BijouBlog

By Josh Eliot

If there was ever a “wing man” for me, it was definitely director Brad Austin. As I’ve likely mentioned in the past, Brad was my lead cameraman as well as production supervisor for Catalina once I gave up that position to become producer. In addition to being a really great guy who would give you the shirt off his back, he also had the nerve to try things I was always hesitant to do. He wasn’t afraid to approach, what I considered, the unapproachable. For example, in a past blog I wrote about how Brad discovered Ray Harley during the International Mr. Leather Contest in Chicago by tracking him down in his hotel room. Brad saw him jacking off in his hotel window, counted the number of floors and windows and knocked on his door. That act of bravery gave us an exclusive multi-year contract with Ray! On one of Brad’s movie sets, he continued shooting sex for one of his scenes by a pool, even though the house next door had a rooftop full of workers watching the whole thing. I would have panicked and moved the entire scene indoors for privacy. If I wanted Brad to approach someone who I thought would be a hot model for movies, he was on it - instantly. I naturally gave him a $100 finder’s fee for anyone he approached that ended up working in a movie. 

The ultimate “wing man” operation took place again at the International Mr. Leather Contest in Chicago, while in our host hotel, the Ramada Congress. Catalina, and now renowned photographer Jeff Burton and I were at the bar inside the lobby of the Congress, decompressing after what was probably a long, grueling day of shooting sex. Suddenly, out of nowhere and very unexpectedly, we got a glimpse of Falcon exclusive Eric Stone entering the lobby. I was surprised to see him alone, as I had imagined John Rutherford would have been keeping very close tabs on him to make sure one of their top stars didn’t play around prior to shooting a scene. I mean, he must have been there to shoot a scene, right? Well, before Jeff and I could even react to seeing him, Brad Austin came running up to us at the bar to let us know he saw him too. He wanted to bring him over to meet me, but I was like, “No, he’s exclusive with Falcon.” Brad basically called me neurotic and ran over to fetch him as Burton and I were just dying inside. We were about to meet with the hottest star at the time.

When Eric Stone came onto the scene, he made a very big splash on the industry - a tsunami, as Parker Posey would say. Eric Stone was born November 6th, 1959 and raised in Peekskill, New York in the Hudson River Valley. He was active in the industry from 1992 through 1996, but prior to working in Adult Gay Cinema, he held the position of a New York State Trooper. In addition to his Falcon movies, he also worked minimally for Pleasure Productions, HIS, Stallion, Galaxy and All Worlds Video. Some of his widely known titles are Ripe For Harvest (1996), Other Side of Aspen 4 (1995) and A Hidden Man (1993). His nostalgic image on magazines guaranteed strong sales and I remember always, since his first movie, wanting to cast him in one of our productions, but I never had access to him. Unfortunately, at age 37, Eric Stone passed away in his upstate New York home on December 24th, 1996. Two movies shot in 1996 were released in 1997, posthumously: Manhandlers (Falcon) and Ranger in the Wild, a movie I directed for Catalina Video, when I finally got Eric Stone on a Catalina set.

Eric came over with Brad Austin and we all sat down and chatted. Surprisingly, my nerves disappeared almost instantly, as this hot stud we’d seen in print over many years was a warm, sweet, down-to-earth guy with a New York accent that I could immediately relate to. It’s true, Eric was under a current contract with Falcon, but it was coming to an end, so we exchanged numbers and I told him we wanted to plan a movie around him and would match his scene fee with that of Falcon's. I’m pretty sure I tripled Brad's finder’s fee for that one. A number of months later, Brad Austin, Jeff Burton, Eric Stone and I found ourselves on the road together to a lake east of Santa Barbara. I vacationed at Zaca Lake in 1995 with my then partner, Mark Rutter, and when we were there I knew I had to come back and shoot a movie one day. The property was thirty miles into the forest from the main road and was small and intimate, with only four lakefront cabins and a small shop and restaurant that only opened for breakfast and lunch. Back in those days, I thought I would use the location for an adult movie based on Friday the 13th, as it looked very Camp Crystal Lake, but ended up coming to my senses and using it for Ranger in the Wild.

Eric looked so damned handsome in his rented Ranger outfit, and it fit him like a glove. It was rare to travel with only one model and half a crew, but we wanted to fill the movie with great outdoor footage to set up all the scenes, and all we needed was Eric for those. We couldn’t exactly shoot a full-on sex scene on this property, but we did get great exterior footage and we were able to capture his J/O in front of a fireplace in Eric’s cabin (that he shared with Brad). I also spotted two dilapidated pink trailers while walking around the lake shooting some shots - those made it into a movie as well. One was Chi Chi LaRue’s trailer and the other Sharon Kane’s in The Hills Have Bi’s. Just having the footage of those two trailers actually helped me come up with the idea for Hills. In the movie, Eric plays a ranger working in the Grand Canyon, speaking to some tourists when he notices Tony Cummings in the crowd videotaping his crotch. In the final scene of the movie, the ranger is relaxing at his lakefront home when he sees Tony Cummings walking on a log, then falling into the lake. The ranger rescues Tony and carries him out of the water, laying him down onto a chaise lounge. Because Tony Cummings was not with us at Zaca Lake, Jeff Burton played his role, falling into the water and being picked up and carried out of the water. I can tell you, Jeff was over the moon in Eric’s arms! Eric even wore Jeff’s swimsuit in the scene, which I’m sure Jeff sniffed once he got home.

The movie has a very strong cast, with Kyle McKenna, Tony Cameron, Jake Taylor, Kristian White, Drew Andrews, Kent Burk, Daryl Brock, Matthew Easton, Cody Whiler, Max Grand and Steve Rambo. Working with Eric was everything we had hoped it would be: a multi-year wish come to fruition. He could not have been nicer and always a real pro who didn’t hesitate to apologize when things didn’t run as smoothly as he would have wanted. We took our time, never rushed things, and let him work at his pace, which I know he appreciated. It was very sad to hear the news shortly into the new year of his passing, and I had really mixed emotions when the movie was released. I wish he could have seen the finished product, as his moments on screen reinforced to all of his fans that his handsome face and persona was that of a legend.

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 Josh Eliot

In 2008, magazine empire owner Bentley Morris put his 50+ year old company on the market. There were no takers, and what was once called “One of the industry’s leading trade publications” by the Associated Press closed its doors forever. When I was working in the gay adult industry from 1987 to 2006, anyone and everyone in the gay industry read The Adam Film World Guide and its gay spin offs: The Adam Gay Video XXX Showcase, Adam Gay Video Erotica, Adam Gay Video Pictorial and The Adam Gay Video Directory. I’m sure it was the same for the straight industry with all of Adam's straight spin offs: Adam Directory of Adult Films, Adam Black Video Illustrated, Cinema X, Porn Star Annual and others. The magazine empire had a humble beginning as simply “Adam” in 1956, an attempt to tap into Playboy’s market by also covering mainstream films and stars. In 1966, It became The Adam Film Quarterly, then Adam Film World, with monthly publications, and finally the Adam Film World Guide. The publication started the very first adult movie awards with the X-Caliber Awards in 1975, renaming the award ceremony to The Adam Film World Guide Awards in 1981.

The models pleaded to be on its cover and studios opened every outlet when Adam came a-calling. The XXX Showcase spinoff would focus on a movie of the month; they would promote with the magazine cover, center layout and accompanying story. The very best movie stills were always reserved for the publication over all others and it was always a challenge to rip Catalina’s complimentary monthly copy out of any given co-workers hands in order to get a peek at the reviews and layouts. The Adam Gay Video Directory had the most prestige of the spin offs. It was a really big deal for the models and the companies to get the cover of the directory, which was released once a year.

From 1991-1993, John Rowberry was the editor of the gay directory, followed in 1995 and 1996 by Dave Kinnick and Wilder Guyjoy and finally Doug Lawrence, who took over as editor and held the role until at least 2005. Doug Lawrence took control of another series under his watch called The Adam Gay Video Erotica Magazine. The publication chose either a director or studio and featured their movies exclusively. All the top brass were chosen, like Kristen Bjorn, William Higgins, Dirk Yates, Jet Set Productions, George Duroy, John Travis, Gino Colbert, Jerry Douglas, John Rutherford, Chi Chi LaRue and even little ‘ol me.

The Films of Josh Eliot: The Catalina Collection was one of Adam Gay Video’s Erotica series of magazines. I remember when editor Doug Lawrence was putting the issue together, he came by the Catalina offices to pick out chromes from some of my favorite productions. In addition. we sat down with his audio recorder while I gave insights to an array of different movies and models. I wish I had some input into the title, because I would have asked him to cut the word “Films” and replace it with either “Movies” or “Videos.” But I never knew of the title until the copies of the magazine arrived. Doug was a real sweetheart, always very pleasant when he would come by the offices, so I was at ease sitting down with him. He allowed me to pick the movies and models I wanted to comment on, here’s a small sampling of some of the movies and models we discussed.

You’ll notice I included a few pics and comments on Catalina exclusive Matt Powers. Maybe because he has been on my mind lately since he actually just reached out to me last week! Keep in mind, we have not seen nor heard from each other since we worked on Lifeguard on Duty in 1991. He responded to my YouTube trailer postings of Lunch Hour and The Main Attraction. He thanked me for doing such a great job (his words) when I directed him in Lunch Hour. He also said he was very proud of the work he did for Catalina. He lives a very different life in Massachusetts, but it’s great to see that he embraced his career as much as his fans embraced him. Currently in the modern day adult industry, Adult Video News is the top trade magazine and has been going strong since 1983. AVN and its division GayVN host the best award shows, hands down, for both straight and gay XXX entertainment. The ADAM publications, though now obsolete, will always hold a place in history as one of the pioneers and success stories in adult film history.

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 M. Webster

Looking through our archive the other day, I came across some treasures - photocopies of collaged pages full of newspaper clippings, photos, flyers, event invitations, interviews, articles write-ups, and more presumably from the personal files of visual artist, gay porn director, and NY Jacks member/resident artist, Michael Goodwin.

These materials include:

-Invitations to art shows, Jacks events, and a Goodjac event at NYC nightclub The Saint

-A 'thank you' note from 1986 Pride march organizers Heritage of Pride

-An announcement of an Independent Filmmaker of 1988 award that Goodwin received 

-Reviews of Goodwin's movies 

-An entry pass from his appearance on the Gay Cable Network's Men & Films TV show (which also profiled Rod Phillips, Casey Donovan and Daniel Holt, as seen in our recent re-release) 

-Interviews with Goodwin, as well as interviews he conducted, via Stallion magazine, with Joe Gage, Wakefield Poole, Tom of Finland, playwright Robert Chesley, and others

-Letters to Goodwin from fellow legendary gay porn directors Christopher Rage and Joe Gage 

Relevant to multiple upcoming Bijou Video releases (hint!) are the notes to Goodwin from Rage and Gage - a cool peek at correspondence between some of the figures behind major works of the early years of gay porn filmmaking and their respect for each other's work. The output of Goodwin and Rage - while of entirely different natures emotionally and tonally - has clear connection as some of the most artistically innovative and experimental 1980s gay porn.

Text of Rage's note (November 9, 1983): "Dear Michael, I wanted to make sure you know how much I appreciated my visit with you - most especially the drawings you gave me. Of course, it's always nice to hear compliments about one's work... but to hear them from someone who is so talented is extraordinarily welcome. I trust you will be able to make it back to the city at the beginning of the year and that we'll be able to spend some time together then. As I mentioned, if there's anyone I can help put you in touch with, please let me know. Again, thank you for the samples of your work. They are inspiring. Best wishes, Tray Christopher Rage"

Text of Gage's note (circa 1982): "Michael, many thanks for the prints - they are beautiful. The shooting went well - I made two films back-to-back: 'Closed Set II' on video and a film called '501.' As you can imagine, I'm up to my ass editing all this, and will be for a while. It all looks good. See you this winter. Cheers! Joe"

Also tucked into the files is this bio of Goodwin (text below): 

"Michael is the resident artist of the New York Jacks and is planning to tour his tapes throughout the U.S. visiting Jacks organizations and  doing fund raising J.O. benefits for various AIDS research groups. Eventually he plans to visit the newly founded Jacks groups throughout Europe, starting with the Amsterdam Jacks. Goodjac feels in this time of confused sexuality and  the lack of spirituality and  sensualness in our lives that his efforts are necessary and  will go unwasted in helping to re-unite our beliefs in ourselves and  one another. 'There is an important message in my tapes,' he says. 'Besides, it gives me a great thrill to know I have planted some new seeds of imagination and  brotherhood within my viewers.'"

Bijou currently carries Goodwin's The Goodjac Chronicles (1986), Goodjac Too (1987), and Crazy Horny Nutz (1988) from on DVD and Streaming - and stay tuned for Goodjac 4: Hot Sunday - coming over the next few months! 

By Josh Eliot

Back in 1989, the San Fernando Valley was the hot spot for all things porn, gay or straight. Specifically Chatsworth, CA, where adult film production houses migrated because of low rent and access to the mainstream movie business. Located thirty miles north of Los Angeles, it allowed access to Hollywood directors, as well as talent and crew who moonlighted for some extra income or chose a different career path due to declining productions within L.A. County. Since the 1970s, homes in the Hollywood Hills played host to a majority of the West Coast XXX-rated film productions. A rush of warehouses opened up in the valley, retrofitted as studios, so they could reap their share of the nearly four billion dollars in sales that the San Fernando Valley took in annually. Specifically for gay porn studios in the valley, when I was first working in the industry, there was mainly (VCA) HIS Video, InHand and Vivid Man as our competition.

With all the hardcore content flooding the video stores back in the late 80s and 1990s, it’s no surprise that several movies were made, both mainstream and adult, featuring the story of a small town boy or virginal girl dreaming of going to Hollywood - a story told brilliantly by director Paul Thomas Anderson in Boogie Nights (1997) featuring Mark Wahlberg as adult film sensation Dirk Diggler. Seven years prior to the premiere of Boogie Nights, a newcomer to the industry, Ryan Yeager, played a similar role as a cornfed country boy rising to fame in the adult industry in a movie called The Rise (1990). Iconic director Chi Chi LaRue wrote and directed The Rise as a way to promote what he, himself, calls his first true discovery. Back in 1989, Chi Chi was working for InHand Video gaining experience as a new director, when Vivid Man persuaded him to start working for them in promotions with the opportunity to also direct. Chi Chi was a bit frustrated with InHand at the time because there was a lot of internal drama within the company, so it was an easy yes. Prior to leaving InHand, a potential new star came across Chi Chi’s desk - it was Ryan Yeager. Chi Chi debuted Ryan in Screwing Screw Ups and Flex 2: Pumping Up, which Chi Chi directed prior to jumping ship. In 1989, Chi Chi brought Ryan to Vivid Man, maybe as a bargaining tool, and was allowed to direct him in Buddy System. He was also loaned out to another Vivid director, Patrick Dennis, who starred him in Air Male and Davey and the Cruisers. Patrick Dennis was a pseudonym for adult star and director Jim Steel, who had a tenured history with Vivid Man. Jim Steel and I stood side by side along with John Rutherford and Steven Scarborough when the four of us were inducted into the GayVN Hall of Fame in 2002.

In 1990, Chi Chi was invited back to Catalina Video to start directing features, and Ryan was with him all the way! Our first time working together was for The Rise, and the crew and I quickly learned that Ryan had absolutely no problem ejaculating twice for a scene. We made the best use of that by having him cum after oral and then again after anal, and each load looked like a full one! My very first acting performance was in The Rise as the driver of the van that picks Ryan up in the sticks and drives him to Hollywood Blvd. Chi Chi and I were both super pissed when Scott Masters made the editor cut my scene before release because he didn’t think it was wise for the production head to be on camera. The finished version only shows Ryan in the van talking to my voice, but none of the lead up alongside the road where we met. But I am, despite Scott Masters, in a wide shot on the movie set, holding a 16mm camera during the montage. Additionally, my patched up favorite jean jacket is worn by Vic Youngblood in the full scene he has with Scott Bond, because the shirt he was wearing when he showed up to set was too flashy and Studio 54-looking.

In the movie, Ryan gets discovered by Chi Chi in an adult cinema and enters the porn world while, coincidently, his longtime lover from his his home town ends up taking the same path and, in the end, they meet up on a XXX movie set. Ryan could not have been more perfectly cast, all the way down to his natural pubic hair that he didn’t “groom” for set. Total all-American boy to the core, which felt very rare to us. The movie won Best Erotic Scene and, for the very first time, Chi Chi LaRue took home the award for Best Director.

That same year, we also had the pleasure of working with Ryan in Enemies and Lovers (1990). This was our first trip up the mountains for an extended stay with Chi Chi and her brood of boys. Taking Chi Chi up those swirling mountainous roads to Arrowhead Lake was a hoot, as his stomach couldn’t handle it very well. Everyone was a joy to be around – well, maybe except for model Matt Gunther, who was very well known to be a twat on the set. I’ll blog about that movie down the road - I think our trauma deserves its own piece.

In 1991, Chi Chi directed a star vehicle movie for Ryan called Jumper for (VCA) HIS Video, written by Stan Ward. This was Ryan’s moment for sure, and Chi Chi’s as well, because Jumper won Best Picture, Best Actor (Ryan Yeager) and Best Newcomer (Danny Sommers) at the 1992 AVN Awards. It also won Best Screenplay at the Gay Erotic Video Awards and the Grabby Awards. In addition to making Ryan a household name, it projected Chi Chi LaRue’s career as director into the stratosphere. Even though Ryan was super angelic in real life, he did stretch his acting abilities to play an actual angel in Jumper. His role was that of a soldier in the Revolutionary War who is killed at Yorktown and becomes an angel. Angels have missions in Jumper, and Ryan’s is to influence the lives of men in, of all places, West Hollywood. When the movie was released, critic Dave Kinnick called it “VCA’s strongest gay title in years.”

At Catalina Video in 1991, we shot Ryan in King of the Mountain, Powertool 2, Head Struck and In Your Face. After that, we never saw Ryan on our schedule again, even though he continued working. Ryan Yeager had a short but impressive career, when he suddenly made a quick exit after he met and fell in love with a mystery man outside of the industry. In the late 1990s, Sabin, the producer of the Gay Erotic Video Awards, reached out to Ryan asking him to be a presenter at an upcoming awards show. Ryan made it very clear that his time in the industry was in the past and he had no desire be connected to it any further. Regardless his legacy speaks for itself, and I have to add that while he was working with us, I was impressed with how incredibly down to earth and non-pretentious he was. There is very little content online, so I was able to gather a lot of my information about Ryan Yeager from Chi Chi LaRue’s excellent book, Making It Big, Sex Stars, Porn Films and Me. 

The industry itself has changed over the years. Gone are the valley studios in Chatsworth for gay porn, and it seems that the newest semi-capital of gay porn is San Francisco, with most of the top companies residing there: Colt Studios (founded 1967), Falcon (founded 1971), Hot House (founded 1993), Titan Men (founded 1995), Treasure Island (founded 1998) and Raging Stallion (founded 1998), all of which contain outstanding libraries of content, making them modern day powerhouses.

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 Josh Eliot

[Originally published 01/31/25]

It might seem odd for me to pick Cruisin’ the Castro as my second choice in the “I Just Watched” series of blogs, but you’ll discover, as I did, that there is much more to this movie than meets the eye. Certainly Cruisin’ did not have the polish, notoriety or deeply layered storyline of Steve Scott’s Screenplay, my first blog in the series, but it did have a desirability factor for me, so I chose to view it. After all, I did live in the heart of the Castro from 1983 - 1988 on the corner of Castro & 19th, a mere block away from the epicenter. So when I stumbled upon it while scanning through the Bijou Video On Demand list of titles, I was sold even before looking at one frame of the movie, and that was for a couple of reasons. The first of which was that I saw Dick Fisk’s name in the partial credits listed on the page. The second was when I started thinking about the joint venture Will Seagers and I worked on together where we each contributed three blogs about the Castro District in San Francisco during the 1970’s and 1980’s. I’ll link those blogs at the end of this one, just in case you want to read them.

I have to admit, I never met Dick Fisk or even remembered, until researching for this blog, that I saw him in the movie Spokes. My 1980’s San Francisco friend Fred Fazzina from the blog "Everybody’s Free to Feel Good!" would always talk about “little Dickie Fisk,” a good friend of his and his partner. He often told stories about the group of friends which included Fisk, the shit they would get into and just how much they all missed him. Seeing his name in the credits sparked my interest to watch Cruisin’. I wouldn’t exactly refer to Dick Fisk as Little Dickie Fisk, girth-wise - maybe height-wise, but that’s how he was endeared to Fred. In a tragic turn of events, on Halloween evening 1983, Dick Fisk (Frank Ricky Fitts, 28 years old) lost his life along with that of his lover, Joe Howard, in a car accident. He is best known for gracing the cover of Falcon Studio’s The Other Side of Aspen alongside Al Parker and Casey Donovan, an iconic photo for sure.

Before landing upon Cruisin’ the Castro, I was leaning toward something from NOVA Studio directed by my previous producer, Robert Walters (Scott Masters). I thought it would be a challenge to pick something that was more music-enhanced and in line with the Brentwood/John Travis movies, to switch things up from my first blog in the series, where Steve Scott’s Screenplay had a heavy script and character development. Cruisin’ has a combination of both music-enhanced scenes and live action sound. All that was left now was to get comfortable, so I sat my butt down and started streaming, noticing a few things that stood out to me right away. First and foremost was the title itself, which was the same image as on the movie poster I remembered seeing, probably at the Screening Room Theater back when I worked there in the early 1980’s. The title was written alongside a Victorian building, as is reflected in the original movie poster. The second was the cast; I was like, really? The cast was very impressive. What was this movie I never saw that had all these headliners? Stars include Richard Locke, Will Seagers, Dick Fisk and Johnny Harden, who honestly looks the best he’s ever looked in this film and graces the newer DVD box cover on the Bijou restored version. Supporting cast includes Don Talon, Jack Holtz, Mark Majors, Tom Manley and Tony Natali.

Before getting into it, I’ll just say one thing: the guys in this movie all have big fat rock hard pieces and they all seem to be very cock-hungry and overly horned up. Granted, it has a paper-thin storyline connecting all the scenes, but this is one of those movies that makes you not care, because of the quality of the good looking, well-built and toned cast. They are hot, handsome, hung and hungry. They are into it and it shows, thanks to the direction of Michael R. Newman. Who? Has anyone heard of Michael R. Newman? IMDB shows Mr. Newman as only having one directorial credit to his name, and that is for Cruisin’. When coming across this information regarding the director, I emailed co-blogger Will Seagers to see if he had any more information about this guy. A stage-name, for sure, but could he be someone who didn’t want to be known? Well, get this, even more interesting is the fact that this movie was credited as a CinArt production. CinArt is the production company of the notorious Mitchell Brothers, who broke box office records with Marilyn Chambers in Behind the Green Door (1972). Was this them dipping their feet in the all-male market? Was Michael R. Newman a Mitchell Brother? The chances of that being reality are probably a million to one; it’s more likely the fact that CinArt simply produced and distributed this movie. CinArt and the Mitchell Brothers had never released an all-male movie before or after this one. By emailing Will, I was hoping to see if he remembered shooting his scene with Don Talon and Richard Locke, and more importantly, who directed them? There is no actual shoot date information, but evidently it was shot in the late 1970’s and released in 1981. Why the hold up? More questions than answers, for sure.

The first scene with Mark Majors and Tony Natali is, in my opinion, the very best. The two guys, virtual unknowns, meet on the street and end up climbing through a rooftop enclosure. Rock hard fat pieces from both, and they are all over each other, adding to the sexiness of it. Not to mention they both have great bodies and are really handsome. In scene two, the Tom Manley (aka Chad Scott, the scene-stealer from NOVA's Little Brother’s Coming Out) again commands the audience with his good looks and hungry boy sexiness with co-star Jack Holtz. Jack Holtz, in the one and only “live-sound” scene of his career, brings his crazy-hick energy, especially when eating handsome Tom Manley’s cum-covered ass. In scene number three, Johnny Harden, looking G-G-G-Great, performs what I think is one of his very best signature load-on-the-face J/Os, keeping it interesting to watch the entire time. Not-so-little Dick Fisk is paired with Mark Majors (from scene one) and gives a great performance, both topping and bottoming for his well-hung co-star. Mark does feel the burn when taking Fisk’s fat dick up the ass moments after finishing up topping.

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.