BijouBlog

In keeping with the season, I have another photo spread blog for you. Beaches, beaches and more beaches in many corners of the country and outside, too!

This first photo was from the trade magazine Men's Hairstylist. It was shot by a prominent N.Y.C. Fashion photographer. And, my hair was clipped for the occasion by the legendary coiffeur of the time, Sabu. You see, I was in front of and behind the lens. Nothing to do with the beach, but it was coincidentally the Nikon I used in a lot of these shots.

Starting off at a very early age and living in the northern part of New Jersey, my family (parents/aunts & uncles) would shuttle the kiddies down to the "shore" on sultry hot summer days. Pic #1 is of Asbury Park. It was famous, festive and usually loaded with city escapees like me.

In 1963, my parents bought a house in West Deal located in Monmouth County about three miles from the beaches of N.J. This second pic is of the (evolved) Elberon Beach Club. When my family had a membership there, it was quite a bit simpler... but, still a great day at the beach!

About four years later, my parents got the itch to move to the lovely shore community of Spring Lake about 15 miles south of W. Deal. It was a well-to-do community with a rich history. Picture #3 shows one of the remaining sprawling Victorian hotels left from the turn of the 20th century - The Essex and Sussex Hotel. Typical of the Jersey shore communities, one had to have a membership and badge to get on the beach or to the pool houses.

Fast forward to the early 70s and we have moi around the age of 21 clad in one of my first Speedos (striped to boot!), Picture #4. Although this pic was taken at the lovely guest house resort Arcos Blancos just south of San Juan's Condado area in Ocean Park, I was not posed near the wonderful pool or very entertaining bar for which they were famous. Actually, I think I had just finished a trick with the owner, again!

Now, the next sets of pictures refer back to the old question: which came first - the chicken or the egg? In this case it was both!

In the late 70s, I was shuttling frequently between my new home in San Francisco and my prior home in NYC... let's make that Fire Island! A simple headshot, Picture #5 was taken on the beach in The Pines... probably during a work break. For three years, I worked for John Whyte's Boatel as waiter, bartender and life guard. Pic #6 shows my lifeguarding domain. This pic was taken from the top deck of the Boatel to which the pool belonged. Pic #7 welcomes you into the private harbor, which was just down the boardwalk from Mr. Whyte's Blue Whale, where the grand institution of the "Tea Dance" was held every afternoon around 4. Pic #8 Shows another institution in The Pines for the muscle boys and those who aspired to be - Merrill's Gym. It was his back deck and boy did it get packed right after the beach and just before Tea Dance... guys getting their pre- Tea Dance pump! And, pic #9 shows how everything on that beach was beautiful... from the boys right down to the not-so-normal sand castles!

 

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On the professional side of photography, I was proud to be selected for Pic #10, taken by the photo/artist Tom Bianchi, which appeared in his photo book, Fire Island Pines. Another man of many talents (DJ and photographer to mention just two), Henry Winslow, snapped a very impressionistic photo of me fresh out of the shower at my hosts Dr. Bob Oliveri's bayside Fire Island home in Pic #11.

Back in town. For those who couldn't make it out to The Island, there was quite a nice consolation prize... The Christopher Street Pier. With the ruins of a former pier warehouse, lots of shenanigans went on... if the police were not in the vicinity! It's very truly yours sitting there for all to see in Pic #12. This was one of my first print work assignments for Man's Image Studios of New York. Barely legible along the left border of this picture is an autograph and message to my soon-to-be partner Tommy.

Now, for the California portion of bi-coastal summer living! San Gregorio, located about an hour south of San Francisco, offered the quintessential "mountains meet the beach" west coast venue. Like Fire Island, it was clothing optional. That option was rarely chosen! Pic #13 shows the long and picturesque beach/mountain vista. Here again, in Pic #14, the no clothes option was taken! It was important to remember just how cold that Pacific Ocean water could be. Let's just say it had a shrinking effect! Many beach goers never set a toe in it!

The other main area of interest just north of San Francisco was the Russian River Resort area. Pic #15 show me with both Tommy and my friend Roger in or near the river's edge. Both of these guys share a May 22nd birthday! Pic #16 shows the original and and playfully manipulated versions of me in the Russian River enjoying its perfect temperature. (Manipulation was courtesy of my buddy and talented DJ George Ferren!) Pic #17 was perfect at showing how "chance encounters" could happen at any time along those river banks!

After losing my partner Tommy in 1989, I decided to reshape my life and move back to the east coast. Of course, this meant looking for a new beach to call home. In very short order, I discovered (another) very popular clothing optional beach at the northern tip of New Jersey's Monmouth County - Sandy Hook. Shy as I am, here we have another "here's looking at you" nudist shot - Pic #18. The calm and much warmer Atlantic was a treat for the unclad body! Socializing was easy at this beach, as the atmosphere was quite relaxed. Appearing with a beach buddy in Pic #19, the relaxed attitude is rather apparent. And for a final beach picture, me enjoying a drink at the Waikiki Sheraton in Pic #20.

I truly miss the beautiful beaches, whether they be oceans or rivers. Those days are all in the past. My past few years have been filled with skin cancer related issues. My final photo, #21, is just last August - recovering from Mohs procedure #10. All of those glorious sunny beach days came with a price. I wish to share with all of my Bijou family a simple warning: The Sun is not your friend.

Thank you to Will Seagers for use of his photos.

Bio of Will Seagers:

Will Seagers (also credited as Matt Harper), within his multifaceted careers and participation in numerous gay communities across the country in the '70s and '80s and beyond, worked as a print model, film performer, and DJ, just to name a few. He made iconic appearances in releases from Falcon, Hand in Hand, Joe Gage, Target (Bullet), J. Brian, Steve Scott, and more, including in lead roles in major classics like Gage's L.A. Tool & Die (1979) and Scott's Wanted (1980). He brought strong screen presence and exceptional acting to his roles and was scene partners with many fellow legends of classic porn.

George Ferren, a close friend of Will's frequently mentioned in his blogs, was a major figure in the San Francisco music scene in the '70s/'80s. His current music is available for your pleasure on Soundcloud: BY GEORGE

 

By Josh Eliot

I wrote previously about my relationship and rocky road with producer Scott Masters (Nova Video) in the blog: “We Waited 8hrs for a Cum Shot: Is That a World Record?” I mentioned in that blog how he was in a relationship with Catalina exclusive model Matt Powers and how he starred him in his remake of the Nova movie Main Attraction. Matt was great in the movie, but to debut as a dancer in lots of spandex didn’t do his career any great favor. Scott Masters kept stalling on making his next movie and our GM Mike was getting a little bit upset that he was footing this exclusive’s bills for a non-working model who was basically Scott Master’s sex toy. When I wanted to do a movie called Lunch Hour about workers in a steel factory fighting back against management, I pitched the idea to Mike over drinks at the Gold Coast Bar in West Hollywood. The next day, he gave it the green light and personally made the calls to get me the perfect factory setting in Burbank for our shooting location. It took a lot of my budget to rent the place, so Mike agreed to throw in a little more money and then shocked me with his next decision. Mike felt the macho role of the factory worker would be a great next step for Matt Powers. He was looking to “butch him up” by getting him in a masculine role. Scott Masters was a bit shell-shocked and put up quite a stink because in his mind, even though Catalina was footing the bill, he felt he should be the only one to direct Matt’s movies. I agreed with him and didn’t want to take on the responsibility, but eventually he gave his blessing to the idea and I accepted the task. Secretly, I was happy because now having an exclusive as a star meant they would advertise the movie aggressively.

I think Matt Powers liked the idea of working with me as his director because he knew I would encourage his input and recommendations in regards to his role. There’s a great scene in the movie just before the workers overpower the management to teach them a lesson. Matt wanted to smash one of their computers with a giant wrench to show his anger and frustration with them. I had an old computer on the set as a prop and thought… brilliant! It worked out beautifully and added to his macho persona. Once he smashed the computer, he turned to his co-workers and uttered, “Get 'em,” at which time the workers overpowered the managers, ripped off their clothes and well, you know the rest. It was a lot of pressure, but I knew I could make Matt Powers look incredible; he had all the goods but hadn’t been given the chance to show his full potential until then.

Because the factory cost a fortune, I only had two days to shoot Lunch Hour: one day to shoot all the factory scenes and one day in Scott Master’s house (because it was free) to shoot a love scene between Matt Powers and Josh Taylor, showing Matt’s softer side as contrast. Although he really didn’t want to, we made sure Scott Masters left for the day. The factory scenes included all the dialogue, a threeway with Powers and a 6-way orgy (simultaneously happening in another part of the factory), then we brought both groups together for a 9-way finale. Because shooting all this was impossible in one day, Mike told me that he was going to have Chi Chi LaRue co-direct. I directed all the dialogue and the threeway while Chi Chi directed the 6-way, then I directed the end when they all got together for the 9-way.

It was in this movie that I discovered the immensely satisfying act of “Revenge Casting.” My “open-relationship” boyfriend at the time, Randy, a co-owner of a clothing store on Melrose Avenue, always liked to torment me by letting “slip out” names of guys he slept with. This time, he was boasting about having gone home with adult porn actor, Steve Kennedy (aka Luke Bender), after meeting him at a club. I insisted that Scott Masters track down Steve Kennedy and cast him for the orgy. My first thought was to have him gang fucked, but realized he was only topping at that time in his career. I was a fan of Steve Kennedy, which made my jealousy even more atrocious, so I quickly moved on to “Revenge Casting Plan B.” Once he was confirmed as a cast member, I reached out to Charlie Warner and offered him a role. What, you never heard of Charlie Warner? No one had. He was the best friend of my “sleep around boyfriend” Randy and was persistently asking me to cast him in a movie. I never had before, but this time I did with the idea that Steve Kennedy would be giving him a relentless, long, hard and fast fucking. A pounding I was sure would rattle dear Randy when the movie came out on VHS. As soon as it released, I was on the phone with Charlie Warner so he could plan a screening at his house with all his friends.

The expression on Randy’s face was priceless, and he looked at me knowing exactly that what I had done by casting Charlie and Steve together. It was sweet revenge. His special one night stand with Steve Kennedy wasn’t so special anymore. Charlie actually did a really good job and I used him again in The Secret Boys Club, shot at a roller rink in the San Fernando Valley. Randy and I had a good run, but in the end he broke my heart. I was supposed to go to a party with him and had to cancel because, once again, Scott Masters needed me, last minute, to nail sequins on block letters to spell out Matt Powers' name for a dance tour he was going on to promote his movies. That very night, Randy met a young plaything at the party who basically replaced me. He broke up with me a couple days later and I was fucking distraught. I was immediately on the phone with Chet Thomas, Catalina editor, cursing Scott Masters' name for making me stay home the night of the party when Randy met the new guy. Being a great friend, Chet rushed over with a big bottle of Jack Daniels and we drank the whole thing.

Lunch Hour came out in 1989, and when Scott Masters watched it he ran up to me and gave me a big kiss on the cheek. He was happy that I made Matt Powers look macho and sexy in the movie. I think he thought to himself that he’d better troubleshoot the situation so that the manager, Mike, didn’t give Matt away to any other director, so in 1990 we shot and released Scott Masters' Lifeguard On Duty. We shot it up in Pismo Beach and Scott Masters had Matt play the lead role, which was well written and included a very well shot, if I do say so myself, fight scene with an armed assailant on the beach at night. That was Matt’s third and final movie for Catalina, because their relationship started deteriorating right before our eyes during filming. In 1991, after one of many arguments with Scott Masters, Matt took off, ending their relationship, shot a movie for Fox Studios called Muscle Force and then returned home to Massachusetts and enrolled in college.

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

I’ve written previously about my best friend and co-worker at Catalina Video, Chet Thomas. His real name was Tommy, but from time to time we referred to each other as Sal & Sal. We both liked the nickname so much when we heard it from a “loose” character in the movie Scandal, with Joanne Whalley-Kilmer and Bridget Fonda, that neither one of us would let the other use it exclusively. When we were out and about, on the hunt “not for cunt,” we each took on the character and nickname of “Sal.” You see, just by that last sentence I’ve changed back into Sal before your very eyes; I guess “Sal” is the true author of this particular blog. Everything we said and did as “Sal” was for shock value and to move us toward our goal of the evening, having faceless sex with strangers. You might have read about some of our adventures in my previous blog, “SCANDAL at the Coral Sands Motel .”

The very first time I went to Palm Springs was to shoot the movie Head of the Class 2 that Scott Masters was producing and directing. We shot at a beautiful home in Rancho Mirage with models Adam Grant, Les Stine, Beau Beaumont, Brian Hart, Chris Ladd and others. While shooting the movie, the cast and crew stayed not too far away on Warm Sands Drive in a clothing optional resort called The Vista Grande. Scott Masters always cracked the whip, and to make sure there was no funny business with the models “off camera,” they stayed in the owner's two-bedroom suite with him, basically holding them captive. The crew, on the other hand, was free to roam the property at night, spending time in the 16-man jacuzzi filled with horny resort guests and locals who either had a key or figured out a way to get into the private resort. It was a playground for sure, even featuring a glory hole right next to the Coca-Cola and ice machines. Quench your thirst?! Peter and Larry were the owners and they developed a friendship with Scott Masters, which would allow us to start shooting on their resort property for future movies. Catalina ended up shooting at the Vista Grande for years to come.

Our next trip to the desert was for the movie Palm Springs 92264 and Chet Thomas was along as director with me as his cameraman. Scott Masters stayed home in L.A., but you can bet your ass he called to check up on us at the most inopportune times. I filled Tommy/Chet/Sal in on the goings on at the resort from my first stay there and we were determined to conquer the place while off the clock from shooting the movie. Across the street from the resort was their sister property called The Atrium, which had only five two-bedroom units. Tommy and I stayed there, as did the models and crew, because it was a bit quieter than The Vista Grande. After the shoots, we would go out with the models and crew to dinner at the Red Pepper, a gay-owned Mexican restaurant, and then we all hit CC Construction Company, the local gay disco. The models, for the most part, were on the honor system and, I think because we treated them like friends instead of “hired talent,” they kept their dicks in their pants in anticipation of filming the next morning. Once their scenes were complete, we let them play as much as they wanted around the resort or go on their escort gigs that they or their agent booked for them while in the desert. Tommy and I were very happy about how smoothly things went and were so grateful not to have our producer Scott Masters breathing down our necks.

After the movie wrapped, the cast flew home and the crew drove back to L.A. The owners of The Vista Grande invited Tommy and myself to stay the weekend. They were sold out with some sort of event and the place was filled with German guys. Scheibe! This was a clothing optional resort and let me tell you, there were some big-ass German Sausages swinging about all around the pool. It made it very easy for “Sal” & “Sal” to decide on who to pursue and who not to pursue. Neither Sal was famous for playing nice and when we both wanted the same “piece,” uhh hmm, I mean “guy,” we would battle it out. May the most creative seducer win!

Bob and Larry showed us to the “Maid’s Quarters,” the best kept secret at The Vista Grande. It was a tiny 12’ x 12’ room, with a shower stall and just barely enough space to fit a bed, TV and night stand. It was free and gave us a place to crash, so who were we to complain? Neither one of us was going to get much sleep anyway and if we did, it would probably be in room 10, 15 or 23. In true “Sal” fashion, there was trickery to be had. Like when I was in the shower, Tommy/Sal got dressed and ran out the door to get a head start on the guy we both wanted to catch. That little bitch! If I remember correctly, Sal threw himself at him and scored his first point. That pissed me off a bit, but I don’t throw myself at guys - oh wait a minute, I’m Sal right now so that’s exactly what I do.

The Sal domination of Warm Sands Drive didn’t just stay contained inside the walls of the resort. Outside on Warm Sands Drive was the most infamous cruise spot in all of Palm Springs. The streets don’t have street lights in the desert and there were shadowy figures in abundance. In cars, on walls, behind bushes. It’s impossible to see if they are cute, ugly, young or geriatric, and you can bet I ran into Sal a few times in different hiding spots with his mouth full. That was his thing - sorry babe, luv ya! Miss ya! But what do you expect, Sal, you did steal my hung German tourist, you twat! Sal and I made many return trips to the Vista Grande. We could call them any given Friday afternoon and if the “Maid’s Quarters” was empty, the owners would give it to us for the weekend for, get this, $25 per night! They treated us so well and, like I said, we would return year after year with the crew to film dozens of movies.

You know, I’m kind of embracing my alter-ego “Sal” as a writer. I think I’ll have him do a guest blog every now and then moving forward.

Looking for Mr. Goodbar lobby cards

Some of Josh's signed photos: Will Seagers, Bette Davis, Haruo Nakajima (Godzilla), Rob Cryston

Runaways box covers over the years

Greetings All,

It has been a rough week for me, which has put us behind schedule this week. I have been assisting a dear friend and mighty force in our greater LGBTQ+ community these past few months. When I came to Chicago in 1976, one of the first friends I made was Marge Summit, then owner of His N Hers, a popular community bar located under the L tracks on Addison.

 

Marge created a wonderful space that brought many facets of our community together to celebrate. Marge’s staff served us great drinks, prepared fabulous food including the best burger I ever enjoyed in Chicago. And Marge made a space for lots of local talent to perform, grow and succeed.

She became a dear friend and mentor to me in the service industry. Those of you who joined me for Chicago’s Original Country Dance after closing Carol’s Speakeasy should remember Marge helping us serve drinks at various spots along the way Pusch Studios, Paris Dance, Whiskey River, Bedrock to name a few.

 

As an icon of our community, Marge was there when AIDS first struck Chicago. Her support for many of the early organizations that came to be in response to this emergency was fantastic. Howard Brown, Chicago House, Open Hand and numerous others were causes championed at His N Hers in the 80s with the support of the talented artist that performed at the bar.

Marge did more than just host benefits; she took action when needed. One of my favorite things she did was to push peoples’ comfort zones.

 

To stress the economic force of our community, Marge and her leather buddy Frank Kellas launched the Gay Dollar campaign. She bought rubber stamps that read Gay Dollar and stamped thousands of one dollar bills. In the 80s, that got the attention of the Feds. They visited her and threatened her if she persisted. She did persist and straight folks were forced to be embarrassed by handing over “gay money” when shopping, dining, etc.

You may not remember there was a small grocery store at the corner of Belmont & Broadway. The owners were unhappy as the neighborhood became “New Town” with gays moving into the area. Bars, stores catering to gays sprang up. With the fear of AIDS, the owners were afraid of contact with us. Marge would get friends to join her to each grab a grocery cart and fill it with all kinds of items, the smaller the better. Filling the carts, they would leave them at the checkout announcing they were gay. The fearful owners and staff would be forced to wipe off all the handled merchandise, fearing contamination of AIDS. Sound familiar?

Marge met the love of her life, Janan, in her later years and I was honored to host their wedding at my Country Dance at The Call. Sadly, we had to celebrate Janan’s passing there too. The past few months were hard for Marge, failing health and loneliness made it a vicious circle. I was fortunate to spend time with her, sharing memories, meals, helping her cope as she became weaker.

 

I got to sit with her one last time on Tuesday in her finally hours as she passed from this world knowing she would be reunited with her wife, Janan.

Marge was not part of our leather community, but she understood our side of the family. She was a great friend of Chuck Rodocker, Chuck Renslow and Jim Flint, all leather bar owners in the 70s and 80s. She stood with us as AIDs decimated the clubs and took the lives of so many leathermen.

This loss is not felt just by me but many others of our leather community of that era.

Thanks for allowing me to share this passing with you.