BijouBlog

By Josh Eliot

As I grow older, I get more nostalgic about experiences from my past. It’s natural to feel this way when we see things that bring back great memories and helped form who we are. Sometimes it’s seeing a movie. When I was 15 years old, in 1977, I talked my parents into taking me to see Diane Keaton in Looking For Mr. Goodbar. A decision I’m sure my parents regretted once the subject of the movie became crystal clear. I’m sure they thought that since Tuesday Weld was also in the movie, it would be pretty tame. Not! The film started with a haunting song montage including “Don’t Ask to Stay Until Tomorrow” by Marlena Shaw and it really set the tone. The movie was a tough and gritty expose on the bar fly, one night stand dating scene in New York. I’m sure mostly anyone who is reading this blog has seen this movie at some point in their life and came away from it moved or shaken. For decades, I and hundreds of others, tried to access this movie on DVD. It was originally released on VHS and LaserDisc, but evidently by the time negotiations came around for a DVD release it was dead in the water. Various chat rooms over the last decades point to the legal issues and costly fees involving the music rights. It seems to have simply vanished. It went “out of print.”

When I saw this movie at 15, I was thrilled to see the male hustler character played perfectly by Richard Gere. The moment he danced around in his jockstrap while holding a glow in the dark knife both tantalized and terrified me. I think this might have been the first “male nudity” I ever saw in a film, unfortunately for my mother sitting right next to me. The movie’s soundtrack was filled with great tunes like “Don’t Leave Me This Way” by Thelma Houston, “Prelude To Love,” “Try Me, I Know We Can Make It” and “Could It Be Magic” by Donna Summer and “Love Hangover” by Diana Ross. The music worked so brilliantly with the raw, realistic story, making the whole experience feel 100% real. Diane Keaton, famously known to be shy about her body and always dressing in long sleeves and a buttoned collar, had several nude scenes in the movie. She won the Academy Award the very same year for Annie Hall and you can bet your ass this role in Goodbar helped seal that win. What a film, but yeah, unfortunately I could not watch it and relive all those great memories and feelings because it was simply out of print.

The feeling of never seeing a movie again that you loved watching or loved working on must have been how the cast and crew felt back in the early days of porn. Before VHS, DVD and Blu-ray, the movies would show in an adult cinema then pretty much disappear. Maybe they would come back again to play as a second feature for a new release. But with the explosion of VHS on the X-rated market, suddenly all the new adult productions had a life beyond the new release stage. They would be widely available for purchase and viewings forever. That was exactly what we assumed when we were making the gay and bi porn movies back in the 1980s. There are a lot of collectors who have vast libraries both VHS and DVD. I have those collector tendencies too. I just added a new “instant favorite” autographed photo of Will Seagers to my collection. He signed a black-and-white shot from LA Tool & Die. I gave it a place of honor on my office wall just under the signed photo of Bette Davis.

I like to post trailers, clips and teasers from my library of movies for Catalina Video on YouTube and Instagram. It’s like a virtual collection, and I like the idea of letting them have some sort of permanent place in history on those channels. It seems that a new generation of worldwide gay and straight viewers really responds positively and has an appreciation for nostalgic porn clips. I thought it might be cool to post a newly cut trailer of the first movie I ever made, called Runaways, back in 1989. I used to have the VHS, which showed a young, sad-eyed twink looking through a dusty, cracked nine pane window on the box cover. Then on the DVD cover, they swapped the twink for a much hotter shot of Jake Corbin. Somewhere along the way, I loaned out that DVD and never got it back so I started searching for it online. I found the movie available on several websites with a fabulous new cover but, much to my dismay, the DVD version said “out of print” - leaving only the digital version available for download or single scene viewing. I thought, this must be a one-off. Maybe the owners of the Catalina Library sold out and will re-release it down the line? I purchased the download, cut my trailer and posted it on my Instagram and YouTube. Then it happened again with another title I was looking for and I started wondering what was going on. Why aren’t these titles available? Suddenly, I received a mailing for a major sale on most if not all of the William Higgins classics like Pizza Boy, Hot Rods, The Young and the Hung, Preppy Summer to name a few, with the title of the sale saying: “Get Them Now Before They Are OUT OF PRINT Forever.” There were also Dirk Yates and Catalina Video sections as well.

A little piece of my heart broke at that moment. What we always thought would be around and available on some sort of tape or disc or “newly invented format” was not to be. It became very clear to me that there would be no future restoration of these movies, there would be no re-release of these movies, there would be no “tangible,” hold-it-in-your-hand version of these movies any longer. I would have been content leaving this earth thinking that some “physical form” - complete with original movie artwork of the Catalina Library featuring John Travis, Scott Masters, Chet Thomas, Chi Chi LaRue, myself and others - would always be available. But evidently that is not to be. I get the digital thing, but it doesn’t mean I have to embrace it. I already had huge respect for the way BijouWorld treasures their films, directors and customers. The restoration costs they absorb to make their library of films the best they can be for future generations to enjoy and collect in a physical and digital form speaks volumes about their integrity. Even though the Catalina library of movies we made will not get the same “white glove” polished treatment Bijou offers to its library, I am more than content to know that the movies I looked up to and shaped me as an adult video director are being preserved.

I feel the need to have a “Happy Ending.” Everyone loves a happy ending don’t they? On October 23, 2020, the DVD version of Looking For Mr. Goodbar was finally released through LA Entertainment, an Australia-based company. Something nobody saw coming, and which a lot of collectors are anxious to own.

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. 

By Will Seagers

Hi Folks... Will here! After a fun set of blogs touring some of my old San Francisco haunts and fun spots, I am going to follow the lead of my co-author Josh Eliot and return to basics - SEX! This is Bijouworld.com isn't it? Lol. This blog will come from a personal angle - my kind of sex and some variations that I have been "talked into" over the years.

First of all, besides being in porn, I love looking at porn myself. Born with a super imagination, it is easy for me to climb right into a photo set or video propelled by my own fantasies. This started for me at a very early age with print media. I remember discovering a treasure trove of straight porn under my aunt and uncle's bed at about the age of six or seven. (Believe me, it was all my uncle's collection.) In the mix was that all-so-famous nude Playboy spread of Marilyn Monroe. What struck me as odd was that I knew that it was supposed to be taboo and erotic. But, I knew something was up when I wasn't getting off on it! (Yep... gay at a very early age!)

It wasn't until puberty hit and I saw my first full blown porn with all sorts of sex acts that I really became interested. I knew right away that I was looking at the guys more than the gals. Of course I shared this with other guys my age in the neighborhood in jerk off get-togethers. Oh what fun. To this day I still find the topic of guys beating off together very arousing.

So, we'll fast forward to my later teens and early twenties. I was out, active and nearing the beginning of my porn career. I admired good looking men and found myself hot and bothered at the prospect of physical contact. Jerking off and cock sucking took center stage as my favorites. I loved a pretty (and large) dick when available! I never even knew about fucking until I was out in the woods with a very hot guy that picked me up on the "boards" of Asbury Park, N.J. This was The Boardwalk - a notorious area for gay cruising in the 60s. Much to my dismay, this fella kept turning me around to play with my ass. I still remember urging him to stop - as this first ever fuck was rather painful. Ha! The pain soon went away! LOL.OK. So, there were now three things in my repertoire. Fucking took a little while to get used to and like... but it did come to pass.

It was in my mid twenties when I moved to San Francisco and my porn career took off where my "Vanilla" ways were challenged. I remember going to the legendary Tuesday nights at the Club Baths at 8th and Howard in SoMa when any number of times I discovered people weren't satisfied with just fingering my ass... they wanted whole hand entry. I don't know. Call me prim. But, I just never got off on the concept of fisting or being fisted. I liked cocks too much! On several occasions, I was urged to get a "super manicure" so I could join in the fun of fisting someone. I tried a couple of times... but had much the same reaction of looking at straight porn. I was intrigued by how it all worked... I mean, watching half my arm disappear into someone. I guess there was some pleasure in bringing pleasure.

A slight variation on the above theme was foot fucking. I never heard of it until I was ankle deep in it! It started off with with some foot play and shrimping. Then, the next thing I knew I was in a whole new episode of sex. Although I experienced it twice and was turned on by it... I never actively sought it out again.

Also, in that same time frame and in S.F., I was really attracted to a super handsome young man. I mean, this was the kind of attraction that doesn't happen often. (I still get hot and bothered just remembering him!) And, when I found out that it was mutual, I thought it was too good to be true... and, it was. He was into water sports. The whole idea turned me off. I did not want either of us to play the part of a urinal! But, I was so turned onto this guy that I relented. It wasn't as bad as I had imagined and I got to be with this really hot guy! No, I did not add this to my permanent repertoire... but, I didn't rule it out, either.

Like I said, I was propelled into this stream of thought by my co-blogger Josh's "Ball Broth." I got a clear sense of what he thought was sexy and what wasn't. I hope the above retracing of my "sexual trail" provides some similar highlights. I don't throw shade on anyone's sexual proclivities. But it might be interesting for some to know just how "Vanilla" I actually am.

Bio of Will Seagers:

Will Seagers (also credited as Matt Harper), within his multifaceted careers and participation in numerous gay communities across the country in the '70s and '80s and beyond, worked as a print model, film performer, and DJ, just to name a few. 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.

George Ferren, a close friend of Will's frequently mentioned in his blogs, was a major figure in the San Francisco music scene in the '70s/'80s. His current music is available for your pleasure on Soundcloud: BY GEORGE

 

‘Porn is not destroying the environment.” – recent tweet by Steven Toushin, owner BijouWorld.com


I’ve noticed on Twitter, that is, on my own account especially, a stigma, and this stigma is connected to a larger stigma.

The stigma isn’t homophobia specifically, nor is it what I term a type of classism or elitism, or that somehow only certain persons with certain academic credentials are worthy of a voice in discussing serious issues.

The stigma is what I call pornophobia. It manifests itself in this case, specifically, that because our blog is part of a website that sells gay porn, it is somehow cheapened, deemed unworthy of respect (not that anyone has directly criticized it), and perhaps for diplomatic reasons, persons ignore it as not worthy of artistic or intellectual study. If the blog was located on a not for profit site like an archives or a museum or a library, I think, the stigma would not be as prevalent.

Porn is an integral party of LGBTQ history, in fact, human history, and to just assume that it is a manifestation of “baser” instincts is wrongheaded and bigoted. Some of the earliest gay pornographic films were products of an artistic motivation to incorporate sexual experiences into narratives with story arcs, developing characters, and profound symbols.
 

They were liberators for the newly liberated. Watch The Idol and The Blue Angel, among other films we make it our mission to preserve and disseminate. They may be somewhat anomalous in their depth and scope, but there’s a range here, and even some of the early J. Brian titles, which feature unabashed sex and not much else, convey their own unique ambience of carpe diem, imply that the cultural composed connection between gay sex, in fact, any type of sex, and shame is as breakable as a bruised reed.
 

Too much literature and art has been created, I think, and this dynamic includes even LGBTQ persons themselves, that focuses on the relationship between many forms of harm and porn, ranging from the stereotypes of the gay porn movie as inextricably linked to an oppressed audience suffering from frustrated sexuality and exploitation, to even condemning all porn as fundamentally misogynistic.

I am not claiming that all porn is of artistic merit, nor am I making any claim that the porn industry (distinguishing between the industry and the product) has not been part of exploitative and oppressive structures.

But any action that involves bending or breaking taboos is indeed a risk. Taking that risk in expressing one’s sexuality means confronting and continually reimagining the primal center of human life, in fact, all life.