BijouBlog

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 .”

 

Chet Thomas/Tommy/Sal in his Valley of the Bi-Dolls cameo

 

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.

 

Head of the Class 2 box cover and The Vista Grande Resort

 

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.

 

Palm Springs 92264 box cover; maid's quarters; hot German guys

 

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.

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 was born into a world where baby boys were routinely circumcised, whether they were Jewish or not. Hygienic purposes. (These were also the days when nurses wore caps, which were later deemed to be unhygienic. Go figure.)

These were also the days when women at least in middle class white America were knocked out in order to give birth. Babies were kept in rooms behind windows, often in incubators even if they weren’t under five pounds, held up for viewing like specimens by nurses in crisp white caps. (I am remembering the episode of the birth of Little Ricky on I Love Lucy, which corresponded to Lucille Ball scheduling a caesarian section for the birth of her son, Desi Arnaz, Jr.)

It's like anything that resembled the nitty gritty raw materials of sex and blood and birth and death was hidden, sterilized as much as possible. Dirt was disorder. Sex was dirty unless it produced babies, but giving birth to those babies was a disordered process that required forceps and scalpels and anesthesia to control it, get it out of the realm of actual living.

And of course any type of sex other than what took place behind closed doors in a missionary position for procreative purposes was generally deemed dirty and disordered. Thus LGBTQ persons themselves were deemed by the general population as irredeemably dirty, unless they could cleanse themselves and rejoin the pristine world of Father Knows Best, itself but an idealized fantasy.

Mary Douglas in her seminal book Purity and Danger explored this primal desire to contain dirt and disorder, like the way we still keep our basic bodily functions of urination and defecation in a toilet which is supposed to be sparkling clean and in a room that is also supposed to be sparkling clean. The toilet itself is an image that contains in itself this fraught tension which informs our attitudes toward sexuality and even to parts of the body that one uses to express that sexuality.

Thus, that foreskin had to be brutally cut off, to cleanse, make pure, the member of an appendage would make its appearance and its role sexual act even more exciting, promising deep, dark, rich scents and that pungent but also enticing smegma.

It revealed the mystery in order to contain it. When I experienced sexually a man who was uncut for the first time (in the bathroom, and in the shower, ironically), which could imply he was somehow more complete, even “holy” which word can also mean complete, I experienced mystery. And in that mystery, glory, and by glory, I am thinking of not a vague disembodied entity or feeling in the clouds, but physical reality itself charged with an energy that creates and propels the orgasm but also encompasses it.

His phallus contained on it a boundary, and it’s through crossing boundaries one grows, changes, lives, dies. I could experience at that time a fullness and as I said above, a mystery that transcended the rigid binaries which result from treating sexual, in fact, all human experience as something we have to dissect with scalpels and pull apart with forceps.

I’m not advocating for an end to circumcision, as it is a boundary-crossing, consensual ritual of initiation for males in many cultures, but, significantly, also a source of horrific pain and suffering for so many, especially women and girls who are circumcised in order to completely suppress their sexual desire, eliminate it like it is indeed something dirty and thus disordered. They in essence are forced into becoming objects only defined by what the culture deems as purity, but at the same time depriving them of living as full, complete persons.

Yes, there’s dangerous realities we do need to contain, as a virus plagues the world and we must first try and control it, then eradicate it, by amplifying up to the nth degree our bathroom rituals of cleansing and purifying. But our complicated, messy, exciting and ultimately glorious sexuality can and should become for humans both dangerous and pure, exploding the tension in that binary if only for a moment. A holy moment.

 

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.