7 Years with Colt Model MARK RUTTER

By Josh Eliot

 

I popped into work to see how editing was going on my movie Easy Riders. Chet Thomas was the post-production supervisor and a good friend. I mentioned to him that I was asked out on a date by a bartender from the Gold Coast, a bar in West Hollywood. He asked me which one and I described him. “Oh my God, you know who that is don’t you?” And I was like, “What?” He jumped up and started rummaging through a large plastic bin, throwing magazines left and right. He stopped when he found Pit Stop magazine from Surge Studios. On the cover was Al Parker and Mark Rutter and inside was a full layout of hardcore shots. “Is that him?” Chet asked while I did a double take, “Yes!” Chet went on to tell me the history of my mystery date. After shooting the layout for Al Parker’s magazine, Mark Rutter was introduced to Jim French and was signed as an exclusive film model with Colt Studios.

 

Pit Stop magazine: Al Parker and Mark Rutter

Pit Stop magazine: Al Parker & Mark Rutter

 

His scenes are in:
Genuine Leather - scene 1 with Joe Falco
Best of Colt Films 1 & 2 - scene 9 with Rocco Rizzoli (aka Giorgio Canali)
Best of Colt Films - 1 & 2 scene 7 with Ed Wiley
Best of Colt Films - 3 & 4 scene 6 with Clint Lockner
Best of Colt Films - 5 & 6 scene 6 with Hank Ditmar
Vault Classics - scene 6 with Bill Eld, Dick Trask and Long John

 

Colt models Clint Lockner and Mark Rutter

Colt models Clint Lockner & Mark Rutter

 

I was nervous as hell for this date because in the magazines he definitely looked like a bad ass, even though when I met him a few days earlier at a house party held by the Gold Coast manager, Karl Etheridge (Melissa Etheridge’s uncle), he was really nice and easy to talk to. It turns out he was nervous too, so he invited his friend Valerie (ex-mayor of West Hollywood) and her girlfriend to join us. We met at a bar called Rafters in WeHo and all got along great. We had lots of fun and drinks, and of course I wasn’t about to not go home with him on the first date - that would just be foolish. He seemed to know everybody, no matter where we went, and even managed to get himself a walk-on scene with Donald Sutherland and Leslie Ann Warren in The Great Train Robbery. Early on, he surprised me with a camping trip, but when we got there I discovered it was a huge group site with the Satyrs Gay Motorcycle Club. He would always shock me with things like that. The weekend was bizarre and quite intimidating!

 

Mark Rutter on the Great Train Robbery set and Mark and Josh camping with Satyrs Motorcycle Club

Mark on the Great Train Robbery set (top); camping with Satyrs Motorcycle Club (bottom)

 

Within two months, we moved in together. I was 29 and he was 41, but that never made me question our relationship. Mark had never lived with a boyfriend or partner, so this was huge for him. It took a ton of persuading because he had always been very independent, doing exactly what he wanted to do with no one to answer to. Let’s just say he moved in kicking and screaming, but shortly afterwards admitted it was the best decision. His cat Boba Leni got along with my cats Elvira and Little Ricky, and we lived as one big happy family for years. He continued his job as bartender, which was perfect for him because he was very social, and he never had anything negative to say about my work with Catalina Video (but he did refuse to do any kind of cameo in my movies). We took great vacations to Puerto Rico, Canada and San Francisco to visit his family. His mom is super sweet and only spoke French, so Mark translated. He was the best uncle to his twin nephews, and won over my mom and dad too.

The majority of our relationship was smooth sailing, always progressing and moving forward. Until 1994, when Mark and I attended the Gay Erotic Video Awards. It was going to be a pretty big night, as the movie Revenge of the Bi Dolls was up for numerous awards. Things were going well until former Catalina star Kevin Williams (Hot Rods: The Young and the Hung II) came over to our table. He started talking to Mark, who became uncomfortable and got up from his seat, walking Kevin over to the side. I was like, what the fuck is this? I had never met Kevin Williams, and as far as I knew neither had Mark. I went to the bar and caught up with Chi Chi LaRue, where we did kamikazes. When Mark returned to the table, I joined him and started quizzing, which I wish I hadn’t. After much push and pull, he told me that Kevin was at the Gold Coast the other night where he cornered him in the bathroom…. so he let him suck his dick. What!!! I was really kind of shocked and pissed. Sure, he sucked your dick, that’s all that happened? Right! The rest of the night turned to shit, I had many more shots and when they called my movie as winner for Best Bi-Sexual Picture, I went up on stage and made a complete ass of myself. It was like that scene from Gaga’s A Star Is Born, but at least I didn’t piss myself. I rambled on and on and on, the depravity haunted me for weeks. Some comedian co-host named “Ant” basically whisked Sharon, Chi Chi and myself offstage because, yes, I verbally graveled to them in the audience until they came up on stage! Yuk! Sally Field had nothing on me. Mark felt badly for hurting me and really worked hard to win back my trust.

 

Josh and Mark at the awards show and the following Thanksgiving

Josh & Mark at the awards show (top); the following Thanksgiving (bottom)

 

Around 1998, Mark started having medical issues and his body started breaking down. When he was diagnosed with CMV and dementia, he lost his job at the Gold Coast, which sent him into a great depression. Catalina allowed me to set up an editing suite so I could work from home and look after him as things regressed. Early morning on January 13, 1999, I was awakened by a beeping noise from his bedside monitor. CMV caused him to lose his sight a couple days prior and he was on morphine. I turned the light on and leaned over to see if he was okay, and saw his eyes wide open. I jumped on top of him and started shaking him, begging him to wake up, to come back, but after a moment I realized he was gone. I jumped off the bed, let out a blood curdling scream and fell to the floor, unable to do anything but wail for the longest time. The worst moment in my life. I am thankful that I was lying by his side when he passed at age 48.

We held his ashes until summer and buried him over his father’s grave in a beautiful seaside cemetery in Maine. Mark Rutter was an amazing man, adored by his friends and family, and I wanted to honor him with this record of our time together.

 

Mark Rutter on the cover of Colt Men

Mark Rutter on the cover of Colt Men

 

Thank you to Josh Eliot for use of the photos.

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

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The Late Great JOHN TRAVIS, My POWERTOOL Mentor

By Josh Eliot

 

FLASHBACK, 1987: I was 25 years old when I started working with Catalina Video in San Francisco. Dan Allman was in charge of the new studio, which he ran with his new boyfriend, John, who he met on the set of a movie he recently directed called Bad Boys Club. Catalina Video moved their productions from Los Angeles/Ontario to San Francisco after the video crew got busted in a Ralphs Supermarket parking lot while shooting the movie Bulge. That’s really the extent of the information I was given at the time. All of the camera cases and equipment still had remnants of the “evidence” tape from the police department. The story I was told is that it was no longer viable to shoot in the L.A. County limits until a pandering case was resolved in the courts. So they set up shop in San Francisco. The Catalina Producer/Director was Scott Masters (Nova Video) and the VIP Director of the company was John Travis (Brentwood Video). William Higgins had recently moved to Europe.

 

Catalina equpiment with evidence tape

Catalina equpiment with evidence tape

 

John Travis started off in the industry shooting 8mm loops including the two infamous John Holmes gay porno scenes. He also shot the ever enduring Brentwood Video library of films, which are best sellers to this day. He was hired by Chuck Holmes and started a decade-long tenure with Falcon Studios. His work as cinematographer in The Other Side of Aspen 2, A Matter of Size, Big Guns and The Young and the Hung elevated those movies' statuses. He became lovers with and was credited for discovering Jeff Stryker. Travis’ Powertool starring Stryker became the most successful and best selling movie of its time. Travis won Best Director/Best Picture for Powertool in 1987 at the Adult Video News Awards. (The same year, I started working with him and he never mentioned it for months! That’s how unpretentious he was.) He also won an AVN Award for Best Director/Best Picture for Undercover in 1989.

 

John Travis and Jeff Stryker

John Travis and Jeff Stryer

 

Most of my days at the studio consisted of “woodwork”: building sets, then dressing and lighting them for upcoming shoots according to the specifications we got from Scott Masters in Los Angeles. The night prior to filming a scene, the director and models would fly in from Los Angeles and Dan would pick them up and take them to an apartment Catalina rented and furnished. It was always a nail biter when we would show up for the shoot in the morning. If it was a set for a Scott Masters movie, you can bet your ass that there would be major changes that would delay the beginning of the shoot. Scott would always have outrageous requests that drove us nuts. Things like, “I don’t like that end table, it’s too small to fuck on. Can we run out and buy another one?” - instead of just modifying his plans for the scene and fucking on the roomy couch instead. But when John Travis came to direct, he always had positive things to say about the sets. If anything, it was the lighting that needed modifications, which always made the set look better. His experience showed. He would always find creative ways to modify things on the fly and avoid situations that could make a shoot day come to a dead halt.

John Travis ALWAYS showed up to the set with two brand new packs of Benson and Hedges 100’s menthol cigarettes. He would smoke almost every one down to (and into) the filter. In the early days John was always directing from behind the camera as he had done for years and cigarette smoke was always creeping up into the shots! After the first couple of movies, we built him a beautiful deck and monitor station on wheels so he could direct from behind the monitors while Dan and I performed all the camera work. I think, for the first time in his career, he was able to get out from behind the camera and direct from the station at a distance, and he LOVED it! One would think that his movies would have a different look if he wasn’t working the camera himself, but he was very specific on the framing 100% of the time. “Pull out wider…No... too much... zoom in… but just a cunt hair.” That was one of his favorite lines and I kept using it when directing my own movies for the next 20 years. It was one of many classic lines John put out into the world. I credit him for my first award in 1992 for Cinematography on a movie called Sterling Ranch at the Gay Erotic Video Awards. He was in the audience and when I thanked him personally, my voice cracked and I nearly lost it, but after all, he did put me up there.

 

Josh Eliot at the Gay Video Guide Awards

Josh Eliot at the Gay Video Guide Awards

 

The crew was always enamored with him and we always laughed our asses off. This man was so relatable and sincere, he would give you the shirt off his back. This guy directed Powertool, for God’s sake, and had zero attitude about it. He shared all his experience, shooting secrets, and directing techniques without even giving it a second thought. I truly was the luckiest guy in the industry to have such an icon take me under his wing and mold me.

On a movie called Powerline with Tom Steele, we built a rooftop set, which he thought looked too clean and sterile, so at one point he walked on the set and tossed his full ashtray of cigarettes onto it. “There you are… it’s called seasoning… I’m seasoning the set... It’s too fucking clean.” We roared! That is John Travis in a nutshell. Truly inspirational, down to earth, generous, one of a kind, and an old soul who made the industry a much better place.

 

Magazine featuring rooftop images from Powerline

Magazine featuring rooftop images from Powerline

 

John sadly passed away in January of 2017 but his work will stimulate and entertain forever.
 


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!

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Retrostuds of the Past: Richard Locke

posted by guest blogger Miriam Webster


Richard Locke images

 

Richard Locke - the sexy, confident, bearded daddy, with a hip tattoo of a butterfly and a physique naturally toned from working outdoors (or, as he claimed, from jerking off in front a a mirror for thirty minutes a day) - was one of the first to establish mature men as potent sex symbols in gay porn. He became an icon from his outstanding starring role as Hank, a relatable everyman hero, in the late '70s Working Man Trilogy from the Gage Brothers (Kansas City Trucking Co., El Paso Wrecking Corp., and L.A. Tool & Die). This trilogy brought a new sexual focus to average working class men who have sex with men, and their sexual lives in smaller cities and rural areas across the United Sates, which had a massive impact on gay porn.
 

Vintage Kansas City Trucking Co. poster

Vintage poster (available here) for Kansas City Trucking Co.


Born June 11, 1941 in East Oakland, California, Locke served in the Army in his early adult life, where he worked as a tank mechanic. He returned to California and eventually began starring in porn in his mid-30s, quickly ascending to star status. Locke worked on films with some of the finest auteur directors of classic gay porn (Joe Gage, Arthur Bressan Jr., Steve Scott, Wakefield Poole) and biggest stars (Jack Wrangler, Will Seagers, Fred Halsted, Clay Russell, Roy Garrett, Casey Donovan). He even had a sex scene with his real-life lover, Alex, on the roof of their Desert Hot Springs home in Wakefield Poole's Take One (1977). Locke used his real name in porn, telling Jerry Douglas in an interview for the December 1992 issue of Manshots, “I'm very proud of my work and everything I do. An artist signs his name to the canvas, and I sign my name.”

Locke's films (narrative features, experimental/art porn, straight-forward sex films/loops) and characters span a wide variety. His character Hank focuses on raunchy casual encounters throughout the majority of the Working Man Trilogy, but shows his soft side by following his dream man (played by Will Seagers) across the country in L.A. Tool & Die, and Arthur Bressan Jr.'s Forbidden Letters also focuses on a romantic storyline. (Locke also appeared in a smaller role in Bressan Jr.'s Passing Strangers.)

 

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Locke on Will Seagers, co-star of Cruisin' the Castro and L.A. Tool & Die: "There was a magic between Will and me, and that happens very rarely onscreen... Every time we had a scene together, we came at the same time, just like the honeymoon couple. There was a magic." (Manshots, December 1992)

 

In contrast to his romantic roles and the easy likability of the trilogy's Hank, in Joe Gage's 1982 release, Heatstroke, Locke plays a mean sonofabitch, the gruff ranch foreman (though with a knowing sense of humor). In addition to his countless filmic sexual encounters, Locke gets into two memorable brawls on screen, both in Heatstroke and L.A. Tool & Die, tossing a homophobe out of a gay bar in the latter.
 

Heatstroke and L.A. Tool & Die brawls

 

Heatstroke and L.A. Tool & Die brawls (pictured above); Hank in L.A. Tool & Die: "If there's anything I like better than sucking cock, it's kicking ass."

 

In this fascinating 1978 interview with Richard Locke, conducted by his brother Robert, Richard stated his goal in making pornography: “When I was coming out, I didn't feel good about myself. Now I do feel good and I want to share that. If I can project that solid, good feeling within myself into the audience, to people who don't feel good about themselves, if they can say, 'That's what I like; that's what I want to be like, open and free,' then I will have accomplished one of the goals in my life – to bring freedom to other people, the freedom of being themselves.”

Later in his career, Locke toured the country performing live strip/jack off shows for enthusiastic crowds (including at the Bijou Theater), published two books (Locke Out and In the Heat of Passion), authored a play (Loving), mountain climbed, and lived in a sparsely-populated part of the desert outside Palm Springs, where he did body work as a licensed masseur in the city and, out in the desert, worked with his interests in rural and self-sustaining/do-it-yourself living by building a geodesic domed home with a working solar and wind power system.
 

Richard Locke striptease from a suit into leather gear

"Here's another one of my gimmicks: to take the ordinary and mundane and make it erotic. When I went to Washington, I took a business suit with me, and I stripped out of that suit into leather. Everybody in Washington has to wear a suit because they work in the government, so I took their 'ordinary' and eroticized it." - Locke in Mandate, October 1987

 

After his 1983 HIV positive diagnosis, Locke turned his focus to activism. In the '80s and '90s, he used his platform as a popular porn star to tirelessly spread information about safer sex practices and health services during the AIDS crisis, in radio and magazine interviews, at seminars, and even at his strip show appearances (which featured creative and practical safer sex activity demonstrations).

Magazine clipping reading Richard Locke: Responsible Sleaze During the AIDS Crisis. The legendary King of Sleaze is changing his sexual style, and offers some tips on how to do it without becoming a celibate monk!
Richard Locke safer sex inspiration images from Advocate MEN

“I'm very positive about stopping fluid exchanges... Still, I have a great sex life... I was on radio station KPFA for about 15 minutes before they censored me. I said, 'testicular fornication.' The moderator said, 'Well, what's testicular fornication?' And I said, 'Ball-fucking.' We went off the air for 45 minutes.' (Advocate MEN, March 1987)

 

Richard Locke nude, holding a condom

“One of the things [Locke] does in his shows, he says, is to jerk off that legendary scholong and then toss (unused) condoms at his audience. 'And I say – remember when your mammas told you to wear your rubbers? Well, now your daddy's telling you!'” (Advocate MENMarch 1987)


During this period of time, he additionally worked with support groups, raised money, protested, publicly advocated for condom usage for individuals as well as porn studios (saying he was blackballed in the business as a result), visited patients in hospital wards, and much more that is likely not chronicled. This beautiful article - “Two Kinds of Hero: Richard (Butterfly) Locke” - provides some insight into that chapter of his life.

Locke was inducted into the Hall of Fame at the 1994 Gay Erotic Video Awards. He died of AIDS-related complications in 1996.

Richard Locke was known for being a charming combination of strong, caring, bright, unpretentious, and entirely genuine; a down-to-earth guy and a confident, unapologetic gay man – qualities reflected in many of his movie roles. Bijou owner Steven Toushin described him as a very kind man and director Joe Gage (in this interview discussing his films, including commentary on Locke) called him “the last of the true live-and-let-live hippies.”
 

Richard Locke images

“The nice thing about film is that I will live a long time, even after I die. 'Cause it's there.” (Manshots, December 1992)


Through Bijou Video, you can find Richard Locke in our fresh new release, Heatstroke (DVD | Streaming) as well as in a number of other classics we carry, including the collection The Best of Richard Locke (DVD | Streaming).

Online Sources and Further Information:
My Brother the Porn Star: An Interview with Richard Locke
Keep on Truckin': An Interview with Joe Gage
Two Kinds of Hero: Richard (Butterfly) Locke
Ask Any Buddy podcast: Kansas City Trucking Co.
Wikipedia – Richard Holt Locke
Gay Erotic Video Index – Richard Locke
 

Heatstroke and The Best of Richard Locke DVD covers
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Joseph D. Kahoonei
Aloha This Daddy Was A Gem. One Of My 1st Cocks I Had Was From A Handsome Man That Reminded Me Of Sir Locke. A Wonderful Memory.... Read More
Tuesday, 13 July 2021 18:50
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