My first major experience riding a bicycle was finally being able to ride a two-wheeler, and the fashion then was a banana seat bicycle. The seat was shaped like a banana. Mine was purple. (How gay was that?) I got yelled at by my dad because I was coasting to a stop rather than using the breaks. At that time, kids rode their bikes all over the neighborhood, without helmets (gasp!), and often without adult supervision.
 

When one of the kids across the street was missing (a common occurrence in that chaotic household), I don't even remember the police being called. Kids on bicycles were sent out as search parties by the adults. At that age, it was liberating, to be able to travel long distances alone.

I grew dependent on bicycles through my college years, as I was not able to drive and afford a car. When the suburban bus company went on strike one summer, I wrote my bicycle nine miles each way to my job. I resented it. At that time, a car was a status symbol; it showed independence, being an adult. If you were still having to ride your bike everywhere, you were trapped in a sexless adolescence. You were a nerd. You couldn't take someone on a date, especially in the car-dependent suburbs.

Now, it seems, the bicycle is a status symbol in certain urban areas. Riding a bicycle means you are “green.” I see bicycle shops that sell expensive bicycles from Europe, where riding one has always been pretty much a norm, even among adults. One shop in Chicago, Heritage Bicycles, builds custom-made bicycles also sells expensive coffee. Cool hipster grad student types ride their bicycles everywhere (I see several getting off their bikes at the university where I work).
 

The bicycle is almost like a symbol or even a stereotype of the urban “blue” culture that voted for Clinton, as opposed to the “red culture that voted for the vulgar boor (they drive gas-guzzling pick up trucks, or if they were white suburban soccer mom Republican types, gas-guzzling SUVs).

And, given that I thought of the bicycle as somehow for me representing sexlessness or even confinement, it's interesting that when bicycles became a more prominent mode of transportation in the late Victorian period, there were concerns that the riding position was unladylike. In order to do so, a lady had to abandon the heavy corsets and other confining garments. According to one article, some women were even harassed, pelted with stones, for wearing pantaloon or bloomer. The article claims that the bicycle actually helped liberate women, paving the way for a woman presidential candidate.
 

The rise of the bicycle also directly coincided with the birth of the New Woman, an early feminist idea that pushed against the limits of patriarchal oppression. New Women were free-spirited, educated, economically independent, and wholly uninterested in being hidden away in a drawing room under a mound of needlework.

In the world of gay sexuality, it's also interesting that the bicycle hasn't been much of a background for gay sex, especially in porn movies. Cars, trucks, motorcycles, yes, the bigger, the better, macho, manly ... but a bicycle? No, not masculine enough. Kind of corresponds to how I felt when I was stuck riding a bike rather than driving a car.

In our Bijou Classics repertoire, reflecting the above dynamic, there's paucity of sex scenes involving bicycles. In M.A.G.I.C., one of the fantasy game show contestants in a cute bicyclist who performs a blow job on the lead, Gene Lamar. A scene involving a bicycle occurs in Hot Truckin' is much more prominent. The humpy truckers (Gordon Grant and Nick Rodgers) entice a redheaded bicyclist, who eyes them while seductively licking a popsicle, into the back of their truck for a three-way. Woof!
 

I tried riding a bicycle again in my late adulthood. I bought one used, and I got it refurbished. Someone stole it from a supposedly secure bike room.

Now I just fantasize about hot young bearded guys I see riding around wearing tight shorts.

Sex scenes are, as one would expect, almost always the focus of porn films, but – especially in the the heyday of story porn and artistic/experimental porn, the 1970s, when many porn films truly were films – there were a large number of notably interesting non-sex scenes present in what was being produced. Sometimes these sequences were lead-ins to sex scenes. Sometimes they served to advance the film's narrative, or flesh out a character or an interpersonal dynamic, or talk about gay life and relationships and communities of the era. Sometimes they are notable because they capture something that is historically interesting. Following are several examples from the Bijou collection.
 

Main character Hank (Coke Hennessy) goes for a stroll with a package he picked up on his way to deliver it to its recipient, the man with whom he recently got involved. In the park, he sees a woman wearing all red dancing and The Lady in Red suddenly comes on. He joins her in dancing for a brief, goofy moment. He then sits on a park bench and unwraps the package. Inside is a large print-out of a cover of The Advocate featuring a photo of two men taken by his lover. As Hank studies this photo, it comes to life and we see the men (Tim Clarke and Jeffrey Etting) perform a gorgeously choreographed nude dance number set to an operatic David Earnest score.
 

In several sequences from Casey Donovan's first film (shot before but released after The Boys in the Sand), Casey speaks to his fairy godmother, Wanda Uptight (also played by Donovan, in drag), who has appeared in the mirror to give him some harsh, but insightful advice on his habits and love life (or lack thereof). Wanda first appears after Casey wakes up by jerking off in bed unsatisfactorily, then sings to himself in the bathroom as he washes down a series of vitamins with a swig of Southern Comfort, lights a joint, stares hard at his reflection, and shouts “Faggot!” at himself. Wanda appears over his reflection, startling him, and she dishes out some tough love, chewing him out for not taking care of himself, chasing cock constantly, and not knowing what he really wants. Their very clever dialogue, expertly delivered by Donovan, is both funny and incisive, representing Casey's internal conflict around love, sex, and self-acceptance. (“Anybody who can wash down raw liver substance and vitamin B complex with Southern Comfort is depraved!” “Three nights a week in a Turkish Bath! You'll dehydrate yourself!” “No one digs anyone. It doesn't matter if it's number one or two thousand and two – where does it lead?”)
 

 

An American man, Adam (Michael Hardwick), and a French man, Yves (Marcus Giovanni), play mysterious sexual mind games throughout their brief, but intense, Parisian love affair, including the rule, enforced by Yves, that they may never know each other's names. The sights of Paris are a fascinating backdrop, but the most surprising and historically notable moment in the film comes when Adam recounts an incredible time when he saw Greta Garbo from the window of his apartment. Director Peter de Rome accompanies this story with the actual last-known footage of Garbo, herself, shot from his own window on super 8 film.
 

Garbo in Adam and Yves

 

Closeted truck driver, Joe (Garry Hunt), falls hard for ballet star Ivan (Henk Van Dijk) early in their ill-fated affair, but is intimidated by Ivan's talent, fame, wealth, and gorgeous physique. Ivan belongs to a world where he can comfortably be out and Joe does not. Ivan lives in an expensive apartment and gets fancy Dutch music boxes delivered to his vacation home; Joe gets drunk in a blue collar bar in the rumpled suit he wore to go see Ivan perform in the ballet (which he was too proud to let Ivan get him into for free) and is heckled for being gay by his buddies. Totally wasted after a night at the bar, Joe calls Ivan, who is irritated with him, then shows up to Ivan's apartment anyway. He changes Ivan's radio from a classical station to something faster with saxophone, saying he wants to dance, groping Ivan, and complimenting his beautiful body. Ivan pushes him away and Joe, hurt, mocks Ivan as insists he is a good dancer, too, and proceeds to do a drunken, sloppy strip tease in Ivan's living room, dropping pieces of his suit on the floor, smirking, sniffing his own sock, and finally pretending to drink out of his shoe while sprawled across Ivan's floor. All the while, Ivan ignores Joe and plays solitaire.
 

 

L.A. Tool & Die (Joe Gage, 1979): Fight scene, Vietnam flashback, work/getting to know you montages

Joe Gage's L.A. Tool & Die is full of strong character-building sequences. Early on, we see the hero, Hank (played by Richard Locke), hanging out in a gay bar and trying to cruise a handsome stranger (Wylie, played by Will Seagers). In the bathroom, Hank runs into a homophobic man who works for the bar owner. The man calls Hank a cocksucker, to which Hank grins and calmly responds, “You'd better believe it. The only thing I like better than sucking cock is kicking ass.” He tosses the man out of the bathroom and roughs him up a bit. The man, no match for Locke, runs away as Locke smirks, having not even gotten worked up or broken a sweat.

In a later scene, Wylie is taking a break from his cross-country drive to walk along the beach at sunset. In a close up, we see that he's crying. Gage cuts to a flashback of a younger Wylie in Vietnam, holding his dying lover in the battle field. His lover tells Wylie that he doesn't think he's going to make it and that he must promise not to forget him, but also to love somebody else some day.

Near the end of the film, Hank and Wylie reunite when they both get jobs at L.A. Tool & Die. Hank learned that Wylie was traveling there for work and decided to do the same. Two beautifully-cut montages and a dialogue sequence show the two men getting to know each other while working and taking breaks together. Wylie appreciates Hank being patient with him; he has been reluctant to get involved with anyone, but is clearly warming up to Hank. Throughout the film, Locke imbues Hank with an easy, warm sort of charm and a sexy, confident swagger and Seagers gives Wylie both a sweet, shy vulnerability and a quiet strength. The two men have enormous chemistry and the actors and characters compliment each other well, their connection and relationship feeling believable.
 

 

Wanted: Billy the Kid (Jack Deveau, 1976): I'll Be Your Mirror

New Yorker Billy (Dennis Walsh) is an unsuccessful actor and quite successful hustler. Between memorizing lines and gossiping with his friend (Megan Ross), seeing tricks, and exercising, Billy takes a quiet break to smoke a joint and listen to a song. It's a slow, folky original composition (“I'll Be Your Mirror” - lyrics by the film's writer, Moose 100, and music by Hand in Hand Films composer David Earnest) and the camera is fixed on Billy throughout its duration, as he sits, contemplative, smoking, listening, and occasionally mouthing along to the lyrics. He is broken out of his reverie by a phone call from a regular, and they swap some elegant dirty talk.
 

 

Confessions of a Male Groupie (Tom DeSimone, 1971): Party scene

This early Tom DeSimone film is possibly the ultimate hippie porn, focusing on a community of friends in Hollywood and their love of sex, drugs, and rock 'n' roll. Barely a sex film and more of a portrait of the era, the movie soaks up the atmosphere of the time and place as The Groupie (Larry Danser) moves to the area from a small town, becomes best friends with party girl Sweet Lady Mary (Myona Phetish), and cruises the members of a rock band (The Electric Banana). The climax of the film is a wild party sequence starring a large number of friends and acquaintances of DeSimone's. The attendees – all genders covered in glitter and sequins – laugh, smoke joints, swing on an indoor swing set, playfully horse around and wrestle, cuddle, embrace each other, and dance. The crowd includes a trans couple who were the subjects of two Penelope Spheeris short documentary films (I Don't Know and Hats Off to Hollywood).
 

Jennifer and Dana in Spheeris' Hats Off to Hollywood

Even with its surprising turn into a cautionary anti-drug film (after the wild hedonism of the rest of its run time), Confessions of a Male Groupie – and this sequence in particular – is a fascinating document of a real community of queer friends and lovers in the early '70s.
 

 

You can find all of these movies (except for L.A. Tool & Die, though some scenes from it are available in our compilation, The Best of Richard Locke) on DVD at BijouWorld.com and streaming at BijouGayPorn.com.

 

Johnny Dawes, famous face in 1980s pre-condom gay porn, was born in Akron, Ohio, on March 22, 1955. His birth name was Brian Lee.

His career in gay porn started in the late seventies, was in a loop called “Toilet Training,: part of Falcon Video Pac #23. Acccording to Gay Erotic Video Index, in 1978, he made a film for Falcon Studios, Dirt Bikes, aka F Truck.

Thus began a prodigious career for many studios, pretty much the major ones of the late 1970s and 1980s, such as HIS Video, LeSalon, Mustang, and Marathon, and and other less known ones such as Ari Productions and Stardust.

Johnny has starred with a number of actors which include Jose Garcia, Magdalena Montezuma Montez as well as Sharon Kane.

Paired together eight times, Chris Burns has had the privilege of being seen most frequently with Johnny Dawes, in flicks such as Pleasure Beach (HIS Video).

The collection of movies in which they have appeared together also includes The Private Pleasures of John Holmes (Stardust), School Of Hard Cocks (HIS Video), and Revenge of the Nighthawk in Leather (HIS Video).

Dawes retired in 1986, but came out of retirement in 1989, to make several films. In fact, a vintage gay porn magazine of that period, Thrust, celebrates his return, “the return of a bluemovie sensation,” in Who's Dat Boy.
 

Bijou Video shows him at this versatile best in Knockout, originally released by Pan Pacific Productions. Touted as the “only homoerotic boxing film,” Knockout reveals the intense world of boxing, where a sport of knocking out merges into knockout sex. Johnny Dawes plays the previous boxing champion, and he joins Eric Stryker, playing the new lightweight boxing champion David West, and David's trainer, Mark, played by Andrew Ryan, in a three-way jack off. Johnny returns to fuck Eric on a bed; the ex-champion thus shows his real dominance by deftly topping the new champion in this scene.
 

Other Bijou Video classics he appears in are Games, where he plays a swimmer who fools around with Mike Davis in a locker room, and Bad Bad Boys aka Bad Boys, directed by Tom DeSimone (Mustang), where he plays a runaway who seeks solace in the company of a street gang called The Red Devils, undergoing an intense sexual initiation as well as rebelling against the gang's evil boss (and Dawes shows his acting chops here).
 

And speaking of acting chops, according to the January 1990 edition of Manshots, he acted in the Los Angeles production of Night Sweat; he was a documentary filmmaker (A Dance with Death) and, most interestingly, an opera historian. He wrote an article on the Jewish-American soprano Alma Gluck, who sang at the beginning of the last century, for Opera Digest.
 

Wow! An embarrassment of riches; so much talent in that lithe yet sculpted body (not to mention his aesthetically pleasing cock, a shiny pole of power). Overall, in his performances, he manages to combine vulnerability with an easy, confident masculinity.
 

Brian Lee aka Johnny Dawes died of AIDS-related complications on July 25, 1989.

He performed this finely crafted poem in the AIDS play Night Sweat, four years before his untimely death from that disease:
 

Oh, let night speak of me for day
Knows not how breaks with woe my heart,
Knows not how I mournful stray,
Weeping for thee, so dear thou art.
The sad night weeps with me, and lays
His tear wet cheek against my own;
Although I walk in sunlit ways,
Still doth my heart in darkness moan.
The night shall speak of me and say
All things to thee I dare not show,
And to thy dreams my love display,
Till thou art melted by my woe.
 

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.