BijouBlog

By Josh Eliot

**WARNING: Contents May Upset Your Stomach **

It was my love of movies and movie-making that brought me out to San Francisco at age 17 to try to make a go of it. For some reason, my brain retains movie trivia like nobody's business. Things I shouldn’t remember, but just do. Having said that, there are a few things I would like to forget about my time working for Catalina Video from 1987-2009. Not anything related to my co-workers, our ethics, or decisions we made, but things that grossed me out. I often felt like an impostor when I was working in the industry, because my focus was easily shifted if something I was watching made me a little squeamish. For example: when one of our directors was shooting a hot sweaty scene, I would focus on the sweat. Sweat in general grosses me out. I don’t want to see it, I don’t want it dripped on me during a moment of passion, all I want to do is wipe it away. I don’t know if I’m alone in this thought process, but it is one of the many turn-offs I witnessed on the set over the years. The sex we were shooting could be super-hot, but as soon as I saw something that triggered my squeamish side, it was my focal point, it would throw me off my game.

When I started with Catalina Video in 1987, they hadn’t yet embraced the condom. However, director John Travis and producer Scott Masters where trying their best to be responsible by using a spermicidal ointment when we shot fucking. Conceptrol with Nonoxynol-9 came in a tube, much like a tampon, and was a vaginal contraceptive to prevent pregnancy. In our studio, the shower had a douche attachment for the models to use prior to shooting the anal portion of the scenes. Once clean as a whistle, the model would come onto the set and the director or make-up man would insert the tube of Non Oxy 9 into their butt and push the gel up into them. This was short lived, and condoms came a few movies later. While using the Non-Oxy 9, it wouldn’t just magically stay inside - at any given moment it would fly out, most often when I was shooting the underneath shot. It would fly out and land on my camera lens, my arm, my ankle (if I was sitting instead of kneeling) or the top of my head. I made damned sure to keep my head down and mouth shut. An underneath cum shot with a load splattering, not a problem, but this stuff? UGHHHH.

In one of Scott Master’s movies, The Young Cadets, Mike Ryan‘s co-star could not keep a boner to save his life. Scott Masters made some calls and got Chris Burns to come in to do the fucking. Chris Burns (Below the Belt, Dangerous, Men of the Midway) had worked for Catalina Video in These Bases Are Loaded, Skin Deep and NightCrawler, but didn’t have the current “pretty faced jock” look that Catalina was now casting. He did, however, agree to come in as a “stunt dick.” It was very lucky for me that Dan Allman was doing the camera work for the insertion shots, because it went on forever and poor Mike Ryan was screaming his lungs out because Chris’s fat dick was ripping him a new one. Mike was a gay for pay model and really didn’t have a lot of anal experience, and probably could have used a lesson on how to properly douche. Chris was merciless, but the worst thing was that the damned Non Oxy 9 kept flying out and landing on the fill light. 400 watts of burning Non Oxy 9/butt juice that was literally smoking and filling up the studio, and it did not smell like Fabreze! Poor Dan got a cloud of smoke right in his face.

If you are still with me, it’s time to move onto another repulsive (in my book) liquid: spit. For some unknown reason, Chi Chi LaRue came up with this idea that spitting was hot. Now, I was fine over the years with a little appropriate spitting, like in someone’s ass crack, perfectly fine. But for a good year, all of Chi Chi’s movies - straight, gay and bi - had this non-stop spitting all over the place. Chi was also directing projects for Catalina during that period and I happened to be filling in on camera when the spitting started. Luckily, I was able to use my producer card and stopped that shit tout suite. Sorry “girl,” we don’t do that in Catalina productions, think of something else. Chi Chi obliged without an argument because he knew how much that churned my stomach. He did, however, like to keep the sweat on the boys instead of calling for make-up to wipe them down (like I always did), but I just grinned and bore it.

We always save the best for last, don’t we? I was shooting the movie Furry Men Do and there was a Latino actor named Gabriel Rocas that we used from time to time who had the biggest balls I’d ever seen. Like many models, he had his own specific routine to get himself hard prior to running onto the set and shooting a few moments of video with his erect penis. I learned about it on his first pair of movies for us, BEAR Skin & Latin Men Do, in 1999.

He would disappear into the adjoining room and soak his giant nuts in a bowl (that he brought with him) of warm water while he stroked his dick to get hard. Ok, no big deal, sounds pleasant enough. It worked, the scenes were completed and we all went home happy. Then on the set of Furry Men Do in 2000, Gabriel returned, bowl in hand, to shoot another scene. This time, one of my crew members was assisting him in the adjoining room. Always up for a good chuckle, Brad Austin and I snuck a peek into the room to see the crew member carefully blowing Gabriel, being extra cautious not to spill the water out of the bowl that his nuts were soaking in. I wish I had a photo. We finished the scene quickly, the models went to shower and we started to pack up. The crew member came walking into the room with the bowl of water and we turned our heads to look at him, when we heard him say, “Ahhh… Ball broth!” Without missing a beat, he put the bowl of water, pubic hairs and all, up to his mouth and drank the entire thing. Brad and I nearly lost our lunch. That was the very last time I ever booked Gabriel; nothing against him, but I just couldn’t ever witness another serving of Ball Broth!

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. 

I am very excited to begin this new series with my co-author Josh Eliot. Readers of the Bijou blogs should be quite familiar with Josh's excellent writing style and accounts of gay history past. This new series will be delving into various neighborhoods in San Francisco during the 1980s. Our first look will be in the Castro... a perfect place to start!

My knowledge of The Badlands and its sister bar The Phoenix will be coming from the perspective of a DJ. That was my job in both of these bars. It would not have been right to skip over the Phoenix, as that was actually the first of three bars that I played in the Castro. Also, in its original iteration known as Toad Hall, it was one of the most famous and history rich spots in the district. Many a famous face (and body) waltzed in and out of its doors during the heydays of the mid 70s. People such as Al Parker appeared there frequently. You never knew who you were going to bump into. But, you were always guaranteed a good time!

After my brief but pleasant stint playing at Dreamland, I realized that I was not cut out for playing the very long hours that were required. My hat is off to those who could play those sometimes twelve-hour shifts! Luckily I had been approached by the manager of the Phoenix and Badlands who asked me if I would be interested in playing. Without hesitation I said yes and soon started at the Phoenix.

This was a very different kind of place for me. It was a Castro St. bar with a very regular and dedicated clientele. They seemed to take to my eclectic mix of R&B, disco and jazz. My only complaint about the bar was the booth. It was more like an aerie! One had to climb what appeared to be a ladder straight up the wall and enter the booth through the floor. Bringing up crates of records... well, you can imagine what that was like! The view and the sound were great. But, you certainly had to put on a long song if you wanted to take a pee break! Lol. My tenure at the Phoenix was only a few months, as I was suddenly moved "across the street" to The Badlands!

But before leaving the Phoenix, I need to mention a neighborhood spot just two doors down on the corner of Castro and 18th: the Star Pharmacy with its celebrity Jackie “Star.” She was loved by everyone in the neighborhood.

Moving on, one afternoon the manager of both bars, Ben, came into the Phoenix to ask me if I wanted to play at The Badlands. Once again without hesitation I said yes. I was pleased to find out that he had become a fan of my music and thought it would be an even better fit at The Badlands. I guess I should also mention that this move had something to do with my popularity in L.A. Tool & Die! The booth in The Badlands was in the back of the bar but was visible to most of the clientele. It was shortly after this that I met the owner of both bars, Ron Holmes. Ron was always very quiet and a bit shy. He seemed to like me and always treated me with respect. When I least expected it, I would find him in the back of the booth smiling and enjoying the music. Sometimes it actually startled me!

This was a great job and a great house to play. I remained there for four years! At first, it was a bit daunting in that some of the very best DJs in the city played there: Timmy Rivers, Johnny Hedges and my very dear friend Jorge Martinez (who formerly played at the Boom Boom Room as discussed in one of Josh's previous blogs). For the first few weeks I followed Timmy Rivers' "Church." Timmy did an amazing and soulful mix on Sunday afternoons that got the whole bar swaying! I would come in at 8PM to relieve him and continue until we closed at 2AM. My biggest challenge and goal was to seamlessly blend into his last record and keep the feeling he had created intact for as long as possible. After a bit, I would segue into something more energetic with my signature thumping bass line! After about a month or so, I was given Saturday nights. These were my most cherished memories of being a DJ. I loved to take the room on a trip by taking popular tunes and building momentum to a point that the crowd would scream with joy when a new peak was hit during the night. One of my fondest memories/compliments was when a patron came to the booth with a shot for me and told me that my music made him feel like he was on cocaine! Their only complaint was that they could not dance... it was a stand up bar!

It was a treat and a privilege to have worked with the great and sexy bar staff that that provided the drinks and visuals that made this bar a legend. Its iconic cedar shake interior with license plates from all states and years adorned the walls. Most iconic were the "do not" placards. They resembled stick figures in various positions. Two of my favorites were the figure holding a pot to his mouth and a red circle and a line through it indicating - no pot smoking. The other was in one of the two men's rooms - the open men's bathroom. It had a bathtub AND a trough style urinal! This sign had two stick figures - one kneeling in front of another with the red circle and red line running through it. (I let you figure out what that one meant! Lol.) Regardless of the signs, hot little incidents would have to broken up from time to time. Men will be men! I look back at all of this and think "what a great time to have been alive!"

Bio of Will Seagers:

Will Seagers (also credited as Matt Harper), within his multifaceted career and participation in numerous gay communities across the country in the '70s and '80s and beyond, worked as a print model and film performer. 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.

 

Who doesn’t like a good road trip? Our very first one for the Catalina Crew was when we drove from L.A. to San Francisco in 1992 to shoot a movie called Easy Riders. Randy White and Bill Marlowe headed the cast, and we shot their scene in the downtown flat my producer Scott Masters (Nova Video) rented for us. I lived in San Francisco from 1980 to 1989 until Catalina closed their studio and moved me, with them, back to Los Angeles. Since my producer did not join us on this trip, I took advantage of leaving his watchful eye back in L.A. and cast a bunch of my San Francisco friends as extras in the movie. I would typically turn in a very generic script for Masters to approve and then on shoot days I would bring my real script to set. Nothing malicious, he was just from a different generation and had a hard time seeing my vision on things. The version I showed him did not have the sequence I was shooting with my friends and Randy White. We found an amazing spot with the Golden Gate Bridge in the background and shot the “movie within a movie” scene. A ranger came by and asked us if we had a permit, but when I told him we were students from the Art Institute working on a class project, he said to have a good time and let us continue. My San Francisco friends, the crew and I drank quite a bit the night before on Castro Street and we were all pretty hung over. We were all still in our 20s, and when the producer's away, the kids will play.

 

From San Francisco, we went to the Russian River in Guerneville (Sonoma County). We checked into the Fifes Resort and the gracious owners told us to do whatever we wanted to as far as filming. We had free roam to film fuck scenes anywhere, any place, any time. Midweek, Chi Chi LaRue drove into town from L.A. with more models for the additional scenes we needed to shoot. Chi Chi worked in the marketing department for Catalina at the time and was not directing yet. I recall she came to get familiar with how we shoot the scenes. The first night, we all ended up at the Rainbow Cattle Company in the middle of Main Street and again we “Tied One On.” The River is very rural and “hillbilly-ish,” but a gay mecca at the same time. A very interesting combination. While walking down Main Street to the restaurant for dinner, Chi Chi was in full drag and acting out. It was like that scene from John Waters' Pink Flamingos where Divine is walking through downtown Baltimore to the song “The Girl Can’t Help It.”

 

The next couple of days, the filming went great, but we were definitely hung over (again!) so it was “slight” torture. I got the idea to write an additional scene featuring Chi Chi as the town drunk wandering through the forest. It was taboo in my producer’s eyes to include a scene like this featuring a drag queen, and trust me, I never stopped hearing about it once he saw it in the final cut. I don’t mean to rag on Scott Masters, as I have such great memories of our time working together and I learned so much from him in the process. I will dedicate an article to him soon. It’s just that he wasn’t exactly flexible and I was still in my rebellious stage, wanting to see how far I could push things.

Later that night, the cast and crew ended up at the Rusty Nail Bar just outside of town. Chi Chi was ruling the place, as always, and we were all two sheets to the wind. There was this hot guy in a brown pick up truck I spotted when we arrived who was staring me down from across the bar. I had my liquid courage, so I started talking to him. Before I knew it, I was tossing the van keys to Orlando Bello (my 2nd Videographer) so he could drive everyone back to the resort. Suddenly, I was zooming down a dirt road in the passenger seat of that brown pick-up truck. That dirt road turned into something that no longer looked like a road, but still we kept driving. It felt like we were going straight up a mountain and I was being tossed around like a ragdoll. This is where my nerves kicked in. I was very uneasy and thought, oh shit, this guy’s a serial killer and I’ve made a huge mistake. I tried not to freak out, but inside I was tripping. The drive lasted forever when we finally got to level ground. I could tell the elevation was high even through everything outside was pitch black. We passed what looked like a shanty shed, then drove another 500 or so feet, when we came to a stop. It was another shanty looking building. We got out and went inside. It was definitely a homemade shack but it had generator power, some bits of furniture and a TV/VCR with porn tapes lying around. How appropriate! I’m not going to get graphic, but the sex was amazing. This guy was hot and handsome with abs to die for. Well, hopefully not. I realized he was just a hot corn-fed hick with a killer piece, but it wasn’t made of metal, it was between his legs.

In the morning, we woke up, did it again, then he offered me a shower before taking me back to the Fifes Resort. The shower was a bit of walk outside and up a hill, consisting of a cinderblock base and a garden hose that spewed out freezing cold mountain stream water. As I was shivering through my shower, I looked off in the distance and now everything made sense. A field of dreams, if you will. Marijuana growing as far as you could see. I was smack dab In the middle of a pot farm. When I got back to the resort, Orlando was a bit pissed at me because I ditched them all, leaving him to buy the drinks. I told him I would pay him back from the budget. He was happy and said, “So how was it?” I replied, “You tell me,” as I pulled a gallon sized Ziplock bag stuffed with weed out of a brown paper bag. A gift given to me before I left the “farm.” He was thrilled, all was forgiven and we lit up before going to shoot our final scene in the bunkhouse with Tom Farrell and Adam Archer. (The best scene in the movie, I might add.)

The point of all this? Easy Riders went on to win Best Picture at the Grabby Awards in 1993, so I guess being stoned, hung over or tipsy when shooting a porn movie didn’t turn out so bad.

Thank you to Josh Eliot for use of the photos.

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. 

I can’t tell you how many times over the years I get asked about fluffers on the set. It seems once someone found out what I did for a living, their first words were, “Do you need a fluffer?” or “Are there really fluffers for the actors?” It’s almost like the impression of a fluffer is a cool and positive one. Well, let me tell you, the reality couldn’t be further from the truth. In fact, the only thing worse than needing a fluffer on the set is when you need to hire a stunt dick (yes, that’s a real thing). I’d like to think that when I hear the word fluffer, it takes me back to the time when my mother packed our school lunches with a fluffernutter sandwich. A peanut butter and fluff sandwich on Wonder white bread, a true American classic and staple of the East Coast. The only place you can buy fluff in California is at a specialty market, and every year or so I have a craving for it. The sandwich is dripping with white creamy marshmallow fluff, the complete opposite of what we want to happen when a fluffer goes to work.

I’ve said “fluffer” so many times in the last paragraph that I’m starting to have anxiety, so let’s just change the word to Mr. F. As a director of gay porn movies, when a model needs the services of Mr. F, we know our shoot day will extend from 5 to 6 hours for a full scene to anywhere from 8 to 10 hours. Your heart drops and you realize that all your hopes and dreams of a hot sexy scene have gone right out the window in an instant. The worst part of shooting porn is when there are erection problems, especially in gay porn where there is not a cute “vag” you can shoot to take up some screen time. You cannot move forward without a hard on, and all the momentum is lost. There is a place and purpose for flaccid dicks to be photographed and a porn movie is not that place.

 

In the late 1980's when I started with Catalina Video, William Higgins' vision for the company was to cast young collegiate men with fit bodies and All-American looks. The model pool in the late 80’s with Scott Masters (Nova Video) as our producer and sometimes director was mostly made up of guys who were gay for pay. This made the chemistry on the set between the models very wooden. If we matched a gay guy with a straight guy, sometimes things would work out, but straight with straight... forget it. Because of this dynamic, our sets had no similarity to what I (and probably everyone else) thought a porn set would be like. I’d always envisioned Joe Gage’s Closed Set as the epitome of a California gay porn shoot. Or even 1984’s Best Picture Winner, Steve Scott’s classic Screenplay, with hot sexy gay actors portraying directors and casting agents. Our sets did not have that sexual energy.

Stills from Closed Set (DVD | Streaming)

With our gay for pay models, Mr. F was not a man but a VCR, unless one of the model’s girlfriends happened to be on the set (I can count on one hand the number of times that happened). A man’s mouth would not do the trick, so we would wheel out the TV/VCR combo from the make-up room onto the set. We would shut off the 1k soundstage lights to make the model comfortable and let him watch a porn scene to get hard. Oh the hideous memories of models rewinding and fast forwarding the tape, trying to find their “perfect shots to watch.” The clock is ticking! Take your hand off that fucking remote and put it on your dick already! Once the model was fully erect, we would turn the lights back on and run to our cameras as the model jumped into the set, stuck his dick in his co-star’s mouth or ass, while we'd shoot for 10 to 15 seconds until it was flaccid again. Over and over and over, angle, after angle, after angle. Torture.

As time progressed, more gay guys with the All-American look got into the model pool. Sexy passionate sex was now a regular occurrence on our sets because the guys were actually into each other. That’s not so say that Mr. F wouldn’t show his ugly face, but that was usually in the form of a magazine to help a hard dick get rock hard or, on the rare occasion, a crew member’s mouth (or piece) would come in handy. Then on March 27th, 1998, a miracle happened in the form of a little blue pill. This was awesome! The cob web covered TV/VCR combo was thrown right into the trash and we could make real plans for the evening because we knew we would get out of work on time. Hell, we could even add a third fuck position into the scene we were shooting, just because we knew we could! Mr. F simply faded away out of our lives and took all that anxiety with it.

 

Fluff now has it’s good name back and Mr. F is more than welcome on the set... as a sandwich.
 

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.