BijouBlog

By Josh Eliot

My first sexual memory was at age 6. My favorite TV show was Lost In Space. Aside from loving the adventure the Robinson family was going through, there was just something about Don. Don West was a dark haired, handsome, masculine guy whose character had a love interest with the Robinson's daughter Judy. I would lie awake at night thinking about Don taking his shirt off, showing his muscular chest and imagining him rubbing and grinding himself on top of Judy. I'm sure it was not the kind of imagery Producer Irwin Allen wanted to achieve when he developed Lost In Space, and I wasn't sure at the time why I was feeling this way, but for some reason I was having the feels for Don.

My next big "red flag" about my sexuality was when I was around 12 years old. In 1974, streaking was all over the news in America. Living in rural Rhode Island, my brother, sister and I were best friends with our cousins of the same genders and age. We would build forts in the woods near our homes and streak naked through the fields. The summer of '74, I remember us being naked all the time! Not just in the field near the forts, but down by the train tracks, in empty factories. We were Free!

One day that summer, my cousin brought a magazine to the fort that he found between his mom and dad's mattress. The magazine was called Mama's Taste for Cock. I'm pretty sure it was all in black and white and maybe not even a magazine, but a newspaper. I don't remember much about "Mama" because it was all about the cock. This had to be the first time I saw photos of an erect dick and it was a real attraction for me. Somewhere towards the last few pages, we saw this white stuff all over Mama's face and we thought what the hell is this? My older brother said that this was semen, and explained it the best he could. He was three years older, so he was already able to ejaculate (with the help of Head & Shoulders) in the shower. A day or so later, my cousin and I were determined to “cum” so we got some shaving cream, took it over to the fort and rubbed it all over our cocks. Nothing happened, as we were too young to ejaculate.

At 16, my friend David and I were in downtown Providence when we walked into an adult book store. Shocked that we weren't kicked out, we started looking through the products. Most of my childhood I collected 8mm movies. Castle films, 50' reels that had about 3 minutes of movies like Frankenstein vs the Wolfman, Abbott and Costello and Dracula, to name a few. I was always shooting short movies on my 8mm camera, editing them and playing them back on my projector. So when I saw a Swedish Erotica 8mm movie for sale at this shop, I just had to have it.

 

I saw one with two guys and a girl. I can't tell you what the girl looked like, but one of the guys was blond, masculine with a hairy chest while the other was brunette, bearded and handsome. I would watch that movie on my projector when I knew my parents weren't around to barge into my room. At one point the guys double penetrated the girl. This was eye opening for me; it was the first time I saw this or even knew it was a thing! The first thought that came to my mind was how each of the guys must feel when their dicks were rubbing against each other inside the girl's snatch. I imagined that it made them each get harder because they were touching each other.

My friend David and I were emboldened by our trip to the porn shop and raised the ante by sneaking into the Rustic Drive-in in Smithfield, RI. The Rustic showed a triple feature of XXX movies. David was tall and always looked older, so he would drive the car while I would hide in the trunk or the floor of the back seat with a blanket over me. We watched such classics as Eruption with John Holmes, Inside Desiree Cousteau and Pretty Peaches with Sharon Kane.
 

In 1980, after graduating high school at the age of 17, I moved to San Francisco. I attended The San Francisco Art Institute for film studies. One day in class, my instructor George Kuchar brought in a 16mm copy of a movie he wrote and starred in called Thundercrack, co-starring Marion Eaton. The move was shot in black & white, beautifully filmed, with elaborate sets and filled with hardcore sex scenes! This was shocking to me. Being from a small town and closeted about sex, the fact that this film existed and the instructor was showing it to a classroom of students made me feel like this was an art form that was perfectly acceptable to a wide audience. It really opened my eyes and made me see hardcore sex on film from a whole new perspective.

 

My first few weeks in the city I lived at the Harcourt Residence Club, a place where you would share a room and receive free meals. The Harcourt was located on Larkin Street on the border of the Tenderloin neighborhood. When I looked out my bedroom window I could see a movie cinema in the distance. The marquee displayed the title: Wet Shorts. Wet Shorts? I was intrigued. This had to be an adult cinema. I was still 17 and could not go in, but I definitely needed to check it out. I walked past the cinema and saw an image that literally burned into my brain until this day. The Wet Shorts movie poster featured a close-up of a pair of blue jean short shorts with some hairy legs and a bulge. After turning 18, I worked for another cinema in the tenderloin selling tickets. It was called the Screening Room Theater. It was an All Male Adult Theater with live dancers.

Little did I know at age 12 when I was looking at a magazine called Mama's Taste for Cock that I would someday be shooting sex scenes and pulling hard core photos for magazines.

Little did I know at age 16 that when I watched Pretty Peaches at the Rustic Drive-in, I would someday meet Sharon Kane and establish a long working relationship with her.

Little did I know that the Screening Room Theater where I worked in 1980 was the same theater where Sharon Kane worked in the 1970s. Alex de Renzy, who owned the Screening Room Theater, made the movie Pretty Peaches and introduced Sharon Kane in it.

Little did I know that on my 25th birthday in 1987, I would be hired by William Higgins' company Catalina Video. The same company that produced and released the film Wet Shorts.

This is my first blog for Bijou World and I am excited to share some of my experiences and perspectives.


A Note from the Editor:

Little did Josh know that I (Steven Toushin/Bijou) purchased the lease for the Screening Room (at 220 Jones Street) during the time Josh worked there (the manager at the time was filmmaker Frank Ross). After a few months of extensive renovation and a name change (Savages), Savages had its grand opening.


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.  

posted by Madam Bubby

A friend of mine told me he used to sneak into gay porn movie theaters in the seventies and eighties. At that time in New York City, where he lived, such establishments were plentiful. Specifically, he remembers first seeing Fred Halsted in leather in the movie L.A. Plays Itself (newly restored by MoMA and re-released on DVD, Blu-ray, and streaming and never forgot the experience, both watching the movie and the “extracurricular experience” that occurred in the seat next to him. Minus the hanky-panky in the seats, the grandparents and even great-grandparents of the current generation can tell a similar story, going to the movies to see a particular movie star they idolized, even seeing a movie that changed their lives and made them decide to go into show business. 

 

Now that most guys can get their porn over the internet, in fact, any movie via streaming and youtube, the “big event,” almost like a coming out to oneself (or in some cases, others as well) of going to see a gay movie may have lost its social and psychological importance. By gay movie, now, I don't just mean a gay porn movie. It could mean any movie with an overtly gay character or a gay theme. More of these movies were appearing in the seventies and eighties, following the wake of the groundbreaking Boys in the Band. Check out Vito Russo's The Celluloid Closet (the book and the documentary film) to find out more about some of these movies, such as Sunday, Bloody Sunday and Making Love.

 

One of these movies was my first gay movie: Victor, Victoria. I saw it when it first came out, in 1982. I didn't know at the time about the movie's gender-bending and gay content, nor did I know that the person who asked me to go (who was ostensibly dating a female friend of mine) was gay. I got more of the humor about opera and singing and cockroaches in restaurants than its complex, contradictory messages about who is really a man or a woman in this movie about a woman pretending to be a man pretending to be a woman.

 

Victor/Victoria

 

Overall, the movie seemed more escapist for me at that time, an escape into a fictitious Paris of the 1930s where you could be gay (even though that term was not used at that point, and I still tended to see that word as meaning happy) and go to fancy nightclubs and live in art deco hotels. Maybe all the singing and costumes appealed to a stereotypical “gay” sensibility in me, but I'm not sure. Other than the initial poverty of Julie Andrews and Robert Preston before they concocted their brilliant scheme, the movie was nothing like my current reality of being a college student in a sheltered Chicago suburb that seemed leagues away from what was happening on Wells Street, the center of gay nightlife in Chicago at that point and where the Bijou Theater was showing gay porn films starring Al Parker and Jack Wrangler. Looking in hindsight, I see a profound disconnect between what I thought I knew and what I really didn't know about sexual identity, not unlike the appearance versus reality conflicts the characters in the movie experience.

What was your first gay film? Reply to this blog and share with us! 

 

 

 

 

 

posted by Madam Bubby

A while back, when going through our extensive collection of gay porn history files, I discovered a Playgirl magazine from as long ago as April 1979. Yes, Playgirl, the magazine for women and gay men. But what's particularly fascinating and exciting about this issue is the centerfold: Robert (Bob) Curtis Blount, aka Lloyd Kasper.

 

 

 

Bob Blount was a gay porn actor who appears in a few great classic porn films (all from 1979) that are available to watch through Bijou Video: The Frenchman & the Lovers, Inches (paired with the legendary Al Parker), and Joe Gage's famous L.A. Tool & Die, which was just added on DVD and Streaming on our websites!

Yes, Bob, whose hairy body and full beard and easy masculine presence (he doesn't need to flaunt six pack abs or tattoos or make duck faces) exemplified 1970s gay macho, was the centerfold in this Playgirl issue, which focuses on a young Jane Fonda and Michael Douglas (the duo had recently appeared in The China Syndrome).

The text of the issue offers some tantalizing information about his background, of course omitting the gay porn career. He was from Charlotte, North Carolina and moved to New York City, where he worked doing graphic layouts for department stores. He later moved to Los Angeles because he found the Big Apple too stressful and fast-paced. There, he worked as a bartender (the text does not indicate what kind of bar), and, according to another source, a hair stylist.

Bob embraced, according to the article, a “pleasure-filled, me-first lifestyle.” Bob said, “I do exactly what I please when I please. If people want to follow along, fine.” How very 1970s power of positive thinking: I'm OK, you're OK. Not being sarcastic, but very much in tune with the pop culture of the times.

 

I'm actually glad Bob did live each day to the fullest, true to himself, because in September of that same year, he was killed in a motorcycle accident. I found his obituary, which gives great detail about his family. He's buried in North Carolina, far from the sunny beaches and hot gay sex he embraced.

Posted by Madam Bubby

Vinyl is still around and actually thriving, especially in indie music and hipster circles, but I the same revival hasn't quite happened for the VHS, which means those old video tapes one sees in thrift stores may end up in landfills or supporting window air conditioners.

According to this source, Japan's Funai Electric, who claimed to be the last VCR manufacturer, stopped producing the machines several years ago, in July of 2016. This source also gives a brief history of the medium, which for readers of a certain age, will certainly bring back memories.

Beta tapes? Wow. I remember my Dad got every James Bond movie he could find on Beta. Yes, Beta, which did not last. What happened to all those Beta tapes?

And those bulky cameras. People started to get really obsessed with them, I remember, at least initially, and this before the days of easy selfies and youtube videos. Want a movie of someone eating mashed potatoes at a 1980s christening celebration? It's on a VHS tape, and probably now remastered digitally and streaming somewhere on youtube.

 

Some even attributed the supposed narcissism of Generation X and millenials to this phenomenon. Hey, can I see the tape of me when I was four throwing water balloons at the next door neighbor? Or how about when I got ten Atari video games for Christmas when I was ten and threw a tantrum (captured for time immemorial) because my brother got a more expensive one?

Digital hoarding perhaps started with the VCR. There was the woman on the show Hoarders taping constantly on a multitude of TVs. Think walls of tapes. Her son said, well, I guess if you want a Phil Donahue show from the 1980s, this is the place to go.

 

Of course, the advent of this medium totally revolutionized the porn industry. Instead of having to go to a porn theater like Chicago's late, great Bijou Theater, one could rent and even buy tapes and watch porn at home. Or even tape amateur porn. Porn creators made a killing for a while on these often very expensive tapes, but now with streaming and youtube, the sex exists in cyberspace rather than captured on a concrete medium like a VHS tape.

 

Will VHS make a comeback? Some grassroots indie artists and retro collectors may be rediscovering the medium (and also the major consumer movie format before video, Super 8 film). Is it the appeal of retro, or some other specific component of the medium? Time may tell.

Posted by guest blogger Miriam Webster

I wrote a couple of blogs last spring (Part 1 and Part 2 can be read here) about my work process at Bijou on remastering vintage porn movies for re-release on DVD and streaming. We had a slower period during the first year of covid, when we weren't able to put out as many new releases as usual, though we still managed to do a handful of movies during that time. In the past several months, however, during which we've picked back up to our normal pace at the office, we've made some technology updates that should allow for us to put out many higher quality digitally remastered versions of movies. I'm excited about these upgrades, so I wanted to write a new blog on the subject.

Our most recent release, the first to fully make use of the tech updates, is the glossy John Summers-directed J/O video, Young Gladiators (1988), starring Steve Hammond, Tim Lowe, Matt Ramsey (aka straight porn megastar Peter North), and three other guys showing off and jacking off for the camera. This movie turned out to be an ideal candidate for high quality remastering, because it was well-lit and well-shot to begin with and our VHS copy held up well, so we got great results from the new program we have been using for upscaling video sources, Topaz Enhance AI.

 

I've spent a million hours tinkering with this program recently, but it has so far provided very promising results (after a substantial amount of troubleshooting). I used to think there wasn't much hope for actually increasing quality when upscaling VHS or Beta sources; I thought it would mostly just be making the same low quality larger, but not better, and this seemed to prove true from older programs and plug-ins we tried out for upscaling. But Enhance AI has done amazing work on several of the movies we have processed through it, and seems to greatly increase the clarity and fine detail in many videos. It not only upscales them, but it helps to remove noise and other artifacts from low resolution video sources and adds crispness to the image.

This program seems to have amazing potential, though it is not without quirks, as it still seems to be in the process of being fine-tuned by its makers, and also because it was not designed specifically to work with and improve the quality of VHS, so the output from it sometimes is full of odd glitches, artifacts, or distortions. Restoring movies at Bijou, we often work with older video sources, and outmoded sources are increasingly unfamiliar to software designers, so determining if and how new pieces of software can actually function well with these older formats requires a lot of hands-on tests. The most persistent initial problem we had with it (an issue with jittery-looking playback from repeated frames) required a lot of testing and consulting forums and software support staff to work through. Processing a full movie in Enhance AI takes around 20 hours on our computer, typically, so the testing process was not a quick one.

In the midst of all this, we had to build a new computer for me to work on at the office, but my new one is very powerful and even better able to handle the heavy-duty processing required by this program. This computer upgrade seemed to eliminate the jittery playback issue, but the resulting files had a new problem; they were not correctly functioning in the program where we do the remainder of our remastering work (Adobe Premiere). After even more research and testing, I discovered that there was an issue with the frame rates of the video files created in Enhance, and I figured out a roundabout, multi-step process to correct for this, which finally produced a high quality file that could be successfully used for color and audio corrections, glitch/tracking/splice removal, and any other steps in my standard remastering process. So that's my new routine until we inevitably figure out new and better ways to continue to improve our procedure in the future, as always!

Even with the additional steps required to produce something usable, it is exciting to come into Premiere to color correct these files that are noticeably larger, crisper, and more clear than what we previously had to work with from video transfers. I've included several comparison images below that show the difference between the initial VHS version of Young Gladiators (left) and the remastered version (right). You can see how the initial VHS version was fuzzy and noisy, compared to the images on the right, which have more smoothness, crispness, and depth of detail. This video further illustrates the before/after results on this movie.

Prior to the new computer, but as our very first test subject for Enhance AI, I worked on the 1982 Mark Reynolds movie, Summer Fantasy. It was another movie that got a major quality increase from that program, which you can see in the before/after image examples below. This quality increase really benefited the film, as it is very visually lush and seductive.

A couple of the releases that we did put out during the fog of 2020/early 2021 were Steve Scott's Gold Rush Boys (1983) and Joe Gage's super-popular Heatstroke (1982). These were done before either of our tech upgrades, but both movies were able to be significantly improved through our old process of noise reduction, color and audio correction, and more.

Gold Rush Boys seemed to take very well to adjustments, and we were able to get richer color, cleaner image, more detail, and crisper quality out of it, as you can see in the images below and in this video comparing the pre- and post-restoration stages.

Heatstroke is an absolute classic that has been begging for a higher quality release for decades (existing ones were in poor shape), and it was a thrill to tackle it. Though hopefully some day there is a new transfer from the film print for the optimal quality release, in the meantime, we were able, with our new version, to put out one of the best copies of this movie yet to be made available on VHS, DVD, or VOD. Of the many video sources for it we looked at, we found one that had thankfully retained its quality fairly well, and we were able to reduce its noise and get good clarity and color from it. We've been happy to hear positive comments about this release from a few of those who have been eagerly awaiting a better version of this important porn film.

I realize much of this may sound very boring and technical, zoomed in on the minutia, but in the zoomed out perspective that veers into the comical, I'm spending the majority of my time at work very, very slowly going through footage of dicks and asses, squinting and examining them to see if they look slightly better with this effect or that, with a little less orange or more shadow, etc., like some kind of sexually explicit vision test. I've easily eaten the majority of the meals I've consumed during the past 13 years of my life while at this task. (Perhaps why I was inspired to put together our Food Sex compilation several years ago.)

It's always a pleasure to get to make long-unseen porn movies once again available, or available in better quality, and we always aim to continue that process, adding to and improving upon our existing catalog of classics and making use of technological advancements whenever possible. It's particularly satisfying on the occasions, like with the movies mentioned here, that we have a source that held up well to begin with and also proves to clean up so substantially that it comes out looking great. (And all these titles can be found through Bijou on DVD and VOD.)

Anyhow, all this is to say: we're looking forward to remastering many new releases at a higher quality level in 2022!