BijouBlog

In 1979, Bob Guccione and Penthouse Films cast mainstream actors Malcolm McDowell, Helen Mirren and Peter O’Toole in the hardcore movie Caligula. In 2003, mainstream actress Chloe Sevigny gave a blowjob to Vincent Gallo, complete with a cum shot in the mouth, in the film The Brown Bunny. In 2022, where is gay cinema’s Caligula or Brown Bunny moment?

 

The story behind the making of Centurians of Rome, a 1981 film starring George Payne, Eric Ryan and Scorpio has all the “Red Meat” moments that, if ever pitched to Hollywood, has the potential to draw in first rate mainstream actors, writers and directors. My obsession with this true story led me to seek out and find an extensive report in The Daily Beast.

 

On August 15, 1980, 25 year old George Bosque sat in his Brinks security truck, depressed because his lover Carl ended their relationship. After picking up 7 million dollars from the San Francisco Airport, and taking advantage of the fact that the driver was talking with an airport official, George drove off in the truck, abandoning it at the Airport Hilton. At gunpoint he accosted a hotel chambermaid, loading two bags of money into her car and speeding off. Bosque, who in 1979 ran for sheriff of San Francisco, was now a fugitive.

First stop for George was New York City, where he took on the assumed identity of J.R. Lewis, Philanthropist. Keeping his money in several suitcases that he never let out of his site, he couch surfed on Fire Island for the summer. He bounced around to Chicago, Denver, Dallas, Florida and Peru, always staying at 5 star hotels. He was embraced into society and was invited to fundraisers, balls, and extravagant soirees for the wealthy, attending a $500 per plate fundraiser for Jimmy Carter. He made Greenwich Village his permanent residence, and while out on the town one night met and befriended Chris Covino, aka John Christopher a straight adult film director. The two became close friends and when George suggested they make a lavish all male film together, a partnership was formed. The budget: $100,000, a massive amount for the day, which ended up ballooning to around $170,000. The making of Centurians of Rome could be a central part of this movie idea as the three stars, Scorpio, George Payne and Eric Ryan all have “life stories” just as compelling as the behind the scenes stories of the making and release of the film.

With a $150,000 reward for his arrest, George Bosque returned to San Francisco. He called his friends regularly, trying to get information regarding ex-lover Carl’s whereabouts. One of George’s friends tipped off the police and he was arrested at a Safeway parking lot phone booth on November 22, 1981. He’d been at large for 464 days. The young federal prosecutor assigned to his case was Robert Mueller – yes, him! You can’t make this shit up! Mueller pushed for a strong sentence due to George’s lack of remorse and he got 15 years.

Lloyd's of London, who insured the 1.8 million dollars, tried to sue Bosque but he was basically penniless so they tried to get ownership of Centurians of Rome. The defense attorneys for Hand in Hand Films, the studio that had taken over the completion and distribution of the film, had an idea up their sleeve to try and stop them in their tracks. They displayed photographs from the movie around the courtroom with shots showing anal sex, George Payne fisting Caligula and the gladiators in an oral daisy chain. A red faced Lloyd's of London did not want this publicity and made a hasty retreat.

 

Bosque received early parole in 1986 but sadly passed away from an overdose at the age of 36.

 

Could this true story become gay cinema’s Caligula and go all the way with mainstream actors and hardcore scenes? Or should it take the streaming service limited series approach? However you package it, all the elements are there to become a huge international sensation. But first it needs to be pitched, which takes a layer of flesh in itself. Somebody please pitch this movie! The one with the “balls” to make it, in my opinion, is a certain GLEEful, HOLLYWOOD, AMERCAN STORYteller. (You know who I mean).

You can watch Centurians of Rome's trailer and find the movie on DVD and Streaming through Bijou!

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 spent hours at a time staring across the street at a filthy looking restaurant called the Go-Go Kitchen. It wasn’t the restaurant that caught my attention so much, but the exterior door next to it. A door leading to an upstairs apartment where every shade of rabbit fur coat was walking through it, sometimes with a man, sometimes without. It couldn’t have been more obvious. I’m no fool, I saw Dawn: Portrait of a Teenage Runaway starring “Jan Brady” on NBC in 1976. In that movie, Dawn became a sex worker, and she always wore a rabbit fur coat while walking the Sunset Strip in Hollywood. I’m not sure whose name was on the lease for that apartment, but he must have had a lot of “daughters” with a suspiciously similar dress code.

It was 1980 and I was working in the ticket booth at the Screening Room Theater, a place with quite a history. The first full-length adult hardcore feature legally shown in the United States premiered there in 1970, and today there’s a plaque on the building stating so. The film was Alex de Renzy’s Pornography in Denmark: A New Approach. It was billed as a documentary, which helped it avoid legal troubles.

In the 1980s, the Screening Room was a XXX Gay Cinema with live shows on stage. As I sat there analyzing the sex workers' behaviors, I felt two hands begin to rub my shoulders; it was my boss, Frank Ross. In addition to managing the theater, Frank became well known as an actor, producer and director. Some of his features include: Face to Face (aka San Francisco), Black Pack, Black and Bi and Made in the Shade and its sequel. He was a true New Yorker, a bit intimidating, with handsome looks and a tattooed muscular body.

When he interviewed me for the job, he struggled with the idea of whether or not to hire me, because I had just turned 18 the week before. He was very protective of my naivete and took time before exposing me to all the different areas of the theater and its playrooms. As weeks passed and we became more comfortable with each other, he started sharing stories of his sexual adventures. His trysts blew my mind but helped me get more comfortable with accepting myself. I envied my co-worker who was already comfortable in his own skin and would go up to the projection booth and play around with Frank regularly. A dancer named TK, who would talk with me in the booth after the live shows, invited me to go to the Trocadero Transfer with all the dancers. He knew the doorman, so I got in no problem.

It was my first time seeing fan dancers, being in a club this size and bonding through party favors with the dancers. At sunrise, we were all at the beach where TK and I went into a cave by the Sutro Baths and played around. Sutro Baths and Lands End Beach are notorious gay cruising spots. When I came into work the next day, Frank had this shit eating grin on his face, like a proud papa. I guess strippers do kiss and tell. Frank totally patted himself on the back for kicking my ass out of the closet, and I guess after months of his influence, he did.

Frank’s most infamous film as producer was made while I worked for him. He was excited to tell me the details, about a prison guard and convict who are handcuffed together during an escape. “Oh, like The Defiant Ones,” I said, “I love that movie.” He was impressed that I made the connection and invited me to watch them film on the movie set. The shoot was the next day, around the corner at the Bulldog Baths on Turk Street.

 

The infamous bathhouse had a real prison cell set, and he was very excited about it. It was too nerve-wracking for me, so I never went to the set. What a huge mistake! The feature turned out to be Wanted, starring Al Parker and Jack Wrangler. Frank Ross was producing and Steve Scott (Inches, Performance, A Few Good Men, Screenplay) was directing! Let me put this in perspective… this is how I see it: you have Steve Scott who is like the Martin Scorsese of gay porn, Al Parker is the Robert De Niro, and Jack Wrangler is Leonardo DiCaprio. The best of the best for that era, there is no topping that cast or crew. A huge regret not going to that set! FUCK!

I don’t know if my life would have taken a different direction had I gone to that set or not, but after leaving my Screening Room job in 1981, I wasn’t exposed to the Adult Film Industry again until I was hired at Catalina Video in 1987. Sadly, I recently found out that Frank Ross passed away on May 20th 2021, which made me think back about our time working together. Because we worked on different coasts, he never knew that I ended up working in the same industry as him. I wonder how he would have reacted.

But do you know what the real burning question in my mind is?

Are there still girls going in and out of that door next to the Go-Go Kitchen?

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.  

Born in Jersey City, N.J. in January of 1951, I spent the early part of my youth in the northern part of the state and my teens at the Jersey Shore. The very beginning of my teens was when I realized that I was gay and enjoyed it at every chance! Also, in my family's move to the shore I made a life long friend, Michael, who was also gay. Although we had no sexual relationship, our friendship made it a lot easier for both of us to better understand our blooming sexualities.

My education was fairly typical for the times. Parochial school for the first two years and then public school through high school. My 2nd grade public school teacher was from France and helped to create a life long interest in the country, language and culture of France. Oui, je parle français!

College years were not productive. I was in the tumult of coming out and exploring my sexuality. I studied engineering and journalism. I did not have the discipline for either of them. During these years I lived in Jersey City and would take the "PATH" train over to Christopher Street and see what trouble I could get myself into. That is where I was "discovered," while cruising the streets, by Man's Image Studios and Lou Thomas. (Lou, with Jim French, started Colt, and later went on to start Target Studios in 1974). Lou and I hit it off and remained friends for years.

 

Realizing college was not right for me at the time, I decided to take a break. I went to work for Eastern Airlines as a flight attendant. I spent two years with them. First in New York at JFK, where I got to utilize my French in flights between NY and Montreal. The following year, I was based in San Juan, Puerto Rico.

After my stint with the airlines, I moved around the country a lot in the '70s. I moved back to NY in '74. I had several more episodes of being "discovered" on the streets. Two of the photoshoots were actually straight. One for a hair magazine and the other for a ladies' magazine, Viva.

After NYC came Tempe, Arizona (near Phoenix). My roommate/friend from San Juan had won a scholarship at A.S.U. and wanted to know if I wanted to move out there with him for the school year. Not tethered to NYC by anything serious, I agreed. My first gig was bartending at the Newtown Saloon and then the local disco - Maggy's, both owned by the same men. That lasted for most of my one year stay in Arizona. My final gig in AZ. was working for a man named Phil in his porn warehouse. He owned most of the "Book Stores" in the Phoenix area. It was interesting to view the workings of the porn industry.

In 1976, I received a phone call from Lou Thomas asking me if I was interested in working on Fire Island for John Whyte. It was perfect timing; Arizona was winding down.

I worked in The Pines for John Whyte for three summers... glorious ones at that! Mostly as a bartender, waiter and life guard; my job was loosely structured to say the least. Lou Thomas imposed on John Whyte to "borrow" me for a few hours one afternoon while I made a flick with Bruno ("Bruno and Will" in Bullet Videopac 6). It was a hot and steamy flick and I went right back to work that afternoon after a quick cleanup! Lots of other movies were shot in a similar fashion on Fire Island. 1976, my first season on F.I., I met Chuck Holmes, owner of Falcon Studio. He invited me to come to San Francisco and work for him. I took him up on that and wound up living in S.F. for 14 years... 3 were bi-coastal with summers on Fire Island.

At the end of the first Fire Island season, 1976, a large group of the guys from John Whyte's "Boatel" moved en masse to San Francisco. I had a job waiting for me with Chuck Holmes.. so I was set! I couldn't believe S.F. - I thought that I had died and gone to heaven! The men, the men, the men! Lots of work with various studios commenced, including working with Al Parker and his lover. This went on for over a decade, intertwined with various other full time jobs including manning San Francisco's first gay gym, The Pump Room, and becoming an electronics maven at Eber Electronics in the Castro, which was my first real selling job.

Shortly after moving to San Francisco, I met the first love of my life, Tom Beebe. He knew exactly who I was and placed no expectations on me in terms of my "film career." We lived together in his small one bedroom apt. in the South of Market neighborhood for thirteen years until he passed from AIDS.

Music. Another big part of my life. During the last year that I worked on Fire Island, I had a wonderful affair with a man named Michael. Michael moved to San Francisco, as well. He was instrumental in creating the club Dreamland. He asked me to be part of the family and work on lighting. I had been making tapes and circulating them around town with success. Eventually, I was asked to DJ at the club. Easter Sunday Tea Dance 1980 was my debut. I played there briefly and then moved to playing music at the bars in the Castro... primarily The Badlands and Moby Dick Bar. I could feel a change coming. On Labor Day Weekend of 1991, I left S.F. and returned to the east coast to start a new version of myself.

After a few brief solo years, I met my spouse Alan in 1995. We met on the dancefloor of NYC's Roxie - a NYC dance club. It was the very weekend I returned from a non-productive year in South Beach. From this point on I rekindled the salesman part of myself as well as the musical part. I sold pianos and organs and taught the basics of organ techniques. I still have and play a massive Allen Theater organ. I also revisited the consumer electronics field in Santa Fe, N.M at The Candyman, where I managed the audio/video department.

Now at 71 and retired in the Southwest, I frequently reminisce about this great adventure called my life!

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.

Thank you to Will Seagers for providing the photos featured in this blog.

The current national anthem of the United States is extremely difficult to sing. As someone who has done some professional singing and is now currently trying to rejuvenate his voice, trust me on this one.

It keeps plunging down into low notes or what some vocal pedagogues call chest register, which can drag the rest of the voice down, and at the end, one is supposed to sing a high note on an “ee” vowel, “land of the free.” Because of this difficulty, it even gets transposed down even lower, which means it ends up sounding like a growling monotone.

The composer, Francis Scott Key, was aiming for a heroic line that matched the bombastic lyrics, and he perhaps was thinking of situation like those that occur at baseball games where one listens to trained singer sing it.

Times have changed in that manner, and unfortunately we have been subjected to travesties like the dreadful yowling of Roseanne, or in the manner of many pop singers, adding to what is already difficult by adding vocal turns and coloratura and the like (perhaps to keep the voice flowing as it tries to surmount the line’s irregular see-sawing movement).

Vocally it’s problematic, but regarding the text, many have complained about the militaristic imagery, especially “rockets’ red glare/bombs bursting in air.”

More significantly, given the social changes now occurring because of the Black Lives Matter movement, some activists say the United States should replace “The Star-Spangled Banner.” Why? Its lyrics were written by Francis Scott Key, a slaveholding lawyer who expressed white supremacist views.

Songs that some have suggested as replacing it have included “America the Beautiful,” “This Land Is Your Land,” “My Country ‘tis of Thee” “God Bless America,” and “Lift Up Every Voice and Sing.” John Lennon’s “Imagine” and Dolly Parton’s “Color Me America” are also on the list.

See this link for some performances of the some of the above songs.

I have in the past tended to move with the “America the Beautiful” replacement crowd. Why? It’s easy to sing, with a range, and more significantly, meter that matches many of the hymns people were used to singing in church. In fact, it’s got the same meter as “Auld Lange Syne,” the common meter, which means one can sing the lyrics and melody for each song interchangeably.

Common hymn meter - Source: https://poemshape.wordpress.com/category/guides/about-common-ballad-meter/

 

Now, some have noted the text by Katherine Lee Bates tends to read like a travelogue or landscape; it doesn’t really proclaim and develop an idea as much as describe a landscape, vast mountains and plains and “spacious skies” surrounded by “shining sea.” But that’s the part of the lyrics we usually sing. There’s much more!

In 1893, there’s the verse:

God shed His grace on thee
Till selfish gain no longer stain,
The banner of the free

Which was then changed in 1904 to:

May God thy gold refine
Till all success be nobleness,
And every gain divine

The 1893 verse actually sounds more radical, given the context of the previous lines, which refer to “liberating strife,” which could refer to the Revolutionary War and the Civil War, “once or twice” events that liberated Americans from “selfish gain.” Ultimately, war is vain and degrades the human person to a number, an impersonal body, rather than as earlier in the verse, “a precious life.”

Katherine Lee Bates - Source: https://www.harvardsquarelibrary.org/cambridge-harvard/katharine-lee-bates/

 

In 1904, and in a later revision in 1911, one encounters stereotypical imagery of heroes sacrificing themselves for America and tying in more the Manifest Destiny idea. The result of the liberating strife veers between martyrdom and material prosperity; I am getting more than a hint of the Prosperity Gospel. Success, in whatever shape or form, means one is blessed by God.

Overall, this conversation ultimately ends up being a “tough call,” and as the LGBTQ Pride Flag has now undergone a transformation to include people of color, one wonders if the traditional staples need to be cast aside as we confront the injuries in the name of those American, using Bates’ word, “glory tales” that oppress rather than liberate, enclose rather than include.

Update of the Pride flag with black & brown stripes introduced at 2017 Philadelphia Pride as an inclusionary revision highlighting people of color

2018 update of the Pride flag by artist Daniel Quasar that also includes the Trans Pride flag colors

 

Music moves flexibly in time; it’s not an immobile statue in physical space. As long as there is someone to sing a song, it will exist.

Ultimately, the act of singing itself is an act of vulnerability but also empowerment. Every time one sings, one re-creates, just as all are “crowned with good,” because they were created in the image of the Divine.

Greetings P(r)icksters!

Really in a weird space this week. We should be gearing up for 6 big crazy nights for the coming Memorial Day weekend. But we are still shuttered here in Chicago.

For the past 40 years, the International Mr Leather Contest took over our Memorial Day weekend bringing 1,000s of visitors to town. Which made us very busy at Touché with parties night after night and several afternoon functions, too.

We would begin with a welcome party on the Wednesday before the weekend as all the IML contestants, most vendors and others arrived early to prepare for the weekend. Then it was Thursday, Friday, Saturday and Sunday nights going strong. By Memorial Day many would be departing Chicago, but we still had great crowds that afternoon for our big cookout and even into the night on Memorial Day.

I will miss many friends this year, the guys from Off Ramp Leathers, friends from other bars that have contestants at IML and many others won’t be visiting Chicago this week. For the first time in years, I’ll have Memorial Day off.

In the beginning IML was not this weekend. The first couple of years it was held over Mother's Day Weekend. IML began as a bar event. Chuck Renslow, owner of the Gold Coast, came up with the idea of a Mister contest for Leathermen.

Back in the mid 1970s before IML started, Chicago bars hosted Mister contests as a way to attract a crowd. The old Gay Chicago Magazine helped develop this promotion of Mister contests by hosting the Mr Windy City Contest each spring. During the winter months, various bars would host a contest to select their Mr, who would then go on to compete for the title of Mr Windy City. During my tenure as manager of the old Carol’s Speakeasy in the 80’s (that was next door to the Bijou Theater), I had 2 Mr Carol’s that won the Mr Windy City title.

Seeing the success of this program, Renslow took that idea and morphed it into a leather titleholder contest. Since you only had 3 or 4 leather bars in Chicago, he made it an international competition to allow for more contestants.

In 1979, Touché was also part of Chicago’s leather bar scene, so Chuck Renslow approached Chuck Rodocker, owner of Touché, to team up and sponsor the contest. Basically the contest was held on one night with bar parties at both places Friday, Saturday and Sunday. Back then, Touché only had a 2 am license while the Gold Coast had a 4 am license. Things started at one bar and then continued at the other.

Being 1979, gay events out in public were still rare; not many places were comfortable having a bunch of queers in their place of business, it would scare off the straights. So there was no host hotel, no big dances in ballrooms, no big display of leather gear and sex toys in convention halls. The early weekend was basically cocktail parties at the bars and fuck parties at the baths (Chuck Renslow also owned Man’s Country).

But as a big advocate of his hometown, my boss Chuck Rodocker (no opportunity to shorten reference to either man, they were both Chuck R, both owners of a leather bar, people still get confused between the two of them) had the staff of Touché host some daytime excursions to add to the weekend activities. We did bus tours around town (have you ever tried to mix drinks on a moving vehicle?).

The logic back then was that Touché closed at 2 am (3 am on Saturday) while the Gold Coast was open till 4 or 5 am. The Touché staff had time for more rest to get back out and going early the next day. The problem with this was that while we may have closed earlier, that didn’t mean we would not wind up at the Gold Coast to enjoy the party there and end up closing that bar, too.

So hungover or still up after fucking some of the visiting leathermen, we would be out there herding folks onto a bus or serving up bloody marys while a local leather club or group of clubs prepared a breakfast buffet of some kind. It was a more intimate weekend than it has become.

As I stated, IML was first held on Mother's Day weekend. Again, you have to visualize Chicago in 1979. White flight had left the city pretty vacant around what we call River North today. The Gold Coast and many other gay bars were in the area, the rest old warehouses, business places that were deserted nights and weekends.

Except...... across the street from the Gold Coast was a renowned restaurant, Gordan’s, that hosted a big Mother's Day brunch every year. Folks would line up outside for the opportunity to treat dear old Mom to a nice brunch. And there we’d be in full leather gear piling guys onto buses, drinks in hand. It was quite a show and I loved being part of it.

And once the IML weekend was over, we still had Memorial Day weekend to kick off summer, just not as crazy as it has been these past few years. I’m going to have to figure out what to do with a long weekend of nothing. Kind of hard, as we have already gone over two months without something, anything. Just hoping I don’t get too comfortable with this, hope to be “back in the saddle” again next May.

So while I ponder my Memorial Day weekend plans, grab my P(r)ick this week with a nod to the men in uniforms - soldiers, sailors and marines - and wave your flags.

My first P(r)ick is A Few Good Men directed by Steve Scott. Released in 1983, this is definitely one of the best grunts fuck films of all time. The Philadelphia Gay News raved about the film on its release, "this gay sex film wins the prize for best treatment of two common gay porn themes: the repressed sexuality of an all-male military setting [including authentic costumes and underwear] and the thin line between fantasy and reality. Scott's style is at its most poetic, in both image and sound."

For a second helping check out Seamen directed by Matt Sterling for Brentwood Studios. Its four pre-condom episodes play with the theme of sailors on leave. There's a good deal of spanking, armpit and foot licking and hearty oral and anal sex. The actors' eager performances ought to get you drop-dead horny.

Before I go this week, I do want to assure you that I do get your comments about my writings for Bijou Video, even if it makes you feel some guy from a porn site is smarter than you. I’m not that smart, just curious to learn more. Thanks for the many compliments, responses to my thoughts and letting me know that you enjoy reading these blogs. I get a kick out of writing them and hearing what you have to say..

Enjoy your Memorial Day weekend and stay safe, my friends.

David

To order from Bijou, visit bijouworld.com, call 800-932-7111, or email This email address is being protected from spambots. You need JavaScript enabled to view it.
 

A Few Good Men (D00316) - On DVD and Streaming


Seamen (D00228) - On DVD and Streaming