BijouBlog

The new Democratic governor of Illinois, J.B. Pritzker, signed into law on Friday, August 9, 2019, a bill to ensure that the contributions of LGBTQ persons to human culture are taught in Illinois public schools.

According to a news release by CNN, House Rule 246 was introduced by Rep. Anna Moeller to amend the school code to add a more inclusive history curriculum.

"In public schools only, the teaching of history shall include a study of the roles and contributions of lesbian, gay, bisexual, and transgender people in the history of this country and this State," the bill states.

The bill will go into effect in July 2020.
 

This development is indeed good news, especially in the current social climate where certain adherents to branches of Evangelical Christianity (hello, Mike Pence) attempt to impose their views of gender and sexuality on the United States as a whole in theocratic fashion. In other words, they wish to regulate sexual and reproductive behavior based on their religious beliefs, often doing so by purveying false, unscientific information and conspiracy theories.

The “holy haters” might think this development is a similar type of imposition, but as usual, the analogy is false. A textbook ideally attempts to present information in an unbiased way and bases its content on authorized research by experts. A textbook ideally allows room, based on the content, to generate critical questions about the subject matter, these questions allowing for multiple perspectives based on evidence.

Thus, my concern is that this development will become, for many, ostensibly a religious issue and they will use the sadly predictable scapegoat mechanism accusation that children will be harmed by learning about LGBTQ persons and their contributions.

I think the issue is how we interpret history. It's not just that the contributions of already famous LGBTQ figures like Michelangelo, Walt Whitman, and Gertrude Stein are worthy of being remembered authentically, respecting the synergy of the art and the creator, but that the interpretation of history should open up the opportunity to hear voices that have been silenced and censored.
 

Thus, who is telling the story is just as important as the story itself, but even more significantly, who is determining what is worthy of being told and how it is told.

It's sad that one has to make a law in the present to ensure the voices of the past are heard, and it's even more sad that there are those in the present who still feel so threatened by the very existence of LGBTQ history that they will resort to what they did in the past to LGBTQ people: denigrate them, silence them, erase them.

I applaud the new Democratic administration in Illinois for this move, but dead or alive, one's voice in history should not be a gift given to you by someone else: it is yours, and it rightly belongs to you.

Check out our blog, our contribution to hearing the voices of LGBTQ history, https://bijouworld.com/Gay-History/Categories/Listings/gay-history.html.

Jay Richards appears in so many Robert Prion and other gay porn movies and has such a long career span that the word prolific seems to be an understatement.
 

According to Gay Erotic Index, hailing from Glendale, California, he is identified also as an Athletic Model Guild model in the 1960s under the name Ernie Matthews. I located a rare photo of Ernie Matthews on an ebay site, and he certainly fits the blond beefcake look of the period, but the dates don't add up at all. This does not seem to be the same person!
 

Possibly the same young man, credited as Jay Richards, appears in the June 1964 issue of Jr., where he is noted for his “prowess in surfing.”
 

Again, this cannot be the same person as Prion's Jay Richards! I am most curious how this particular error occurred.

The other Jay Richards focused on the films of Robert Prion. He appears in several films available at Bijou Video, such as: Jay as one of the hungry mansex hunters in the free for all orgy in The Wild Guys, to giving Rick Thomas a healthy rimming and fucking in 19 Good Men. In Men Who Dare, he fucks doggie style and later does a three-way. And many, many more. Overall, I think that youthful prowess in surfing is quite superseded by Jay's prowess in any gay sexual activity!

Jay has even periodically shown up at the Bijou Video office, once, years ago, autographing a photo from a magazine.
 

Jay is still alive. Given his almost 40-year association with Robert Prion, the owner of Bijou Video quipped, the two should be married at this point.

I haven't really been able to find much other information on him, such as an interview. Perhaps one could say he is really part of Robert Prion's legacy, and to know him is to watch the films of Prion.

Watch films starring Jay Richards streaming on our VOD site.
 

Yes, it is still there. I had to ask, especially now that that the area around it is gentrified and homogenized in so many ways since the last time I was there, early 1990s.

Why was I there? The Lucky Horseshoe Lounge, known to its regulars as the “Shoe,” is a gay bar yes, but one that features dancers. Not strippers (no nudity), and they usually are already stripped down to something skimpy that barely covers up the cock.
 

Jason Heidemann, a while ago, wrote a piece in the Chicago Reader describing his experiences in detail, and he also makes the point that the place actually seems to be evoke a feeling of “shame-based resistance” for many gay guys. Like, oops, why are you there? What's really going on with you? Or even, in an online exchange, a LOL.

It's an exotic dance club, and I am thinking perhaps there could be a couple underlying cultural stigmas. First, the whole go-go girl men's club business that caters to heterosexual men contains some obvious structurally exploitative/misognynistic dynamics. Whether this dynamic strictly applies to what goes on gay male strip clubs is open to question, and I also think it ties closely into the stigmas associated with sex workers in general.

Secondly, in the gay community itself, there's a stereotype that the types of customers the place attracts tend to be “dirty old men” desperate for copping a feel on a young, lithe body. Heidemann makes the point that the place for many couples serves “as a compromise between one partner who wants monogamy and the other who has an insatiable libido.”

That dynamic reminds of me of my experiences there in the early 90s. I was involved with the LGBTQ Catholic group, Dignity, and I sang tenor in its amateur choir. After church, the choir director, the priest, one religious brother who sang in the choir, and whoever else wanted to tag along, hit the Shoe. (In fact, we were at the Shoe when the Bulls won their famous “threepeat” game!)

It turns out, that Sunday night at the Shoe was called “priests' night out.” One could say that in many cases, sticking dollar bills in the lush baskets of the dancers was a way of not literally violating a promise of celibacy or a vow of chastity. The choir director I think just liked the dancers, a lot, and I also think, because he was partnered, he would hang out there to “blow off steam.” (I'm not sure if he ever hooked up with one of the dancers, but I vaguely remember hearing he did invite one over to his house.)

I must admit, most of the dancers were too thin, smooth, and “twinkish” for my taste, but one night, an anomaly. A particularly beefy muscle guy wearing heavy boots appeared, and I was smitten. I not only got to touch his basket, but we even made out a bit. We had one date. He worked in sales at Marshall Fields full time, days. In real life gear he looked much less imposing. Too “nice” for me, alas.

And I did hook up with a real hot number, beard, blue collar, cowboy boots, there one night, an out of town guy on a conference. A weekend romance ensued. I looked him up on the internet. He is still working at the same job he did in the 1990s. He looks older and grayer. It happens to everyone, even the dancers.

Overall, I'm glad the place is still there, and given its longevity, I gather it has probably adapted to the bachelorette party culture, which has created some controversy lately in gay male bars. In fact, given the vicissitudes of social and cultural change, it's perhaps an even more unique space that still keeps the dancers dancing and a diverse array of customers coming/cumming.
 

In our archives, we carry a fascinating title called The Guild Dictionary of Homosexual Terms, which looks to be from the early to middle of the 1960s. Guild Press was a grounbreaking outfit as H. Lynn Womack was not afraid of being open about the audience of his diverse array of publications: gays and lesbians. He did not censor, he did not code, and by publishing this small book by one Dr. Albert Ellis, he claims that LGBTQ persons existed and still exist in history, and their cultural vocabulary developed under systemic oppression matters.

Now, some of the terms to a contemporary audience might seem degrading or even offensive or at least quaint, but that's part of the creative paradox of a vocabulary that is trying to linguistically interpret something as complex and fluid as sexual experience, and in this case, more so, as the persons who participated in non-heteronormative sexual experiences couldn't even speak of them or themselves.

Here are a few that I think give some insight into the hidden culture of that time, understanding that many of these terms were employed heterosexually as well, and used by heterosexuals to denigrate LGBTQ persons.

Abdicate: Forced to leave a public toilet by an attendant, said of male homosexuals who frequent public rests rooms. Thus, queens are forced to abdicate.
 

Angel with a Dirty Face: A male homosexual who would like to indulge in homosexual practice but who is timid or hesitant about it. (Originated in mid-30s with motion picture Angels with Dirty Faces, a 1930s gangster film with James Cagney.)

Auntie: Middle-aged or aging male homosexual, usually (but not always) overly effeminate in character. The term can be applied either in a manner mildly derogatory or even as a term of slight affection.

Bugle Boy: Refers to the person who permits someone to perform fellation upon him. (Supposedly, according to the text, popular with the “sophisticated college set.”)

Checkers, Play: To move from seat to seat in a motion picture house in an effort to find a willing youth. A homosexual sits next to a likely “candidate” and makes some verbal or physical overture or “pass”; if rejected, he moves to another seat, and so on.
 

Fruit Picker: Term used to describe men who both think of themselves as “straight” and who are so considered by those who know them, but who seek out homosexuals for sexual gratification at the moment.

Motel Time: Can be used as a call to closing in a gay bar as part of “Suck up, everybody, it's motel time.” Now is the time to get down to sex and indicates where. Can also be used (alone) as a call to closing in a heterosexual bar.
 

Poundcake, To Eat: To lick the anus.

There's so much more in this little book, including some tidbits on some famous gay historical figures.

One wonders, not so much that some of the types of persons described above and even some of the scenarios are still part of the LGBTQ experience, but that we've developed new language for such persons and experiences in a markedly different social context. After all, what the book calls “green queens” still hang out in parks and forest preserves for public sex, but they often hook up via the ubiquitous smart phone.

"Like something out of a Greek tragedy (or Clash of the Titans), a naked man lies spread-eagled on his stomach on the center of a ceremonial plaza. The Falconhead appears out of nowhere, clad in black robes that look oddly medieval, and presents an ornately framed mirror to the prostrate man, pushing his face into it with his shiny black boots. Text flashes, "He gazed into the mirror and was consumed by it."
 

So begins Michael Zen's Falconhead (1977), a richly complex film that “features a fearsome bird-headed man with magical powers, a possibly nefarious shaman/landlord, stunningly photographed solo sequences, deliciously ambiguous sexual violence, and lots of gooey, gooey cum eating.”

The man with the head of a falcon character derives from so many cultures. The ancient Egyptian god Horus was usually depicted as a falcon-headed man, wearing the red and white crown which represented his kingship over both Upper and Lower Egypt. Horus was the son of Osiris and Isis, both associated with the cycles of birth, death, and the afterlife.
 

In ancient Egypt, falcons (also known as raptors) represented the soul in the afterlife. In fact, the falcons themselves were even mummified, and recently, some scholars have found evidence that the birds were sacrificed to the gods, or even used in falconry, where young birds are trained to hunt prey.

In the medieval period, falconry became a widespread cultural practice among the nobility, but some of its practices were extremely cruel, including temporarily blinding the birds (the gruesome details are elucidated in the hyperlink above), which made them easier to train.
 

The practice, however, lost popularity in Europe because of the widespread usage of guns and gunpowder. In Britain among some of the gentry the practice survived, and these individuals formed a series of clubs that kept the art alive, leading eventually to the modern development of falconry in Europe, North America and Africa.
 

There are so many elements in the above of terrifying power, sacrifice and cruelty, but also beauty and awe. Birds of course can fly, and this action has always inspired humans to think about power and its limits, the Icarus myth being the most well-known one.

And falcons in all their variety, who soar in the sky, are carnivorous creatures, who hunt for earthbound prey, the creeping things in the creation account in Genesis. Yet, at the same time, humans have attempted to tame, even confine, this energy through the art of falconry.
 

It's like this type of bird represents for humans a boundary breaker, someone who can brave the wide gaps between heaven and earth, nature and art, life and death.

Perhaps in the mirror the falcon-headed man presents to the prostrate man, we see ourselves consumed by what seems to be our own physical sexual power, but ultimately, it's a power given to us by a natural, or even supernatural force that encompasses, in fact, thrives on, extremes in order to not just survive, but triumph.

The falcon-headed man is the endless orgasm of life and death; we can imitate it, mirror it, but our life is a disconnected series of gooey cumshots in the sublunary earth. The men are consumed; but he burns like that famous bush, not consumed.
 

The poet Yeats proclaims in his famous poem, The Second Coming, that in a time of crisis “the falcon can no longer hear the falconer;” in these times, perhaps, we have lost the seismic energy that charges body and spirit together in a dynamic relationship. I see this line as implying that falconer cannot bond with the falcon; he has stopped up his conduit to the falcon's awesome energy he was able to tap into.

Thus, all that's left, as in the famous line at the end of the poem, is the “rude beast slouching toward Bethlehem waiting to be born,” a dead life devoid of creativity, passion, and love.

Quotes from the Falconhead review by DM at BijouWorld.