BijouBlog

I did the steam test this week in Chicago, which has been colder than Siberia, Antarctica, and Mars. I filled up a measuring cup with hot water and tossed it out of the window of my storage room. I was temporarily blinded by that amazing, but sadly fleeting, release of energy I had created.

And all that steam, an explosive combination of extreme heat and extreme cold in this case, got me thinking of not just what steam is, but how authors and artists and filmmakers use steam to convey multiple ambiguities in their works of art.

But steam is not the fog that hides haunted houses, though it resembles it superficially. Steam is released physically under conditions of great thermodynamic pressure. Once released into the air, it dissipates, but it can also be harnessed to provide more power. (No steam engine, no Industrial Revolution!)
 

For example, the song “Steam Heat” compares the steam heat of a radiator to what will become the heat of passion, however unfavorably. Kissing is what gets that energy, sexual energy released:
 

I got (clang) (clang) s-s-s-steam heat, 
I got (clang) (clang) s-s-s-steam heat, 
I got (clang) (clang) s-s-s-steam heat, 
But I need your love to keep away the cold,

I got (clang) (clang) s-s-s-steam heat, 
I got (clang) (clang) s-s-s-steam heat, 
I got (clang) (clang) s-s-s-steam heat, 
But I can't get warm without your hand to hold,

The radiator's hissin', still I need your kissin'... 
To keep me from freezin' each night, 
I got a hot water bottle, but nothin' I got'll... 
Take the place of you holding me tight

The sound of the hissing and the clanging is dissonant and mechanical, the heat; the thermodynamics reveal great struggle to be harnessed, to work, to produce, in contrast to the organic steam produced by the physical and emotional interaction between the lovers.

And in the vintage gay porn movie Turned On!, Al Parker wanders in a fantasy sexual world that resembles a literally steamy gay bathhouse. The steam blurs conventional physical and emotional boundaries. It dissipates, but in its dissipation somehow creates more energy rather than declining into entropy or freezing into rigid crystals. Thus the men multiply, the cocks multiply. Energy is eternal delight, according to William Blake, and in this film it transcends thermodynamic laws.
 

 

For almost fifty years, Bijou Video has been committed to helping you create your own sexual steam. Check out some of our particularly steamy titles and use the following coupon code for 30% off all vintage gay porn DVDs now through February 28: dvds30

I was reading a piece lately about some rather deplorable conditions (bedbugs, ew!) and raunchy actions (primarily sex) on Chicago Transit Authority (CTA) trains. The evidence originated from those who should know, the operators of the trains.

Now I am a regular rider (both by choice but also because of financial constraints), and I have noticed some odd behavior lately, and one could possibly attribute some of the aggressive behavior to the polarized climate of stress since the last election, but let's face it, the transportation is for the public. And no one in a public environment is ever completely placid and uniform, despite the presence of certain social etiquette mores.

I won't discuss the panhandlers or persons who sadly are suffering from some form of mental illness, specifically, as they, regardless of their individual backstories, have always been a constant presence on the subway. I will instead focus and comment on the more odd, and one even charming, people and actions I have noticed through the years.

A heavyset African guy plugged into headphones was falling asleep. His head gradually ended up on the shoulder of a young woman sitting next to him. She actually responded nicely, gently nudging him, and I heard her say, “You were falling asleep.” He looked dazed and immediately shut his eyes again. This falling asleep on people is not uncommon; a former coworker of mine told me she did the same, and she told me the nice elderly woman next to her just let her rest that way through most of the journey. I have never fallen asleep on anyone on the subway, though I have often through about resting my head on the chest and shoulders of a few hot guys here and there on various trips.
 

One rush hour, on a particularly crowded train car, a woman began flossing her teeth. I think this action ranks with the bedbugs. People were so jammed in and in obvious discomfort that this action went unnoticed, though a heard a few tsking sounds here and there. Ew!

I overheard a woman (and yes, I was listening), overall rather in coarse in clothing and flat of voice, firing someone. Yes, on a cellphone, and yes, on the subway. The corporate jargon words and phrases I heard included, “I don't think this position is working out for you.... as a manager, I've felt the need to discuss what is going on with you recently.... you are just not a good fit for us right now.” On the subway? Come on! Where is the sense of proportion, boundaries?

I've noticed these three incidents involved boundaries. People are doing actions in public that one normally does in private, either at home in the bedroom or the bathroom, or in an office.

And speaking of boundaries, I must admit, I've never seen any overt sexual activity on the subway, and I really don't remember any particularly passionate public displays of affection. But then, I don't take the CTA that late, when more of these incidents might occur, the results perhaps of intoxication other factors that cause one to break taboos.

And lately, because the majority of the riders are plugged into phones (perhaps the new conventional subway behavior), certain actions tend to stick out more, even a conversation. For example, I overheard a heated conversation between high school boys who looked like conventional nerds with big thick glasses, 90-pound weaklings who would get sand kicked in their faces by jocks, about obscure astronomical data. Something about orbits and velocity. Really advanced math. Well, in a few years, these kids will be making the big bucks and never have to ride the subway again.

Still, in my subway observations and musing, I would rather fantasize about the more conventional hot young business guys in their tight dress pants and gleaming brown derby shoes or the rougher types in athletic gear freeballing.
 

People on the subway have come a long way since Ethel refused to ride it in blue jeans when she had to take Lucy, vaguely disguised as a beekeeper, to the silversmith. Lucy had somehow gotten a loving cup/trophy stuck on her head.
 

But that's so much interesting than staring at a phone screen, eh?

The early 1970s. An affluent suburban landscape with plenty of space between spacious homes that today would be characterized as vintage. The high school that serves part of this district is a 1960s building with only two floors, bright brick on the outside, gleaming white tiles in the hallway, and wide windows, quite progressive compared to the multistory, dark brick, and overall prison-like structures that were the norm in previous decades.

Yet across the road a ragged piece of what might originally been a forest preserve served as a hangout to the cliques in that high school called “freaks” or “loads.” (I was never sure about the difference between the two in my marginalized social status.) They wore flannel shirts, faded Levis, and big boots (the girls too). They sported long hair (and I remember so many blonds). They really made a point of being distinct from the Protestant WASP jocks and cheerleaders that pretty much ran the school and who probably ended up in that day’s one percent.

And they smoked in that area, which everyone called The Hole. Now I’m not sure if any other type of activity was going on (given that name), because I was afraid to check it out, but it was common knowledge that smoking was going on, and not just cigarettes. Yes, they smoked what many at that time called grass. Diane, a girl on my French class who identified as a load, confirmed that information. Diane was a load (and I got the feeling she may have dealt the substance in hindsight).

Flash forward to college. I was a virgin in the world of illicit substances, until Denise and Punky and some other girls introduced me to the joys of smoking pot (we called it that name by that time). Denise always seemed to have it, because she got it from some big black guy named T.J. Punky too, because she was a punk gal who knew artsy guys on the North Side of Chicago. Denise and I smoked something called “Sense A Million,” which was supposed to be quite potent. I remember vaguely wandering through tunnels that connected the buildings on the campus and making claims that the overhead lights were beautiful and brilliant.

Fast forward to my young adulthood, gayling in the city both before and after coming out, and once again pot seemed to be central to my social activities. The lady who cut my hair used to deal (I had to call and ask for shampoo), and one year she gave me a leafy pot “bud” for Xmas. Another friend used to get it from some unknown dealer in the artsy neighborhood, and often weekend consisted of our own private “pot parties” at my place. We made pizza from scratch while high during the munchies phase (while the pizza was baking, we ate the standard Doritos and donuts).
 

One time this friend and I went a jack off party completely stoned. On the way to the party, we started putting the words “lava lamp” or “planet of the apes” into various movie titles. Think: Our Lady of Planet of the Apes, On A Clear Day You Can See Planet of the Apes, or my favorite, Hello, Lava Lamp. When I came up with that one, I collapsed onto someone’s grassy front lawn, laughing so hard I could not breathe. Needless to say, my wiener did not function very well at the jack off party, but I did end up that night taking home a hot black guy who dressed like a cowboy (who was also stoned or drunk and as a result, a limp dick).
 

In my more mature years, financial exigencies have prevented me from enjoying the vicissitudes of this marvelous substance.

Based on the above, I associate pot/weed/grass with a time when social activities didn’t depend on technology. Yet even though one could argue that getting stoned wasn’t exactly the best way to connect, when everyone is stoned … or even just two persons … I found that in some persons a sense of humor arise that were not always present in other situations, even a repressed poet or musician.
 

Overall, I found the best “pot highs” to be a different release of inhibitions than being drunk; senses were heightened, and sometimes very amazing creative thoughts appeared and disappeared. No violence, no teary confessions, no hangover. Everything is fun, silly, and everything tastes good. Joy. Unabashed, uninhibited joy.

Maybe the cock doesn’t rise up literally when one ingests pot, but the Romantic poet Coleridge’s imaginative “fancy” did from the depths of my cannabis-intoxicated soul. That same poet wrote the famous dream-vision poem Kubla Khan under the influence of opium.
 

Maybe that could be a motivation to finally legalize that marvelous grass, weed, pot, or any other name.
 

When I was younger and discovering gay sexuality through paperback books, I came up the work of Phil Andros. In the early 1990s, soon after I came out, I acquired (used) some of his leather/fetish-oriented fiction, which was published by an outfit called Perineum Press (what a name!). The book was called Different Strokes. It's been a while since I've read it (in fact, I just found it on my LGBTQ bookcase at home), but it contains descriptions of rough sex, verbal abuse, boots, leather … a world that, as I just found out, was occurring in real life very, very close to where I currently live in the Uptown area. A long time ago. Before Stonewall, gay liberation, rainbow flags, and prosperous/hipsterish couples pushing strollers.
 

Phil Andros, as I recently found out, was a pen name (and also the name of the prodigiously sexual hustler character in his books) for Samuel Steward. Born in the early part of the last century, he lived a double life as Dr. Steward, an English professor at two Catholic universities in Chicago, erotic artist/author, tattoo artist Phil Sparrow (including, at one point, for the Hell's Angels!), and, ultimately and consistently, sexual rebel. He was as openly gay as one could be in the days before Stonewall; he even decorated his first apartment in homoerotic murals that showed dick.
 

 

Yet he expressed his sexuality not in trying to find a lover and live quietly and monogamously in the closet; no, his sexual world consisted of sailors on leave; married guys who, because they were on the receiving end of Sammy's amazing blowjobs, did not consider themselves gay; rough trade, especially with African-American guys from the South Side; and eventually, participation in the early days of openly gay leather BDSM begun by the equally maverick Chuck Renslow.
 

Overall, he gloried in mansex, but given his background in literature and art, found ways to distill its essence in poems, fiction, and visual art. And his legacy was kept hidden until his elder years, post-Stonewall, when gay sexuality literally exploded.

There's so much more (and I will share more tidbits in future blogs, including his connection to 1970s gay porn), but what really floored me is where his sex life, which for many seems like a masturbatory fantasy or porn movie, occurred. A couple blocks from where I dwell. In a nondescript courtyard apartment building (I haven't found out the exact apartment number). I did check out the building on Zillow, and the apartments don't look that rehabbed. Maybe there's the original floor where Sam knelt before the boots of some greaser type in the 1950s.
 

As I said above, I will share some more tidbits, but in the meantime, you can check out a book on him, and you can also check out our early 1970s porn (including this J. Brian film based on one of his novels) to savor visually some of the amazing sexual energy that happened in that humble apartment in the Uptown neighborhood of Chicago.

I was looking at some footage on YouTube of Chicago in the 1940s (my nostalgia kick keeps kicking and kicking and kicking, ouch!), and I noticed, as most of the footage was of tourist sites like “State Street, that great street” and its plethora of movie theaters.

And these were not movie theaters hidden inside in decaying malls or bland multistory cineplexes with parking garages, but both glitzy and palatial structures (quite a combo!) that beckoned to passersby (yes, people walked more, it seems, to entertainment) through signs.
 

Yes, the marquee, the name in lights, oh so Old Hollywood. In fact, on one of the videos, I saw theaters whose marquees displayed Leave Her to Heaven with Gene Tierney, and on another one, Joan Crawford in A Woman's Face. Heady stuff for a gay Old Hollywood fan!

The adult movie houses, and in the gay world, often called porn palaces, followed suit when censorship restrictions were lifted in the wake of the 1960s sexual revolution. Even though such venues were usually ghettoized "red light” districts (think 42nd Street in New York City) and often shared buildings and neighborhoods with the seedier peep shows and massage parlors (live sex, less cinematic content) and the like, they still boasted the marquees and the names in lights.
 

In fact, I remember in the camp classic Valley of the Dolls, Neely O'Hara sees her friend Jennifer's (now a star of soft-core French porn) name lighting up that ubiquitous XXX signage as she wanders drunkenly through what is probably the Nob Hill area of San Francisco.

Gay XXX's home in Chicago was the Bijou Theater, and in its heyday, it showed some of the famous, finely crafted classics of gay porn (shot on film, of course). A premiere there was akin to a red carpet event, like it was in Old Hollywood.
 

Porn studios like Hand in Hand Films and Falcon and, later during that Golden Age, Al Parker's Surge Studios were definitely producing more substantive work, but the assembly-line, amateurish product with mostly anonymous participants (like that being churned out in Europe these days) were confined to peep show booths.

The Bijou Theater thus showcased some groundbreaking gay porn films, but in tandem it also showcased the stars of those films. Again, think Old Hollywood. Fans, autographs. Stars!
 

For example, when Al Parker, the greatest of them all, appeared at the the theater in the early 1980s, he did a live sex show (a live orgasm to complement so many of those on-screen orgasms), but according to Steven Toushin, owner of the theater, he spent most of the time there signing autographs and talking to fans.
 

And the uber-Daddy of them all, Richard Locke, also appeared at the Bijou Theater in 1984. Here's a description of the event, which, as with many other events that showcased porn movies and their stars, blurs the lines between on and off screen performances in an enticing, exciting way:

“The screen on the Bijou screen – a dimly lit room at truck stop, fitted with grimy cots, where truckers catch forty winks before they hit the road again. [A scene from Joe Gage's 1976 classic, Kansas City Trucking Co.] In this case, however, the truckers are not sleeping; they are fucking and sucking with a vengeance. The center of the action is the older, experienced trucker, played by Richard Locke, muscular, masculine, bearded and obviously enjoying himself on screen. The light on the movie screen fades, and suddenly a figure appears from behind the screen. A cool blue light silhouettes a muscled body and music builds. A new kind of show is in progress at the Bijou Theater — but Richard Locke is still the center of attention... Richard turns to face the audience, clad only in a leather harness, stroking his erect penis... Finally he reaches orgasm, shooting onto the mesmerized audience. He turns back, the lights fade, he exits and the film Richard Locke returns to the movie screen.”
 

Now, the above event may be unique to the dynamic of gay porn and its purpose of sexual exploration and gratification, but what happened after that movie/performance links to that Old Hollywood world:

“After his live show, Richard meets his public, signing autographs and talking to a group of eager fans. He is friendly and unassuming as he talks. One young man asks Richard to autograph his back and tells Locke that he will have a tattoo made of the signature. (A later encounter with the same man proves the truth of his boast.) One by one the crowd drifts away and another day's work is finished for Richard Locke, erotic entrepreneur.”

Amazing, and so exciting! Joan Crawford would have been thrilled (perhaps more by the method rather than the content!). Richard, like she did, was working a publicity machine, one of his own making. And he understood that what fuels that machine are the fans and their fantasies, hopes, and dreams. The young man with the tattoo in the quote above was living embodiment of these emotions.

Yet, unlike Joan, he skillfully kept his “divo-hood” on the screen, but at the same time let that larger-than-life screen persona become real in the flesh when he appeared live in that brief moment of ecstasy.

Some say home video (and then the internet) and the tragedy of AIDS killed this world. Perhaps, on the surface, yes.

But in hindsight I think it's a deeply complex issue revealed in today's cultural climate as red carpet events still unfold, and the culture of celebrity has become something like a 24/7 fuck fest. But the cinematic magic that thrives on finely-crafted illusion that elicits an audience's deeper intellectual and emotional responses gets lost in a weird combination of special effects and banal cynicism.

The great porn stars like Al Parker and Richard Locke created and crafted a visual and sexual magic in their films and in their performances and in their audiences.

Bette Davis said in her movie The Star, “If you're a star you don't stop being a star.” And thanks in great part to the Bijou Video's preservation and revitalization of their legacies, Al and Richard still shine.

Look for their movies on DVD at BijouWorld.com and streaming at BijouGayPorn.com, including our brand new release The Best of Richard Locke!