BijouBlog

 

I first went to the Bijou Theater in 2008. It was a snowy day that March. I was in my last month of being 21 – quite an eventful year. It was weeks after I met my first real girlfriend, who I would wind up being with five and a half years. At the beginning of my 21st year, I had my first kiss. (I was a very late bloomer.) Months later, I first had sex (in the bathroom of the longstanding goth club, Neo, another Chicago landmark that closed mere months before the Bijou Theater in 2015). Shortly afterwards, I began going to S/M events and getting curious about the sexual spaces in the city.

The snowy March evening in question, I attended one of Bijou's Wayward Sisters parties with a group of friends. These parties were a blast. They generally got good turn outs and lively crowds – mostly younger art students and predominantly women, though a big mix of folks were present, including Bijou regulars. (There were intentionally never any gender restrictions at the Bijou, unlike many other gay adult businesses. Bijou owner Steven Toushin welcomed all adults and his attitude was always, “No one should be left out; it shouldn't be an exclusive space.”)

At these parties, David Boyer from Chicago's leather bar, Touche, would hand out beers in the back garden and spank the recipients. People DJed in the theater area and danced on the stage and, upstairs, explored the space, cruised, had sex, talked to each other through glory holes. That night, I wound up in the sling in the dungeon, making out with two of the girls I'd shown up with, while some Bijou regulars stood around in the dark and jacked off, a few of our other friends peeping at this display through a window. I later went outside and saw my dude friends and some other guys standing in a circle on the balcony with their dicks whipped out, comparing them while deep in conversation.

About six months after attending this party, I wound up answering a Craigslist ad seeking an editor for a gay porn company; an ad so brief it was almost cryptic. When I went in for the interview, it was a very pleasant surprise to realize it was for Bijou and that, in addition to the theater, Bijou was also a vintage gay porn company. I was a filmmaker with a particular interest in '60s sexploitation films and LGBTQ film history and a burgeoning interest in '70s porn, so this was extremely up my alley. I very much wanted the job, even more after Steven discussed the company and its history and philosophy, so I was thrilled when I picked up the call confirming that I got it.

The Wayward Sisters events were still running when I got hired at the Bijou office and, in total, operated for around a year and a half. Steven recalls once showing up at a Wayward Sisters party with his partner and doing a flogging and fisting scene in the dungeon. As they played, party-goers wandered by and started gathering, their conversations soon growing silent as they watched intently. Afterwards, a group of young women came over to talk to his partner and pay compliments about the scene. I went to one or two more of these parties before they wound up being discontinued not long after the person who originally ran them moved to Europe.

But let's back up much further, well before my time.

The Bijou Theater opened in 1970 in Chicago's Old Town neighborhood on Wells Street, where it was in the proximity of several other gay and sexual businesses. The first film that played there was Richard Nixon's Checkers Speech, named after the Nixon dog. The next was a gay porn film. In 1980, it expanded to a second floor, with a maze of glory hole booths and a dungeon room. By then, it was open 24/7 and people partied there late into the night. Touche and other gay bars would bus folks over and the crowd from Carol's Speakeasy, located next door, regularly spilled into Bijou (sometimes for free through its back door) after hours. During these decades, the theater endured numerous police raids, obscenity busts, bomb threats, and more, but it kept running. In addition to porn films on Bijou's screen, these first few decades saw live performances on stage by many of the films' major stars, including Al Parker, Richard Locke, Lee Ryder, Peter Berlin, Jim Cassidy, and Casey Donovan (and Colt stars later on in the 2000s).

From 2000 to 2002, Miss Tiger and her Erotic Cabaret, featuring the Bijou Boys, took to the Bijou's stage. Drag performer Miss Tiger's events were elaborately staged erotic revues featuring theatrical pieces, humor, musical numbers, strip shows, live sex acts, and more. One notable show incorporated a Gregorian chant playing as a man came out dressed as a priest and with four men dressed as choir boys. They all read from Bibles, then the choir boys took turns sucking the priest's dick on stage.

Not long after I began working at the office, a fellow employee asked me if I wanted to help out with one of the theater's strip shows. I wound up running lights and music for these each month. Another co-worker, Bryan, took over as host for a long while and he incorporated stand up comedy into the Nude Revues. We often made elaborate videos to feature during the intros and during intermission. Finally, Michael, who worked in the box office, took over hosting. He had a great rapport with the customers, which made for a comfortable flow. (At the final Nude Revue before the theater's closing in 2015, he ended the show by singing a poignant song, which brought tears to many an eye in the crowd.)

Bijou held a big 40th anniversary party in the first months of 2011. This was hosted by David Boyer, and the packed audience took in live music performances of classic gay porn theme songs accompanied by dancers (one of whom poured orange juice all over her naked body to a very noisy cover of the theme to Arthur Bressan Jr.'s 1984 film, Juice), videos about gay porn history and Bijou's history (both viewable at the bottom of the Bijou Theater page on our website), words from Steven Toushin, a two foot tall ejaculating dick cake (made by my girlfriend), and a strip show.

During the 2000s, more people were approaching Steven with interest in doing events at the theater, as the dynamic at the bars was changing. The first huge event to be staged there by organizers from outside the theater during my era in the 2010s was the release party for the vintage gay porn soundtracks of Patrick Cowley by Dark Entries Records on Valentine's Day of 2014. DJs played in the dungeon (which got crowded, hot, and sweaty) and others played downstairs on the stage while clips from the movies Cowley scored were shown on screen. This event illuminated some new possibilities for hosting parties in the space that were influential during the theater's final two years, during which we worked with many different organizers and artists.

Later that month, a friend of mine staged reading of an erotic play he'd co-written about Abraham's Lincoln alleged gay relationship. This event segued into a year or so when a friend in the same circle proposed doing monthly variety shows at the theater. I helped him run these and they were chaotic, sometimes thrilling, and often messy installments called Upstairs/Downstairs, featuring performance art, video art, experimental film, punk bands, noise musicians, installations, DJs, and stand up comedy. Some highlights: a performance featuring a corn cob strap-on covered in I Can't Believe It's Not Butter; legendary Chicago bands and performance artists taking to the stage and finding creative ways to utilize the space; a night when I had to mop milk, piss, and cum off the floor of the dungeon after the show; and a fake human sacrifice and haunted house.

With these and following events, inspired by the broadly mixed crowd and dynamic use of the building seen in the Wayward Sisters and Patrick Cowley parties, we tried to find more opportunities for newcomers - across a range of ages and genders - to feel welcome in the theater, while also hopefully being an interesting change of pace for the customers who had called it home for decades. Finding this balance was tough and sometimes tense, but a worthwhile endeavor. Steven was interested in people trying new and different things at the theater and he gave them pretty much free reign in what they planned (basically unheard of), though he often suggested to organizers that one successful approach to the uniqueness of the Bijou was allowing things to unfold throughout the entire venue. The staff of the theater went above and beyond during the events in these final years, which often required a huge amount of extra work.

During this span of time, S+S Project hosted an exciting show highlighting the work of many talented local artists, including installations of artwork, video art screening in the theater, and performances on stage and upstairs (featuring nudity, lard, and balloons). Afterwards, we hung around late into the night in the dungeon while DJs kept playing.

A couple of large queer dance parties were thrown by Chances Dances – one for Halloween and one for Valentine's Day. These included DJs, performers, vintage lesbian porn, and more.

The Men's Room parties also came to the Bijou during this time and hosted several events. These quickly turned massive, culminating in a sprawlingly large and debaucherous one during the IML weekend of the theater's final year. These nights featured music on both levels and erotic performance art (once incorporating fireplay and once featuring piercing play; in the latter scenario, a disco ball was strung up to the performer's cock and balls and when the needles pierced into his chest were tugged out, blood spilled down his body and onto the disco ball).

In the same era, we held an intimate memorial service in the theater, hosted by the folks I went to my initial Wayward Sisters party with, for their friend Wiley, a long-time Bijou regular who loved the place and had recently died. His friends shared memories and screened videos they'd made with Wiley in the theater to a small gathering that also included theater attendees and employees who'd known him.

In the fall of 2015, we got the terrible news that the Bijou was being forced to close, as the result of a legal battle with its landlord. We quickly scheduled a series of events for its final week, David Boyer running several great Touche parties and classic porn films playing 24/7 on the screen. We set up one last party on the theater's final night in operation, and I welcomed anyone who was interested in participating to contact me. We had an overwhelming response.

The night saw wild performance art in the dungeon, live music, beautiful dance performances on stage, DJs doing disco sets in the dungeon, classic porn clips in the theater, erotic videos by local artists screening upstairs, a photobooth and roaming photos by GlitterGuts (all of which you can see here), and I even, in one gorgeous moment, walked by to see a person sawing out a section of the glory hole booths while fucking someone. (Several panels were removed for posterity, Steven keeping some and the person who removed them continuing to this day to install pieces of the Bijou in art shows and other spaces around the country.)

Many friends and strangers talked and fucked. Intergenerational conversations were happening throughout the night, as many people from all different points in the theater's history (and newcomers) showed up. I finally managed to have sex in the theater (in one of the booths, with my then-girlfriend). People were so appreciative of the space, each other, and the history, and being able to be free to do whatever they wanted there, engaging enthusiastically in the way I'd always hoped for. A few asked if they could keep the faded vintage porn film posters on the wall and we took these down and gave them out. One DJ (who'd been involved in putting on several previous events) played an entire new score to the Frank Ross classic Made in the Shade in the theater, which thoughtfully included a sample of the lead performer's final line: “I know I'll have many other homes, but never a place like this.”

This party ran until the next morning. As the remaining stragglers lingered, I found myself alone in the dungeon as Donna Summers' Last Dance came on the playlist, and I danced and cried.

The rest of that day is a blur. I may have napped in the office or not slept at all. A few of us, including Steven, David, Bijou's custodian Shrodney, and I, had to take down the screen and clear out any remaining equipment by the end of the night before the property was turned over to its new owners. We climbed ladders to disconnect lights from lighting rigs, cleared out the projection booth, and packed everything up. Shrodney and I made a final pass through the upstairs, which was a wreck from the party (we didn't have to clean up after it for once), and removed lightbulbs and signage and took photos of the graffiti on the remaining glory hole booths. We headed down the spiral staircase for the last time and shut the door to that room, placing a peacock feather we found, left over from one of the previous night's performers, on top of the door frame.

We all finished our work and headed out, locking the front door for the first time in 35 years. Steven had to install a lock for this, because the front door didn't even have a functioning one – the theater had been open every day all those years, even through fires and bomb threats, since it became a 24/7 establishment in 1980.

Weeks later, a large group of my friends, moved by their experiences there, held a beautiful memorial service for the Bijou Theater in their own space, which was deeply in the spirit of the venue. I've seen its spirit continue on in gatherings of friends, sexual spaces, and porn screenings since, and hope to continue to catch glimpses of it as the years pass.

The raid on Stonewall of course has become an iconic event because of its social and historical ramifications, but recently LGBTQ historians, including many who publicize history on social media platforms such as Twitter, have called attention to similar events before and after Stonewall. Often the goal of such histories is uncovering marginalized narratives of oppression and liberation that can frame our own interpretations of not just those people and events, but also give a valued context for the present-day legal, social, and cultural challenges to honor and justice that LGBTQ persons still face.

One raid which attained notoriety, mostly because it showed how the politics of the gay Chicago community was becoming very much intertwined overall with mainstream politics, occurred on September 12, 1985.
 

A group called NEMEG, Northwestern Metropolitan Enforcement Group, which consisted of officers from various north and northwestern suburbs, raided a popular gay bar, Carol's Speakeasy, located at 1355 N. Wells Street (that strip still at that point in LGBTQ Chicago history was the center of a vibrant gay nightlife). NEMEG was ostensibly looking for evidence of drugs and drug dealing.

According to David Boyer of Touche and Bijou and a noted figure in Chicago's gay community, who was then employed by Carol's (his first year as manager), the bar was hosting a wrestling promotion night: “We had put out mats on the dance floor and guys would challenge each other to wrestle. Had about maybe 50 or so people in the house.”

Also according to David Boyer, whose account I quote and paraphrase for much of this blog and which generally corroborates what even the conservative Chicago Tribune reported, the Chicago police were not involved; and, as one shall see, this is a most significant, telling detail.

David describes how this, I would claim, vigilante group “stormed the front door, guns drawn,” and that they also broke in through the back. These persons were not wearing any type of identifying uniform, and did not even identify themselves.

Everyone in the bar was forced to gather together and lay face down on the dance floor for a period of several hours. NEMEG members would hit or shove the face of anyone back down to the floor if they even unintentionally looked up.

NEMEG meanwhile searched the offices and serving areas behind the bars, looking for drugs. David mentions that they were even throwing around match books, claiming these contained packages of drugs.

In a manner reminiscent of pre-Stonewall raids, these persons took each person, questioned them, and, most significantly, photographed them. Everyone eventually was forced to leave the bar; no one was arrrested. David Boyer refused to leave after identifying himself as the manager, but they still did not inform him of their identity.

After what seemed an interminable time of chaos and violence, Chicago police did show up, but they did nothing to stop what was happening. Nothing; one could claim they were deliberately ignoring the many legal violations that were occurring for reasons ranging from homophobia to some unwritten code that forbade them from “telling” on their suburban officer comrades.

NEMEG did claim they found drugs on the premises, but they could not determine who brought them.

According to David, at the same time the raid occurred, a couple of employees were arrested at their homes and charged with drug dealing.

This incident did not end up being a narrative memory of injustice and degradation.

By the middle 1980s, the gay community in Chicago had gained enough political power, even during this uncertain time when AIDS was beginning to decimate its members.

Thus, those affected by this raid filed a civil lawsuit against these suburban officers, focusing on clear violations of the law, such as not identifying themselves as police and forcibly taking photographs of the bar patrons.
 

According to a report in the September 16, 1986 of the Chicago Tribune:
 

"This is one of the most massive violations of civil rights we have seen in Chicago in the last decade," said Harvey Grossman, Illinios legal director of the ACLU.

"Over 50 men were subjected to this course of conduct. They were all ordered to lie on the floor; they were subjected to illegal searches; they were interrogated against their will and required to disclose information about their backgrounds; they were all photographed and none was arrested.

"What the agents did was to take the occasion of serving an arrest warrant on the bartender and turn it into a raid on all who were present at the time," Grossman said.

By 1989, the parties reached an accord, according to a report in the August 18, 1989 issue of the Chicago Tribune. Harvey Grossman in this article makes a telling point: "Although gays have long been subject to police harassment, this is the first time a group of gay men has successfully joined together to obtain damages from law enforcement agencies," Grossman said.

The above is a story of injustice, but also a story of moral courage and faith that the justice system does indeed work, even against those who are supposedly responsible for upholding that its laws are enforced equitably and honorably. In this case, the human rights of the manager and patrons of Carol's were dishonored and dehumanized that night, and though the terms of the settlement did include financial compensation, the real issue is that no one is above the law, and this law is based on the premise that persons are innocent until proven guilty.

Currently, one cannot assume in the case of vulnerable, marginalized populations that their human rights will be respected, and that the justice system will uphold them. I think it's important, overall, to frame this raid as a #NeverAgainIsNow moment that the LGBTQ communities need to take to heart, not only as a warning, but as call for persons to emulate the moral courage David Boyer showed that night.

Sources: Chicago Tribune reports (see hyperlinks); eyewitness account from David Boyer received via email; https://slate.com/human-interest/2016/02/queer-clout-in-chicago-telling-gay-history-beyond-stonewall-and-the-castro.html

I thought I would do an IML-related piece, the whole leather contest circuit actually began in a leather bar, the famous/infamous Gold Coast founded by the legendary Chuck Renslow. I know one person who remembers this bar; he is in his eighties (hard to believe). Much has been written on this place of LGBT history already; I’ll just add that it seems to be the granddaddy of places where like-minded men could meet others who shared their sexuality. Much of what is perhaps now the traditional dynamic of gay leather bars originated there: the leather biker look, the rough sex and BDSM, the l hypermasculinity revealed in the famous artwork of Etienne aka Dom Orejudos now displayed in the Leather Archives and Museum. 
 

The Gold Coast closed in 1988 (alas, I never went there) at the 5025 North Clark location, having moved from its original location at 501 North Clark Street. Renslow later opened the Chicago Eagle in the 1990s; I remember the entrance being the inside of a truck, and the basement Pit. I actually consider this place my “coming out” bar as a leatherman. I was flogged in public down there, my first big BDSM scene. The Eagle closed in the early 2000s; the last time I went there was 2007; by that time the totally hot Pit had closed. 
 

I also remember another spot, now closed, called Leatherneck. It was located literally in downtown Chicago, the Loop. The upstairs was outfitted as a dungeon, where Windy City Bondage Club held amazing parties. The operator of this building was the infamous (emphasize the “in” in that word) John Birch aka of the now defunct Metropolitan Slave magazine. I could devote a whole other blog to this individual (it might read as a particularly outrageous National Enquirer article), but strangely enough, there’s almost no online trace of him, other than a link to some papers by one Beau Lee James, winner with John Birch of the International Master and Slave contest held by Pantheon of Leather in Houston, Texas, 1994. 

Leatherneck with its distinctive mezzanine opened in 1997; I don’t remember when it closed, but I do remember it being for many people I know more of a hangout place rather than a more serious down-and-dirty place like the Eagle or Touche. 

Now, I’ll end with one more place, the AA Meat Market. It was located next to the famous original Touche (I went there for the first time in the early 1990s; a week later it burned down). In my younger sluttish days, I remember being dragged into the bathroom at the Meat Market to perform fellatio and lick boots. I remember this place always hopping; it closed in 1993, I think, because of the gentrification of that neighborhood by Lincoln and Diversey, though I did hear there was some raid that year for “public indecency.” 
 

Our beloved David Boyer is keeping the leather bar legacy alive at Touche. I hope that these places don’t become memories, but continue to adapt to a world that communicates via phone apps. I know I would rather lick a boot or kiss a hot guy in full gear than stare at a phone app. 

Hope you had a  blast at IML 2016!