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!

Lon Flexx, born David Lee Anderson, was one of those performers who did so much and died so young. He wasn't wild and at times unfocused like the great nineteenth century opera singer Maria Malibran who would ride a horse all day and sing all night and also find time to visit a hospital for dying children, or like THE Judy, who could sing and dance and act all night but killed herself to do it. Lon, as one Bijou reviewer notes, “might have been fucking like Whitney and Bobby on a crack binge, but at Little Jackie-O always shone through the sweat.” 

Lon made over thirty gay porn films, the bulk of which were made between 1989 and 1992, including two Bijou classics, He-Devils and Tough Guys Do Dance. He made other films such as Sleeping Under the Stars (according to one gossipy source, Lon wore a hairpiece in this one), Heat in the Night, and Davey and The Cruisers. 
 

One memorable scene in He-Devils features Lon Flexx dreaming of beefcake Alex Stone in a railroad tunnel. Alex strips from macho clothing and fondles his chest and tits. Rubbing his tits hard, Alex jacks off as the camera offers larger-than-life close-ups. Both Lon and Alex take to beating off in this red-lighted segment. 

Later, after Lon wakes, his buddy and traveler, Michael Braun, imagines himself with lovely Lon in a bathroom of a hotel. Uncut and handsome Michael sucks Lon off before being fucked up the ass. Their oral sex is excellently photographed, too, with lots of saliva dripping from cock and mouth. 
 

In one scene from Tough Guys Do Dance, called “Phone Call From a Stranger,” a young man in a tuxedo (Lon Flexx) is seen cruising dark alleys when a nearby pay phone rings. He answers it and a mysterious voice instructs him to come to an apartment across the street. He arrives to find a nude man masturbating. The man reveals an extraordinarily large cock. The young visitor slowly strips out of his clothes and joins the stranger for sex that is sensuous and also somewhat threatening. 

The consensus about Lon's legacy is that he was passionate, not mechanical, in his performances. He combined, as he shows in the scene from Tough Guys Do Dance, sensuality and power. 
 

And perhaps the power came from a confidence about his own sexuality. In an interview with Manshots magazine in October 1990, he mentions how he danced with other guys in a straight bar after helping in a fundraising drive for a local opera company (class act, he was!) when he was going to the University of Oklahoma. Not exactly the jolly tearoom for gays, especially in the 1980s.

Lon reflected, “We danced all night – and sure we got some stares, even some gawks, but nobody said a word to us. And at the same time, at the other college, guys were getting beat up for just attending gay meetings on campus. People don't mess with you when you feel strongly about something. I never forgot that, and that's how I decided to live my life.” 

And he lived his life with power and passion and integrity, but we lost him too soon, as he succumbed to something unfortunately more powerful, AIDS, at the age of thirty. 

In 1985, a book came out called How to Enlarge Your Penis. Yes, instructions on how to get that all powerful king of dicks that many men have always wanted. According to the book, by someone with a degree in history (what does history have to do with creating a big dick?), various types of vacuum pumps are apparently a particularly effective way to enlarge the cock.

Now, in ancient Greek and Arabic, there were manuals on the subject (I’m going to take from an Arabic manual) that proscribed that when an Arab boy reaches the age of six, his father initiates him into the practice of “JELQ”; This is where the boy slowly strokes his cock form bottom to top every day for an half an hour to enlarge it. Now this is a very good and understanding father.

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.

Someone on the “anything gay” website Datalounge responded to a question about what gay porn star of the past influenced them the most. The name Brian Maxon (also known as Brian Maxx), came up. 

Given that I work in a veritable Pornopolis, I thought I could perhaps contribute to the discussion. Yes, we at Bijou are all things porn, but other than his cameo in Giants (and yes, it is giant) and his starring role in our title Two Handfuls, I didn't find out too much about this massive blond stud. 

I pulled the folder, and the pictures gave me a woody. What a bulge, and the his eyes entice you, but also communicate, “you can come so far, you've got to earn an approach to my godhood.” 
 

But who was he? Where was he born? Where's the backstory?

I did find out his penis size is seven inches, cut, and he weighed 220 pounds. But here's the clincher: he was 6 foot 4 tall inches. That's tall in my book. I like them big but also tall. 

I also found out that in 1985 he starred in a groundbreaking bi movie calledThe Big Switch. 

He stopped making movies in 1999. 

That's it. 

Inquiring minds want to know. 

Anyone got any more information on this awesome retrostud?