BijouBlog

Are brick-and-mortar bookstores, or gasp, even books, now a thing of the past, like rotary phones, local savings and loans, and milkmen?

Some might argue that the medium of print has evolved into diverse, flexible, electronic formats such as Kindle and will continue to evolve. But I think there's a deeper message here, and to understand it, we need to go back even further, before the days of gay liberation.

I was reading on the precarious faculty blog site (which calls itself an online reading room) that workers' reading and education tradition include Mechanics' Institutes (1800) and Reading Rooms in union halls. Dorothy Day's February 1940 Day by Day column in 61b5310b3bed3The Catholic Worker61b5310b3bed4 specifically mentions the reading rooms in every union she visited. Samuel Gompers' cigar rollers even voted to have a member on the clock read to them as they worked!

Imagine! Someone reading to you as an adult, not a child! And at work!

Now, in the monasteries and convents up to the days before Vatican II, as part of the religious discipline, someone would be assigned to read while the monks and nuns ate meals in the refectory. (I can't fathom something comparable happening in today's virtual offices!)

The experience implied that language was something that was savored patiently, like a gourmet meal or a good sex scene with a partner willing to go beyond slam, bang, thank you ma'am. Whether you experienced it reading out loud or silently, the act was both individual and communal.

In the past, going to a bookstore meant you were both browsing alone but also doing it physically, in a public place where you could, without incurring suspicion, hang out for hours. Going to a LGBT bookstore implied you were also part of a community of shared values, and you not only showed your affinity my physically hanging out there, but also by purchasing a physical source of knowledge and values and taking it into your home environment. Even if you had to hide the book or magazine, it became something sacred because it was taboo, and thus a tangible, living connection with the deepest part of your identity.

Social media is fast and convenient and works wonders to connect others with shared values in crisis situations, but what bothers me about it is that the word element gets lost: the word as both language and also something that a live person embodies in an “I-Thou” dialogue. Kind of like Judaism's idea of the Torah as the eternal voice of God or the Christian theology of the Word made flesh. Something that needs more than a tweet or a non-verbal instagram to express.

Joan Didion predicted something this dynamic would happen in her study of the 1960s counterculture, 61b5310b3bed3Slouching Towards Bethlehem61b5310b3bed4, where she decried that the reliance on images and quick fixes (slogans like" All You Need Is Love") to complex problems, caused a loss of critical thinking: “The ability to think for one's self depends upon one's mastery of the language.” 

In those 1960s, feeling groovy meant you needed to “slow down, you're moving too fast, gotta make the morning last.” In the 21st century, where and when can you even slow down? Definitely not in a tweet. And sadly, no longer in a bookstore.

Though the information in this book is quite fascinating in scope, it seems like the real appeal is for size queens. For example, the book includes a picture by Tom of Finland, whose drawings with exaggerated cocks play on the age-old fascination that a big dick is power, an aphrodisiac that makes all who come in contact with a big beautiful cock swoon. So to illustrate the point, the majority of the photos in this book are of famous porn stars with 11-inch dicks or longer: Cassidy, Dakota, Ray Fuller, and the legendary John Holmes.

Nothing is new under the sun or under the covers, for that matter. This obsession with a big cock and its potency is apparently something men never grow out of. That desire sublimates itself even today in the constant ads for Viagra and similar products. But as Dr. Ruth has advised, in a multitude of ways, bigger is not necessarily better.

But can big mean better, or even best, in certain contexts? In the case of the porn stars above, the big cock works in their favor as an immediately identifiable indicator of sexual power, prowess and sexual gratification. Isn't that why many gay men watch porn? To share in that power, and then enjoy good sex where the whole time your dick feels like it is 13 inches (even it it's not) because you feel good about yourself and your sexuality. So as I see it in the end (pun intended), sorry Dr. Ruth, bigger is better.

Lee Ryder was born in 1959 as Darras Robert Pyron. He was California born and bred, raised in Laguna, and he graduated from Esperanza High School in Anaheim.

After Mark Reynolds discovered him and featured him in All American Boys, he literally made a splash in Falcon Studio's Huge in 1982.

He starred in thirteen features between 1982 and 1986, including Bijou titles Screenplay, A Few Good Men, Giants 1, and 2 X 10.

Now, of course, if one views these films, it's clear that Lee Ryder's cock is pretty much legendary. According to one Jeff Starkey, who reviewed the movie Screenplay in tandem with Ryder's appearances at the Bijou Theater to greet fans and sign autographs back in 1984:

"Ryder's cock is long, thick, and shapely and is criss­crossed by just the right number of lovely veins. Beneath it hang a perfectly balanced pair of what appear to be 5­pound balls. When his cock appears in public, it is usually hard as a baseball bat, with its swollen head looking purple and petulant."

Purple and petulant? Wow. Perhaps those adjectives could apply to the cock, but not the person.

In an interview with Stallion magazine, known for his sexually aggressive but also unforced, natural screen presence, seems rather low­key, both veering between a quiet confidence in himself, but also showing a somewhat self­-deprecating attitude. Definitely not the “divo” attitude of so many celebrities: “Everyone wants to look at me, I am the Adonis with the giant cock and all should worship me."

In fact, in the interview, he actually seems rather pragmatic: he does it for the money, and for his business (he actually was a successful floral designer), but ... he actually doesn't see himself as a sex symbol. He just enjoys being himself, and letting a chink of vulnerability come out, being wanted.

(We also find out in the interview he had a relationship with an older guy from ages 15 to 18, who tragically committed suicide soon after they broke up.)

To add to the complexity of his character, despite his appearance at the Bijou and other venues as a gay porn celebrity, he actually admits he would rather not be recognized (he even goes to Europe to escape the attention)... and he notices, even when he does, the guys stay away, or “they stare – I guess I do show a big crotch – or they look at my eyes.”

To be honest, at least for me, the eyes can be just as erotic as, especially in Ryder's case, a dick of death. And Ryder he admits in the interview that he loves his eyes. And rightly so!
 

His eyes make love to the camera, like those of that famous movie star Joan Crawford (completely the opposite in her approach to celebrity). The eyes themselves create a unique effect in the viewer; they seem to draw you in with a promise of something intense; you think he is looking directly at you via the camera, which could satisfy your desire, but you at the same time feel like you will always want more. Perhaps it's their narrow shape but also richly colored pupils. I don't know, but I can't stop looking at his picture on the cover on Stallion magazine as I write this piece.

And I promise you, you won't be able to take your eyes off of Lee Ryder in our remastering of Huge (now Huge 1) as he beats his meat while perched on the toilet ­ ­ making it bigger, hotter and harder. He, Rick Jensen and Matt Stoker roll around on the cold concrete floor, licking each other's hairy armpits and sitting on each other's faces.