worked very diverse jobs. He was a tank commander in the army, a gas station attendant, an insurance claims adjuster, and a baths attendant.
 

Jayson MacBride (below) danced and sang as a chorus boy. He later enjoyed a successful career in corporate market research.
 

Mike Davis (below) was a set designer.
 

Christopher Rage worked as a talent manger for cabaret acts, as a male escort, and then joined an ad agency promoting X-rated films.

I just can't get the picture out of my mind of Al Parker as a butler wearing some tight-fitting livery! One can only dream …

Hope you enjoy this very photogenic blog!

Ra

 

Now, this guy was one superstud, but also, from what I have read, multitalented. Born in Germany as Wolfgang Praegert in 1957, of an artist father, and the young Wolfgang apparently exhibited acrylic paintings at exhibitions in both France and Germany. He lived in Paris (to which all artists gravitate at some point), and then emigrated to New York City. He studied opera there briefly. (I am impressed. I wonder if he was a tenor, a baritone, or a bass.)

He then got into gay porn, making his first appearance in Chain Reactions after moving to Los Angeles. Now, why would he get into porn? He was one studly macho guy (uncut, hairy chest, but also the Marlon Brandoesque lips, woof!), of course, but maybe the art and the opera didn't quite work out as well for him.

He worked with Al Parker for Surge Studios, making appearances in Head Trips and Strange Places, Strange Things.

I thought this week it might be fun to do a more interactive blog (jacking off is fun, but your best friend isn't always yourself).

We're going to put out (maybe in more ways than one) some of our favorite Bijou gay porn scenes.

Then, you can share yours, and we'll even link to some of those clips on our websites on our Twitter page.

I'm into dominance and submission big time (the big is more mental that physical, but I do appreciate size, especially muscles!).

There's a scene from Al Parker's movie Turned On! that always gets me going. Now Al, for me, and I might claim many others, is a total top man (and I just don't mean fucking): he exudes a dominant, but not so much in your face (but then, who wouldn't want his glorious cock in your face) masculinity, but one that doesn't need much overcooked “on your knees, boy” proclamations.

But what makes this scene so fascinating for me is Al submitting, and submitting, endlessly... a hunger that is never satisfied, but is satisfied in its own hunger. Kind of the effect Al creates when he wields his mighty cock...

What is Al doing? In a locker room with male body parts behind every locker door, Parker and Sky Dawson (the man of Al's dreams in this movie) service rows (a sort of chorus line) of humpy, athletic men in jockstraps. It's a fantasy, but what it makes it even more enticing for me is the jockstraps. They conceal but also show.

Now, another movie, from Roger Earl's Dungeons of Europe trilogy, Pictures from the Black Dance, contains a scene which really gets me going. What's interesting is not so much the leathersex itself, but the overall dominance/submission dynamic I find erotic:

In the last scene, Dick Johnson is leading a hooded guy in a bondage/body suit. This is Tony Starr, who had previously been a dominant in the movie! The last dance, the climactic one. The slapping sound is its rhythmic accompaniment. They are still in the dungeon, but the wall looks like fall foliage. After what looks like a whiff of poppers, Johnson powerfully creates total submission; by pulling bottom up by hook on bondage suit. He barks one command that seems to pull most of the action together: SIT!

Johnson then attaches Starr to the board, and one hears a stomping and slamming sound with his powerful boots. He then, with amazing confidence, picks up the guy and then places him on the floor.

This lying down position, especially when contrasted with a standing position, is one of stripping away of conventional social norms, which often occurs in BDSM role playing. Johnson now has his bottom in this position of total submission in order for him to wield his power, by pulling the cock and balls on triangle attached to his cock and balls; this tension shows that Johnson himself actually reciprocating once he has shown his power.

I'm particularly interested in porn directors who use sexual explicitness as a vehicle for artistic expression. I also find emotionally raw states (such as love, sadness, or fear) to be intriguing mental spaces in which to tap into eroticism, the heightened emotional state acting as a potential sexual enhancer. The two scenes I'm featuring play with these approaches.

The entirety of Tom DeSimone's The Idol is a well-crafted build from sexual isolation and frustration to sexual freedom and open expression, each successive sex scene progressing the main character, Gary, along in his sexual journey.

The final erotic encounter in The Idol is a romantic and bittersweet one. We know from the beginning that college track star Gary will die at a young age. The film is structured around his funeral, and this final flashback to a moment in his life shows him in bed with his lover (who has been longing for him from afar in the flashbacks until this point). The lighting is soft and blue, with the soundtrack pared down to simply the thunderstorm outdoors accompanied by their murmurings and moans, and the camera pans lingeringly over their entwined bodies. They take their time kissing and fucking to the sounds of rumbling thunder, rain, and wind. DeSimone's strong sense of erotic pacing is highlighted here, creating a potent crescendo of sexual tension. The scene ends as the two collapse into each other in exhaustion after climax and the soundtrack kicks in with a song echoing the claim, "I could never leave you." We know that this statement is untrue. The story has finally brought these men together and has brought Gary to terms with his own sexuality, but these journeys are about to end.

This scene is visually gorgeous, atmospheric, and emotionally effective. Even the sentimentality of some of the devices (the slow-mo at the end, the romantic dialogue) doesn't interfere, but, rather, feels perfectly earned and adds to the ambiance. This is a brilliant example of scene that is, at once, melancholic, romantic, and erotic.

Peter de Rome's The Destroying Angel is easily one of the most unusual films in the Bijou catalog. It tells a Poe-inspired story of a priest on sabbatical who engages in mushroom trips and sex, which hauntingly meld together.

The film uses sexual explicitness to evoke as much horror as eroticism, playing with themes of repression/compulsion and revulsion/attracton. The scene where Caswell (the priest) fucks a young man he meets at a party is deeply unsettling and captivating. The two men eat mushrooms and Caswell observes his doppelganger entering into the action. "How many of us do you see?" he asks his partner. "Just you and me," is the calm reply. But we see the friend jerking off two Caswells at once, as the camera pans over to his double in an eerie moment of trick photography. Caswell seemingly watches himself from both positions. Both Caswells are alternately terrified, confused, maniacal, and sexually ravenous. Horrible yowls and laughs echo on the soundtrack and Caswell comes on his double's face, but won't stop trying to have sex even after his partner is clearly spent. His appetite is insatiable. It takes a sudden cut to achieve an end to the scene, which could have continued interminably in a wild hallucinatory state of unending erotic hunger.

This scene is a nightmarish distortion of sex, frenzied and made of pure compulsion, with Caswell watching himself in horror as if in shock at what he is doing. He can't reconcile himself with his sexuality and it bursts forth from him as if another him has been created, one made of his own repressed sexual side, his shadow self a creature of erotic monstrosity that can only be fed by being given more, more, until eventual destruction must occur.

Bijou owner Steven Toushin's selections are from two additional Steve Scott films (Turned On! also being by Scott): Wanted and Inches.

In Wanted, the scene shows brutal, sadistic warden Jack Wrangler as he makes an inmate suck his cock, rifle in hand, then fucks him, while he's supposed to be guarding a chain gang. This scene is especially notable in its depiction of an erotic prison fantasy between warden and prisoner that is not as typically found between men in films.

In Inches, its the cruisey barroom scene near the end of the film. This scene is relatable to those who were present in the era or who have experienced bar backroom action, capturing a sense of realism in the small details of the scene which make it feel like an actual '70s-era bar backroom, with anonymous sex going on everywhere.