BijouBlog

Blonds have more fun, as the saying goes, and when retro blond god Chris Allen was in his prime, he seemed to be everywhere! Just taking a look at his output on sources like Gay Erotic Video Index is mind-blowing. 

Yet we actually know very little about him outside of his movie and magazine appearances. A couple of sources say he was active (and boy was he active, especially in the eighties) from 1983-2008. So I would assume he is still alive, not a victim of the AIDS crisis that took so many legendary porn stars away from us.

His blond uncut (always a plus, in my humble opinion, and it is 8.5 inches) godhood graces so many Bijou Video classics. Here's a run-down of some his more memorable moments, even in more peripheral roles: 

In Hot Splash, a Toby Ross film from 1985, shows him in full splendor enjoying a sucking the nice-sized cock of David Ashfield, another seemingly omnipresent gay porn star of that period. 

In Getting It, he's part of the “Grand Hotel” cast that pulsates orgiastically around the main relationship in this film, between Jim Bentley and Shawn Michaels. Michaels memorably “attacks” Allen in the toilet, according to the review in Manshots. 

In the Nova film Hunk, Chris has a sex scene with Jesse Koehler (who also appears in a couple of Surge productions including Rangers). 

In The U.N.C.U.T. Club of L.A., he's one of the uncut coterie of guys who live to show off their foreskin. He's here mostly as exemplar of the fetish, but as I said above, his foreskin is a plus, and many guys during the period of his prime, especially Caucasian males, were routinely circumcised. 

According to Gay Erotic Video Index, in this film, Scott Roberts is picked up by Chris Allen and John Andrews on their way to a picnic in the mountains. Scott eats Allen's butt and lunches on Allen's and Johns sausage. Allen rims Scott and then two boys fuck Scott until they cum for desert. 

Lee Landis visits Allen's home and they get out porn magazines and beer for use in front of the fireplace. Lee chooses straight porn and won't let Allen touch him as the two jack off together. 

Allen and Lee set off into the mountains and Allen brings out the porn rags again. They both start to jerk themselves off but then Allen offers to substitute his mouth for Lee's hand. Lee accepts this arrangement. After some oral sex, Allen suggests his ass hole would be better yet so Lee fucks him is several positions. 

Chris Allen is also in the upcoming Bijou Video release, Nothing But the Best (1984), which co-stars Lee Stern, Scott Roberts (again), Sean Williams, Justin Tyler, Steve Knight, and Steve Roberts. 

I discovered, as well, that he appeared in an Old Reliable video called The Professionals, where he,

among other hung studs, jacks off solo. 

Chris also appeared in many magazines of the period, and I found in our files some a photospread from a 1980s Inches magazine.

That spread gives us some personal information about him, that he drove around L.A. In a yellow pick-up, he likes guys younger than himself (he was 22 at the time!), and that while making his movies, he gets so turned on and pulls his pud all the time off camera.

Watch Chris Allen videos on our streaming site!

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

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.

One of the greatest stars of 70s and 80 gay porn, one of those gay macho idols who just exuded steamy uninhibited mansex, is gone. I've tried to locate him, and I can't find him.

Where are you, Will? 
 

 

Will appeared in some of the legendary gay porn movies of all time, and he worked with gay porn icons like Al Parker and Bruno. He made notable appearances in Wanted, Fire Island Fever, the Bullet Videopacs (available on DVD from bijouworld.com and streaming at bijougayporn.com), and of course, the Joe Gage classic, L.A. Tool & Die. 
 

 

 

 

But what I was trying to dig up was some personal information ala “Lifestyles of the Rich and Famous.” He's achieved celebrity status as a gay porn retrostud par excellence, but what do we really know about him off camera? 

I found out he was born in 1951 in Jersey City, New Jersey. He was active in making porn films from about 1978-1999. (He made one bisexual movie, Bi Surprise.) He appeared in some movies under the name Matt Harper. 

He showed up in many advertisements and reviews for the movies he appeared in in such retro rags as Playguy, Honcho, Mandate, and Studflix. But I could not locate one interview with him. Not one. 
 

I did some more digging (trying not to get distracted which happens when I look at pictures of him in his gay macho glory), and I did find out something not too exciting, but interesting: he was a disco DJ. He spun vinyl at San Francisco gay bars in the Castro district such as the Badlands and the Aloha. Chances are he probably played “Baby I Love You,” by Easy Going, which is the song in the bar scene in L.A. Tool & Die. 

One person on a message board claims he did not show up to spin in the big engineer and workboots he wore in many of his films, but in preppy Bass Weejuns. That person was disappointed. I empathize. 

I'm afraid that he may have suffered the same fate as so many porn stars of that era: death from AIDS, but I can't find any record of it. 

Does anyone know is Will is still around?

We at Bijou Video are preserving his substantive legacy, especially in our recent remastering of the Bullet Videopacs. 
 

 

Check out a couple of classic Will Seagers videos as an end of the summer snackgasm. 

UPDATE! From a private source: Matt Harper aka Will Seagers of #vintagegayporn fame is still alive and well, living with his long-term partner. Watch his movies now at bijougayporn.com/tour/sets.php?…