Don't Wear "Short Shorts" on the #38 Geary to LANDS END

By Josh Eliot

 

When I read Will Seagers' blog last week, it got me reminiscing about my years in San Francisco and, even though I was there nearly a decade after Will, I fell in love with the city just as much. So… Flashback, 1981. When I ended my second blog, FRANK ROSS: The Boss, I was still working for the Screening Room Theater in San Francisco’s Tenderloin district and the summer of 1981 was approaching. It’s a little fuzzy as to whether the theater had an ownership change to Savages at this point, but I do remember Frank Ross being in a very different head space. One day on his way to work, Frank was walking down Jones Street and, when he was just a block away, a man jumped from the top of a building and landed not more than five feet in front of him. This messed him up immensely, and justifiably so. I was in the ticket booth when he came in trembling and with a face full of tears as he told me what happened. I jumped up from the stool and just hugged him, while he shook uncontrollably. It took a long time for Frank to get over what had happened; some things you just can’t “un-see.” My on-again, off-again quickies with TK, the hot stripper from the theater, had settled into the off-again stage permanently as he became involved with an equally hot blond stripper more around his age.

 

Savages Theater, formerly the Screening Room Theater

Savages Theater, formerly the Screening Room Theater

 

I was 18 years old and could count on one hand how many sexual trysts I'd had. I didn’t count the customers at the theater who would cruise me from the lobby while I sat in the ticket booth. Occasionally when the coast was clear I would step back into the theater, during a ten-minute break, and let one of them blow me if they were cute enough. That didn’t count as sex in my book, just customer service at it’s finest. I was still settling into the fact that I was now out of the closet and not very experienced. On one of my days off, I decided to throw caution to the wind and set off for a day trip to Lands End. Months earlier, TK and the strippers took me there after a night at the Trocadero Transfer Disco and filled me in on its history. There was a nude beach you could hike to on a path that started at the Cliff House and old Sutro Bathhouse. It was a downhill trail all the way to a cove, and supposedly along the way there were men in the bushes going at it.

I’m embarrassed to say, I put on my favorite corduroy brown cut off, “short shorts” and headed to the beach, knapsack attached, on the #38 Geary street bus to Lands End. The ride there was uneventful and when I arrived, I basically used my “gay-dar” to follow a group of men to help me find the right path. It worked like a charm, and before I knew it I was on the trail headed to the cove. What a “wonderland” of excitement, as the trail did not disappoint. Clusters of men in circle jerks, blowjobs and more. Single men sporting big bulges, with the help of cock-rings, inviting the passers by to have a feel. I bypassed all of them, probably because I was too intimidated, and spent the day at the cove. I spread my blanket, got some sun, went up to my waist in the frigid water and at one point talked with a guy who came up and sat with me. We exchanged numbers, but I never called him. Not really my fantasy Lands End experience, but I wasn’t exactly an aggressor either.

Around 4pm, I hiked back up the trail and to the bus stop to catch the #38 Geary home to the Tenderloin. The bus was packed, standing room only, because everyone was leaving the coast. It wasn’t until we got several blocks into our trip that things took a turn. At one of the stops, a tall gentleman came aboard and shimmied his way through the isle where we were all standing there crammed against each other. I thought to myself, OMG this guy looks just like JOHN BECK. John Beck starred alongside Susan Sarandon and Marie-France Pisier in what was my favorite book and movie of the time. The Other Side of Midnight was a #1 bestseller and hit movie with very controversial content, and I just loved it! Anyway, John Beck, to me, was the hottest thing since sliced bread.

 

John Beck with Susan Sarandon and Marie-France Pisier

John Beck with Susan Sarandon and Marie-France Pisier in The Other Side of Midnight

 

I must have been gawking at him because on his way down the aisle our eyes met and he ended up stopping right next to me. The bus continued on its journey and he kind of just stood there, one arm on the bar to keep balance and the other arm holding a book at his waist. He refused to make eye contact, just kept staring off into space, when suddenly (and this was impressive to me) he started rubbing his knuckles back and forth over my crotch, using the book he was holding as a shield. All the time not making contact but knuckling me non-stop which, at 18 years of age, immediately caused me to get a full boner. I was mortified when I saw a lady in one of the seats looking at me with judgment on her face because these shorts were so fucking short my underwear was pushing below the fringe, exposing my cloth covered boner. Oh the depravity! But it wasn’t enough to make me to move away from those knuckles. Finally, my own personal John Beck was making eye contact with me and cracked a very sexy smile. I was jumping out of my skin, but no words were exchanged. At some point seats opened up and we both took separate seats, still eyeballing each other. We both rode the bus until the end of the line and it wasn’t until we un-boarded that we first spoke. I told you I was shy.

 

Crowded #38 Geary bus

Crowded #38 Geary bus

 

We both over-shot our stops, had a laugh about it, then he invited me to his place. It was everything I hoped it would be and more. All too often when someone pops their cherry, like I did that day, it’s an uneventful situation. This one had it all: the anticipation, the courting, the foreplay (in silence), then the foreplay in bed followed by my first time bottoming. There was even a follow-up dinner date at his place, but that was it, I moved on. Of course, the first time hurt like hell and I really didn’t enjoy most of it, but he was very sweet and even bathed me in his tub afterwards because I was trembling. I guess it’s normal for middle-aged men to bathe their children!

I’m not saying, “Don’t Wear Short-Shorts on the #38 Geary to LANDS END,” but if you do, you might just get your anal cherry popped! (Again.)


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. 

 

You can read Josh Eliot's previous blogs for Bijou here:

Coming out of my WET SHORTS
FRANK ROSS, The Boss
Our CALIGULA Moment

That BUTTHOLE Just Winked at Me!
DREAMLAND: The Other Place
A Salty Fuck in Saugatuck
Somebody, Call a FLUFFER!
The Late Great JOHN TRAVIS, My POWERTOOL Mentor
(Un)Easy Riders
7 Years with Colt Model MARK RUTTER
Super NOVA
Whatever Happened to NEELY O’HARA?
Is That AL PARKER In Your Photo?
DOWN BY LAW: My $1,000,000 Mistake
We Waited 8hrs for a Cum Shot... Is That a World Record?

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Pin Money

By Will Seagers

 

I have always considered my excursion into the porn business as one of sex and pleasure (and some notoriety), and not one of great financial gains. It WAS always a great deal of fun to make porn - whether it be print or film. Most people involved were there to create a medium that was intended to make the viewer have fun!

When I first started, it was in print medium - mags, calendars and the like. Names like Man's Image, Target and Falcon are first to come to mind. Not much money was to be gotten from these adventures. I didn't complain - I figured out rather quickly from my first few shoots what the going rates were for the more notable studios. So, I called it my "Pin Money."

 

Will Seagers in a Man's Image calendar & on the cover of the first issue of Playguy

Will Seagers in a Man's Image calendar & on the cover of the first issue of Playguy

 
1978 Target calendar & a Target magazine from a shoot for Bullet's Cowpokes

1978 Target calendar & a Target magazine in connection with Bullet's Cowpokes

 

Now, being that this was not nearly enough money to support myself, (especially living in the fair city of San Francisco), I always kept myself gainfully employed with what I called my regular job, as well. I worked in several gyms and gay clubs in town over the years. In terms of the clubs, I always wanted to play music. So, one of my first outlays with the pin money was for a pair of turntables, a mixer and a modest sound system. All of this was for the purpose of teaching myself how to be a DJ. It started off with making cassette tapes for friends and "getting the word out!" The pin money and odd jobs helped me scrape enough together to buy a fairly recent model FIAT 124 Spider!

 

Fiat 124 Spider and Will's following car, a Peugeot 504 Fiat 124 Spider and Will's following car, a Peugeot 504
 
Turntable and mixer

Will's first turntable and mixer

 

I had the unique fortune to be reaching a high point in my porn career at the same time. (Don't think I didn't I didn't use that to my advantage!) So, when I showed up with my demo tape of my music in person... sometimes the tape was never even heard! I played at a couple of noteworthy establishments in San Francisco's Castro District - namely The Badlands, the Phoenix and finally Moby Dick Bar. But, I certainly cannot leave out the night club Dreamland from the list. Two of my friends who were an integral part of that club, Roy Shapiro and Michael Maier, heard my tapes. I was summoned to perform for "Easter Sunday Tea Dance" in 1980. I stayed with that venue for a year or so. (I quickly found out that I was not the kind of DJ that played all through the night and into the morning hours!)

Towards the end of my four-year engagement at the Badlands, I began to tire of bar life and being up all night. A "Regular Job" fell out of the sky through my friend and salesman Harold Banks at Eber electronics. Now in my mid thirties and my porn career starting to slow down a bit, I took on the mantle of "Electronics Maven of Castro Street!" I still played music on Sunday nights at Moby Dick Bar through my connection with my friend and the manager, Michael Goglia. That place was the last where I played records... and my favorite!

So, that accounts for the early years. They were great (if not chaotic!). In 1991, my "Guardian Angel" tapped me on the shoulder telling me it was time for a trip back home (back east) and a reassessment of where I was on life's trail. I loved San Francisco! It was where I found out who I was and what I could become. And, I am glad to have been there for the golden years of that city!

 


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.

 

Will Seagers, present day image

 


You can read Will Seagers' previous blogs for Bijou here:
Welcome Matt/Will
What's For Dessert?
On and Off the Set of L.A. Tool & Die
Wanted, Weekend Lockup and Weekends in Hermosa Beach
Honeymoon in the Palms
Birds of a Feather
The Stereo Maven of Castro Street
The Pass Around Boy
The Ecstasy and the Agony
Fitness and Fantasy: The Early Gyms
Chasing the Boys and Chasing the Sun: My Story of Sun Worship and Where It Got Me
Becoming Invisible
The Reverse Story of Dorian Gray

 

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We Waited 8hrs for a Cum Shot... Is That a World Record?

By Josh Eliot

 

Patience is a virtue, or so they say. There were more than a handful of times that my patience wore thin on a porn set. It’s not all fun and games, let me tell you that right now. I became an expert on troubleshooting situations throughout my years of producing and directing, but in the early days, the crew and I were not able to escape the inevitable when a certain someone was in charge. I wouldn’t say my producer Scott Masters was a perfectionist, but he tried damn hard at it. If I’m being completely honest, Scott Masters and I had a love-hate-love again relationship from almost the very beginning. We both shared the passion for putting out the best product possible, both of us were totally invested in the stories we were telling, proper lighting and camera angles. You would think it was a match made in heaven, and to an extent it was, but there was one very important difference that had us butting heads many times over the years. Flexibility, or the lack of it.

 

William Higgins & Scott Masters (L); Higgins & Scott Masters with Jerry Douglas (R)

William Higgins & Scott Masters (L); Higgins & Scott Masters with Jerry Douglas (R)

 

Probably the first time it really came to a head was when we were shooting Hard Men 3, the third installment of a very popular series in the 1980s called Hard Men: No Strings Attached. It was basically a Chippendales type video where dancers would dress as a theme character and strip. The twist was that our dancers would strip all the way and when their undies came off they had a huge hard on that they flopped around for the camera, shot from every angle imaginable. We even had a plexiglass floor made for the models to dance on while we were underneath. At the end of the video, there was ordering information where the viewer could purchase a J/O tape of their favorite dancer masturbating, complete with cum shot, sold via mail order. The series was perfect for women or gay men to purchase. It was also perfect for Scott Masters as “director” of the segments. Scott loved plays, musicals and anything to do with the stage, not to mention his “costume fetish” I’ve mentioned before. Our “head butt” came one day when Scott was directing Chris Dano, who was playing a matador. The matador was to enter the stage through separating walls that we built on wheels to open and close. Very theatrical. It was 10:45pm, we had shot the dance/strip, the j/o bonus movie and all we had left was the opening shot where he entered the stage through the walls and dozens of roses showered him from above. “What? Roses? What are you talking about (Scott Masters)? You never asked for roses on your list!”

 

Hard Men series, matador & under plexiglass

Hard Men series, matador & under plexiglass

 

Well, you would have thought I’d killed his first born. The look on Scott Masters' face said it all as he screamed back at me, insisting he mentioned the roses when he ordered his custom built set over the phone. He definitely had not, and it was too late to run to the store to purchase any. His flight back to L.A. was at 8am, so I apologized if I missed the “roses request,” but reinforced the fact that he had a strong scene and no one would miss the fact that there were supposed to be roses. Well, that fell on deaf ears. Back and forth, back and forth. Suddenly he had an epiphany: “The curtain!” “The curtain?” Yes, the red velvet curtain that the model used in his dance and wrapped himself in for the J/O bonus movie. Don’t you know that Scott Masters had me, the 2nd cameraman, the make-up man, the still photographer and even poor Chris Dano sitting on the floor until 1am cutting up that muther fucking curtain into small strips and making fake roses that were stapled together so we could shoot a 15-second shot of them falling from the sky onto Chris Dano. It took all of my will power not to purposely jiggle the camera during the shot. I think I got home around 3am.

 

Matador and roses

 

Another more draining situation came on the movie The Main Attraction. This was a homage to his Nova Video movie of the same name. Matt Powers was Catalina’s new exclusive, and Scott Masters' secret (at the time) obsession. (I might talk about that “love affair” in a future blog; it’s personal so I’m not sure. But, then again, I do have a big mouth.) Anyway, Matt Powers finished the scene with Vic Summers, which, let me tell you, took a layer of flesh to complete, even before things came to a dead halt. We waited four hours while Vic would watch and rewind the VCR to get himself to the point where he could cum. He must have ran into the set screaming “I’m cumming!” seven or eight times, but nothing came out. Masters refused to let us put the cameras on a tripod because he had very specific angles in mind that called for me to be on a 20-foot ladder and 2nd camera to be wedged with the still photographer, literally on top of each other in the corner of the set. All of our backs were sore and aching but he refused to let us change the angle. At around midnight, Masters decided to end our misery but wanted us all back at 6am to try again for the cum shot, as they all had 1pm flights home. At 6am, we all returned to the studio hoping and praying that a good night's sleep would somehow empower Vic Summers to quickly blow his load. It was a repeat of the night before, so I requested to Masters that we lay Vic on his back on the bed with the VCR in viewing distance so he was comfortable and could just “cum” without having to run into the set and get in an awkward position. That and any other suggestions were met with a “no” accompanied by a long monologue as to why not. Just shy of four and a half hours later, drip... drip. A very un-dramatic visual presentation of what some might call a cumshot.

When I saw John Travis later that month to start shooting My Best Buddy, the crew and I shared our nightmarish experience. Travis was like, “What the fuck? We’ve got so many fucking cum shots in the can, close-up, underneath, overhead, fat dicks, thin dicks, straight dicks, crooked dicks, mushroom heads, no head… couldn’t he have just reused one of those?” Exactly.

 

Main Attraction: Nova & Catalina versions

Main Attraction: Nova & Catalina versions

 

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. 

 

You can read Josh Eliot's previous blogs for Bijou here:

Coming out of my WET SHORTS
FRANK ROSS, The Boss
Our CALIGULA Moment

That BUTTHOLE Just Winked at Me!
DREAMLAND: The Other Place
A Salty Fuck in Saugatuck
Somebody, Call a FLUFFER!
The Late Great JOHN TRAVIS, My POWERTOOL Mentor
(Un)Easy Riders
7 Years with Colt Model MARK RUTTER
Super NOVA
Whatever Happened to NEELY O’HARA?
Is That AL PARKER In Your Photo?
DOWN BY LAW: My $1,000,000 Mistake

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DOWN BY LAW: My $1,000,000 Mistake

By Josh Eliot

 

I had a nice long 22-year career with Catalina Video. I was hired just a short time after William Higgins moved to Amsterdam to open his “brothel” and continue his filmmaking with a European flair. It’s hard to fathom, but while I was producing and directing over 100 movies for his company, we never crossed paths or even spoke on the phone. I was always intrigued with the “idea” of him watching over us and wondered what he might think of my work or if he had any input to share when I was restoring his movies for DVD. Throughout my decades of service, this was something I always thought about, waiting patiently to get the word that Higgins needed the crew and I to fly to Europe to work on his next movie. That phone call never came. But one day Higgins did call - not to talk to me, but about me with Catalina’s general manager, Chris Mann. He phoned to demand my termination because of a 10-second shot in a movie I made called Full Service. It seems my little movie found itself smack dab in the middle of a lawsuit - a one million dollar lawsuit.

My second movie for Catalina Video was Full Service, shot and released in 1989 when I was 27 years old. As I previously mentioned, Scott Masters was my producer and Chet Thomas was the movie’s editor. My first movie, Runaways, was under my belt and since Chris Mann and Scott Masters were happy with its look and tone, they gave me some leeway on my next movie. We shot both movies in San Francisco at Catalina’s studio in the Potrero Hill District. Dan Allman left the company and they put me in charge of running the studio. We would build the sets according to John Travis or Scott Masters' specifications and they would fly up from L.A. with the models in hand for filming. Things were moving fast. I moved from the Tenderloin to a great three bedroom flat on 19th and Castro and hired my best friend, Brian, to work with me at the studio. When it came time to figure out the idea for my second movie, I knew right away what the story would be. While living in the Tenderloin, I would pass the Century Theatre on my way home from work and it seemed like Grease Monkeys was playing there forever! Even though I never saw the movie, the poster imagery was so effective that I knew I wanted to do something with a gas station theme. When I proposed it to the boss, it was the quickest I ever heard Scott Masters say yes to a project. In hindsight, I’m sure it was because he immediately got a boner thinking about the great “costumes” he could make for it. He was the wardrobe wizard and a costume connoisseur. Literally before I could even finish building the sets at the studio, he called to tell me that he had all the blue jumpsuit costumes being made and he found some “unnamed gas station company” tags to have sewn onto them. He also mentioned that I should go out and shoot some exteriors of the gas station for cutaways.

 

Grease Monkeys, The Century Theatre and Full Service

Grease Monkeys, the Century Theatre and Full Service

 

My movie was taking place in a small town, so during a weekend trip to Napa Valley with Brian, I took the camera along. It was like a miracle when we drove past this older looking gas station just outside of Santa Rosa. There were cows grazing in the field behind it and the main building looked like a log cabin. What a score! The wide shot of this gas station showed everything I needed it to: small town, rural, and the “brand name” matching the tags my producer was sewing on the costumes. I was so excited by this place that I failed to see what else was written on the building; so did Chet Thomas when he edited the movie, as well as Scott Masters when he viewed it to approve the cut before release. It was one of those things that was in front of your face, yet invisible. Months later when I was shown a photo of that same gas station on the front page of The Press Democrat newspaper, I saw for myself my grave error.

 

Newspaper article on Full Service lawsuit

Newspaper article on Full Service lawsuit

 

The owner's name was written on the wall of the gas station in big giant letters. It turns out the owner’s nephew lived in San Francisco, rented Full Service from a video store and, upon viewing it, saw his uncle’s gas station. The newspaper photographed the owner with his wife and children in front of the station, looking very sad. Long story short, Scott Masters and I had to give depositions, go through arbitration with the family and finally settle for a $30,000 settlement. Oy vey, my first BIG BUDGET movie! I don’t mean to make light of it, because it really was quite serious. Chris Mann had to reach out to every buyer of the movie to buy their copies back. The “unnamed gas station company” simply asked for their logo to be removed with no request for compensation. It was all very hideous and I came very close to having no career with Catalina Video at all. John Travis and Scott Masters went to the mat for me with Higgins but Chris Mann, the GM, was truly my guardian angel. Chris had Higgins' utmost respect, and when he laid out the reasons he wanted me to stay on with the company it didn’t fall on deaf ears.

 

Chris Mann

Chris Mann throughout the years

 

Within a couple of years, Chris Mann went on to own Video Team, a “Boutique Adult Video” operation that brought Black porn genres to the mainstream. He also served on the board of the Free Speech Coalition and, after selling Video Team, became general manager of John Stagliano’s Evil Angel. Thank you, Chris, for saving my career! Things were never the same when Chris left Catalina and, due to new management conflicts, Travis and Masters shortly followed. Needless to say, copyright violations were something I always tried to avoid, moving forward from my experience with Full Service. Talk about being haunted by it. Do you know how traumatizing it is for a director to see these little pixels covering patches throughout his entire movie every time some hot stud shows up wearing a gas station uniform?

 

 

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. 

 

You can read Josh Eliot's previous blogs for Bijou here:

Coming out of my WET SHORTS
FRANK ROSS, The Boss
Our CALIGULA Moment

That BUTTHOLE Just Winked at Me!
DREAMLAND: The Other Place
A Salty Fuck in Saugatuck
Somebody, Call a FLUFFER!
The Late Great JOHN TRAVIS, My POWERTOOL Mentor
(Un)Easy Riders
7 Years with Colt Model MARK RUTTER
Super NOVA
Whatever Happened to NEELY O’HARA?
Is That AL PARKER In Your Photo?

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David's Chicago Sexual Underground 09/21/22 & P(r)ick of the Week

bijouworld.com - Recent blog posts - BijouBlog - Page 9
David's Chicago Sexual Underground header

Greetings P(r)icksters!

Been busy hosting a vaccine party every week at the bar on top of all our other parties. I keep getting thanked by guys passing through the vax line and felt I just had to explain why. So here's what I sent out to my Touché posting this week. I may have covered some this in a previous blog, but it is all part of my "
why."

We are continuing our drive to get folks vaccinated against monkeypox. We want all of you to be able to socialize, meet up and find a fuck buddy, enjoy some hot passionate sex and not end up with a case of this virus. Trust me, I have heard from many who contracted the virus, and the symptoms were PAINFUL.

You like a dick down your throat, up your butt, and guess what? That's where this virus ends up. Sure, they have presented photos on the news about sores on guys' hands, chests, feet or faces. Well, what they haven't shown you are the guys with pox sores inside their dicks, up their asses or down their throats. If we hadn't started pushing guys in our community to get vaxxed, a lot more of you could have experienced this. So, we urge you to keep it in your pants and changed up our video programming and party events at the bar to help you keep yourself in check.

AIDS came to town unannounced and spread quickly and decimated our leather community. We didn't know it was here, what caused it and had no vaccine to stop it.

Today, we know monkeypox is here, how it can spread, and we have a weapon to stop it: a 2-dose vaccine shot. I wish we had this when AIDS hit; I would have a lot more friends still with me. We can stop this now from becoming an ongoing threat, but you all have to get vaxxed to make that happen.

Here's a link to the Chicago Department of Public Health's dashboard for monkeypox. It is updated on Mondays and shows the number of cases falling dramatically. It also shows the number of people vaccinated so far. It is the second dose that I focus on, because it is the second dose that allows your body to develop immunity after a couple of weeks.

9,375 is the number of Chicagoans that have received a second dose as of Monday. 9,000+ folks are fully vaxxed. Out of how many gay men that live in this city? Just think for a moment - how many gay men are there just in Chicago? All of a sudden, 9,375 seems like a good start but way short of what may be needed to keep us from a resurgence of cases.

Let's not forget the guys coming to Chicago because they live in states that haven't done jackshit about monkeypox. I checked IDs last week during our Vax Party and I can state that about 1/2 of those in the bar that came for a shot were from out of town. Florida, Minnesota, Iowa, Indiana, Texas were just some of the IDs I saw.

If these guys feel it is so important to travel this far for a shot (hopefully they had a couple more at the bar), then I would hold that all of you that live here in Chicago would feel just as strongly and make the effort to cross town if need be and get vaccinated.

We had a Pox Vax Party last night, Tuesday, September 20th, and the upcoming one is next week on Wednesday, September 28th. As we have been doing, doors open at 5pm with shots beginning at 6 pm. We start with 100 doses but have been averaging 120 or more these past few weeks. The vax teams leave with doses unused. So don't let the early days of long lines and limited vax shots deter you. You need not line up for hours, just get here by 9pm and get a shot.

We will be adding Vax Party dates in October. Our partners at Project WISH and Rush are lining up teams to provide the shots, and once I have those dates confirmed, we will post them.

Now as to WHY?

We have been thanked repeatedly the past couple of months for hosting these Vax Parties. As guys pass through the line, they let me know how much they appreciate our effort to care for our community. There's a very simple reason why we are doing this.

We are LEATHER.

Time for a little history lesson, sorry if this gets long. I came to Chicago in the mid-70s and began working at Touché shortly after it opened. Some of my early leather mentors were already in their 60s. Which meant they had participated in WWII, and they shared their experiences with me.

Before the World Wars of the last century, travel abroad was the luxury of the wealthy. The average guy lived in his town, worked there and most likely died in that same town. The thought of going to Europe or anywhere else in the world was an unlikely dream of some, but most others just lived their life where they were. You could have urges for men, but you either had to ignore them or on the "down-low."

Heading to Europe and other places to fight in either war allowed these servicemen a chance to broaden their view beyond our American shores. In particular, during WWII, these men experienced a lot more than what their hometowns had to offer. Food, for one, drink another and lifestyles even more. Far from home and expectations they may had lived under (get a job, get married, have a family), many got a chance to explore their sexual feelings.

One of my favorite photo books is At Ease: Navy Men of WWII. These guys were out at sea for months at a time. It is not hard to imagine that physical contact between them would become common. Not just sexual; lots of the photos show guys relaxing, just laying side by side, or in some contact with each other. As humans, we feel the need to touch others.

Naturally this lead some to sexual relations with other men; after all, these guys were in their early to mid-twenties and just as horny as you guys are today. It was just there, unmentioned and tolerated as a phase. But they got over it once they returned home to their girls or wives (supposedly).

One other thing men fighting abroad may have learned was riding motorcycles. It was quick method of communications within the services. A lot of servicemen would probably never have learned to ride if it wasn't for their time in the service.

So, when guys came home from WWII, some had experienced gay sex or at least developed an affinity to being with guys. The late 40s and 50s were not a time of accepting homosexuality. These guys had to live in their closets.

Which is where our leather community sprang from: those guys that had learned to ride while in the service and continued to ride when they got back. They met other guys that served and shared experiences. So, they would ride together, forming clubs with guys they could relate to, who shared their experiences. And sometimes, far from others, they would engage in man-on-man sex.

When I come to Chicago, we had a few gay bikers’ clubs. Others like myself that did not ride were drawn to the camaraderie, the friendship, the "family" of these clubs. Other leather clubs formed for those that did not ride but felt the kinship of leather.

You didn't just drop in, you had to be invited in. It was not that hard. These clubs hung out in bars like the old Gold Coast, The Redoubt, Snake Pit and eventually Touché. The back bar at Touché is called The Club Room and the walls are covered with the colors of the various clubs that have called Touché home or out of town clubs that we have supported over the years.

You could meet these leathermen and get to know them. If they felt you were their kind of guy, they would invite you to join them and once they felt you earned the right, they would present you with patches of their colors to wear on your leather.

As a member of one of these clubs, the other members were your brothers, your family. You take care of your family. If they needed a roof over their head, they bunked with you. If they were sick, you cared for them. Helped them find a job if needed. A lot of times it meant caring for those of other clubs, too. Being part of this community meant you would step up and take care of each other.

This is Touché’s 45th year. My 45th year as being part of Chicago’s leather community. And neither Touché nor I can stand by and do nothing when we have this threat to our community. Leather stepped up when AIDS hit in the 80s. Unfortunately, we lost a huge part of our leather community at that time. A lot of those club colors represent a whole group of 30-40 guys that were wiped out by AIDS. None of them are still with us, but we will never forget them.

Those of us that made it through AIDS were a part of the efforts to respond to AIDS. Just feeding folks brought us Open Hand. They made meals every day and delivered them to guys at home. Many early volunteers were leathermen and they still volunteer today through Open Hand's GroceryLand Pantry.

Being too sick to work and keep a roof over your head led to Chicago House. We raised money and bought a house, again led by a leatherman Thom Dombkowski. Now Chicago house provides roofs for PWAs across the city.

Figuring out what was causing this disease that was killing our community meant Howard Brown ramping up, from STD testing and treatment to research and healthcare, led by another leatherman, Harley McMillan.

The last couple of years brought us covid and we responded, urging all to take care, get tested, vaccinated and caring for those afflicted. Now we've got monkeypox. Just as we have in the past, we are doing what we can to take care of not just our family but our entire community. Because we are leather. It's not a fashion choice, it is how we define ourselves, the identity of the bar and how I see myself.

Whether you are leather or not, get the damn vaccine. Yes, case numbers have fallen, but it is still out there. If we just ignore, it will rear its ugly head again and we will be back to square one. The shots are free. We offer them every week. If you don't want to come here, can't get here, then get vaccinated wherever you are. Demand it. We did, and that is how we are able to host our Vax Parties week after week.

I want all my P(r)icksters out there to get vaccinated against monkeypox. You wouldn't be reading this unless you are a horny bastard, too. Let's keep this from going any further. While you wait for your second dose and immunity to develop, you can safely grab my P(r)ick this week and stay horny with me.

David

To order from Bijou, visit bijouworld.com, call 800-932-7111, or email bijou.orders@gmail.com

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