BijouBlog

Hi Folks - Will here with another installment of my musical journey. This time, I will share my thoughts on what led me to DJing and what led me to move from New York City to San Francisco in 1976.

For any of you that have been following my blogs over the past couple of years, I apologize in advance for any repetitions or redundancies. Hopefully, these memories will explain how the parts of my musical puzzle fall into place.

In the summer of 1975, I "worked" on Fire Island in The Pines in many capacities. I say this with tongue in cheek because I was everything from a houseboy to a live-in sex worker over that incredible summer. "The Island" and The Pines were where I wanted to be - by hook or by crook. But, I wanted to be there on my own terms and not be hindered in any way from discovering its magic.

"La Isla del Fuego"

 

Twice a houseboy and twice it didn't work out, as some of my implied duties were not to my liking. The first of these two jobs was so limiting that I hardly had any time to experience the Island. The second time morphed quickly into a problem when my sexual "duties" became non-stop. I made a pact with myself not to get into any more "sticky" arrangements like that again. Okay... Enough of the melodramas of a pretty 24 year old and onto a fateful meeting at Cherry Grove's Ice Palace.

Inside The Ice Palace... anything but chilly.

 

It was at a Tea Dance at The Ice Palace where I met Roger. He looked like a page right out of a Tom of Finland book! Muscular, bearded, and with all the right moves on that tea dance floor, too! We tore back to his place and didn't come up for air for what seemed like days! That night turned into that weekend and ultimately the rest of that summer.

I do remember us taking a break from the Island to come into the City (NYC) to see the LaBelle "Night Birds" concert at the Harkness Theater adjacent to Lincoln Center. The concert was extremely well attended. We were in the balcony, which seemed to be the default gay section! When they sang their national hit, "Lady Marmalade" (Voulez-Vous Coucher Avec Moi Ce Soir?), our balcony exploded into a sing along with such fervor that the ushers tried to calm us down as they feared structural damage! What a night!

Nona, Sarah & Patti tearing up that balcony.

 

At the end of the season, Roger told me he was moving to San Francisco. I was sad... to say the least. But, fate had more in store for the two of us.

Now, with no real plans for the upcoming fall and winter, I helped out my old friend and former roommate from Puerto Rico, Denis. He received a scholarship to Arizona State University located in the Phoenix area. Although one of the brightest people that I have ever known, he had NO street smarts. His parents knew this and were panicked about him being 1700+ miles from their Northern New Jersey home. They asked me to be "chaperone" and keep an eye on him. So, off we drove across country, hitting every gay bar and club on the way. What a hoot!

As my friend settled into his academics, I tended bar at a couple of local clubs. It was a great way to get to know the local boys and keep in touch with music. Meanwhile, I stayed in touch with Lew Thomas (of Target Studios fame) and did some "Western" site scouting for him. I found a great desert locale that Lew liked. Wearing chaps, cowboy hats and not much else, it turned out to be a rather hot and popular magazine and video.

In the heat of the desert.

 

My connection with Lew paid off again. Serendipitously, at the end of my friend's college stay in Arizona and with me not having any plans after that, Lew contacted me and asked if I might want to work for John Whyte at the Boatel in Fire Island Pines... home of the legendary Pines tea dance. The next thing I knew, I was standing in front of Mr. Whyte in full leather (chaps shown above) being interviewed for the job. He was taken/amused by my appearance stating this was a first - interviewing in full leather! For the next three summers that's where I called home.

Me on the busy deck on John Whyte's Boatel. All hands on what?!

As this first summer was coming to an end in the Pines, serendipity struck again. I met Chuck Holmes (of Falcon Studio fame) and was offered work in San Francisco. As fate would have it, the wonderful waitstaff with whom I had worked at the Boatel were all headed to San Francisco, too. Armed with only the promise of a job from Mr. Holmes, I took a leap of faith and joined them. Only one of these guys actually had an apartment in San Francisco. I slept on his floor for my first three nights in town... But, hey, it was in the Castro - the gay crossroads of the world! Soon we all found flats and apartments in the area. The new adventure had begun.

San Francisco's naughty neighborhood.

Within the first month or so I met my boyfriend, Tommy. He had such a sweet face and huge brown eyes... among other things. Little did I know that he was a fan of my porn. We remained together in our little South of Market apartment for the next thirteen years.

Coincidentally, guess who Tommy knew? And, guess who he shared his May 22nd birthday?... Roger... my friend from Fire Island! We instantly became a trio. And, the two of them started to familiarize me with all things San Francisco. I had never before felt so "at home" in any other place in my life.

As the iconic San Francisco disco divas The Two Tons of Fun sang, "Earth Can Be Just Like Heaven!" And, I was about to find that out... stay tuned! Will.

It sure can be.

 

Bio of Will Seagers:

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

Will Seagers, present day

You can read Will Seagers' previous blogs for Bijou here:

Welcome Matt/Will | What's For Dessert? | On and Off the Set of L.A. Tool & Die | Wanted, Weekend Lockup and Weekends in Hermosa Beach | Honeymoon in the Palms | Birds of a Feather | The Stereo Maven of Castro Street | The Pass Around Boy | The Ecstasy and the Agony | Fitness and Fantasy | Chasing the Boys and Chasing the Sun | Becoming Invisible | The Reverse Story of Dorian Gray | Pin Money | One Organ Leads to Another! | The Wheels of Steel | Feast and Famine | An Alphabet Soup of Powders and Pills | Merry Christmas (and Getting Re-Organized) | Now and Then | DEEP INSIDE THE CASTRO: The Badlands | DEEP INSIDE THE CASTRO: Moby Dick Bar | DEEP INSIDE THE CASTRO: "Just Another Stroll Down the Castro!" | Diving Into SoMa/Folsom: Hamburger Mary's | Diving Into SoMa/Folsom: Long Live the Stud! | Diving Into SoMa/Folsom: Club Life..."Hit me with your Rhythm Stick!” | A "Split Ticket": SoMa/Folsom and The Haight! | Staying Vanilla in a Flavorful Culture | A Little Secret | Recollections of the 1977 S.F. Gay Pride Parade | Life's a Beach | Flora & Fauna | Once Is Just Not Enough! | A Love of Cultures – A Knack for Languages! | For the Birds | It's About Time! | The Perfect Storm | Hello Chicago/Adieu Fire Island Pines! | Sex in the Woods! | My Life at the Gym | The Last Picture Show | Cumming Attractions! | The Peter Pan Syndrome | Valentine's Day Reflections | The “Idus Martias” and a Peacock! | Taxing I.M.H.O. | Nope...This Sure Ain't Kansas! | The French Connection | Water Baby | Pride: You Wear It Well! | Life Goes On... | The Dance Floor and the Booth, Part 1 | The Dance Floor and the Booth, Part 2 | The Dance Floor and the Booth, Part 3 | A Christmas Haiku | It's My Party & I'll BLOG If I Want To! | "Werk!" | It's My Party & I'll BLOG If I Want To! | Heart Throbs from the Past! | Traveling the Arc | Music Is My Way of Life, Part 1 | Music Is My Way of Life, Part 2

By Josh Eliot

Recently I discovered an awesome channel on YouTube called Barefoot and Independent. Ryon Heath came up with the title and his brother Jason Heath has the largest presence on the site. The most prominent postings on the channel in recent years are segments that fall under the “Squeaky Clean Adult Films” category, but as I learned, the site contains much more diverse viewing material than you would ever expect, dating all the way back to 2012. Featuring a stylish Warhol-esque vibe to every post, there is literally something for everyone. I love quirky and cool, and I consider this channel to be both. I discovered, through my conversations with front man and director Jason Heath, that there is a much larger presence behind all of their diverse postings. Jason and Ryon are part of a film troupe known as The Broken Spoons, who describe themselves as “a group of music-obsessed filmmakers that were raised on television.” The channel features postings related to Jason’s first 16mm film, Trite This Way, and his second feature, The Boy That Dripped Blood, as well as an editing project, The Battle of the Broken Spoons, which Jason describes as “a bunch of weirdos with a lot of problems.” He is currently working on a new short film titled Intersection and Union, to be released this year.

Jason was part of the sketch comedy show The Written Word & The Blank Page, and in 2017 while spit balling ideas for the channel, he proposed “G Rated Adult Films,” where he would take classic adult films and edit them so they could achieve a G rating. The group did not warm up to the idea, so Jason decided to do it on his own. He started with postings under “G Rated Pornos,” but found G was too difficult and quickly switched it to “PG Rated Pornos.” Like with many companies, posting adult content the series got many strikes, suspensions, warnings and copyright violations from YouTube. When the channel was struck down for the first time, they came back as “Squeaky Clean Adult Films,” dropping the “P” word. Unfortunately, that did not stop it from getting thirty-day suspensions a few more times with no instructions from YouTube as to how to fix the problem. At his wits end, Jason reached out to a famous YouTuber friend, who had what turned out to be the solution. This YouTuber informed Jason that YouTube wanted a transformation. Jason argued that going from XXX to G rating is a transformation, but his friend explained that the edit alone was not transformative enough. He told Jason that if he added “personal commentary” to the adult-themed segments, YouTube would leave him alone. He explained that they want personalities and commentary, like an influencer, but anyone who has watched Jason would notice that the influencer thing is not for him. He’s more like: “Don’t subscribe, don’t like, don’t share, just watch.” 

Having said that, Jason makes a pretty damned good influencer, in my book; he started adding his own personal touch to introduce the G and PG-rated movies, and packs the intros with lots of movie trivia. The “Squeaky” series contains a wide variety of vintage adult movies, classics like The Devil in Miss Jones (1973, 57K views), Pretty Peaches (1978, 118k views), Debbie Does Dallas (1978 - 136k views), Behind The Green Door (1972, 213k views) and the sites’ most viewed posting, Taboo 2 (1982), with 2.3 million views! The site is not strictly straight-oriented; like any great artist-run venture, it also includes postings of gay and bi content like H.I.S. Video’s Total Corruption 2 (1996), Catalina Video’s Morewood Contractors (2005) and Boy Band (2002) and Richard Mailer’s Switch Hitters series, to name a few.

As of last week, in addition to Boy Band, I have another one of my titles featured on their site: my bisexual movie titled SwitchCraft, with Sharon Kane, Chi Chi LaRue and Tina Tyler. SwitchCraft was based on the 1970’s TV movie The Girl Most Likely To, starring Stockard Channing and co-written by Joan Rivers. Jason reached out to me and asked if I would like to be part of his “All Celebrity Request March” for 2026. The recurring celebrity series was started in 2025 and featured interviews with actor Richard Pacheco (from Irresistible), writer Cash Markman (from House Arrest), actor Sean Elliot (from Debbie Does Dallas 2 and Scoundrels) and podcaster Patrick Palmer (from JizzTalking.com). Over a four-week period, Jason has his celebrity guests pick one of their favorite movies, interviews them for the intro, shows the PG version of the movie, then finishes their chat after the film. This year the series included actress Amber Lynn (Jane Bond Meets Octopussy), actress Melissa Hill (Penetrator 2), director Josh Eliot - me (SwitchCraft) and actress Porsche Lynn (Girl With The Million Dollar Legs). These iconic actresses’ segments were incredible to watch, and I had a blast talking to Jason. Having the opportunity to show my bisexual movie to a much more diverse crowd than would normally view it felt great, and the comments were very positive.

In addition to the great “Squeaky” series that I’ve been writing about, there is so much more content that deserves praise. Jason is smack dab in the middle of his episode-by-episode salute to his favorite viewing experience ever, Twin Peaks, which is totally giving me flashbacks to when I saw the pilot in Palm Springs before its debut on television. The cast was sitting in the two rows behind Chet Thomas (Catalina editor) and me, then giddily made their way to the stage for Q&A after the screening.

The site also has a lot of photography postings from the troupe, Jason and others - so stylized and unique that any or all of the photos could make several amazing coffee table books! The imagery is so interesting and fun, it’s like going to a gallery opening! In addition, Jason’s VHS tape collection that he shares photos of is probably one of the best in the country! I just love looking at old movie posters and source material from yesteryear, and the first-edition VHS boxes from classic horror movies that he possesses had me glued to the site for hours! How I wish I had kept my old VHS tapes instead of selling them two for $1 at yard sales back in West Hollywood! I actually just found and purchased an original VHS of William Higgins' Big Guns online for $20, pristine quality! That title is quite a find for my “mini” collection! In my mind, Barefoot and Independent is a mash up of Waiting For Guffman, Multiple Maniacs and my favorite “bizarre” web page, Something Weird Video, all mixed together to make one amazing scrolling experience. As of this writing, the official site(s) Barefoot and Independent has a presence on YouTube with 37.8K subscribers, Instagram (15K), and Facebook (42K). I’ve packed this page with links, so click anywhere above where you see blue and it will direct you to each particular posting on their site! 

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.

Hi folks! Will here with the second installment of how music has been such a big part of my life.

In this blog I hope to cover "club life." It seems that I was around at just the right time in the late 60s, 70s and 80s in New York and San Francisco to reap some of the benefits of this new and fertile landscape. To start, I think it might be a good idea to give some definition to this term.

As a young, curious and definitely active young gay man, I started to discover local gay life in my Jersey Shore area. It mostly centered around gay bars. Of course, they were not advertised as such... you needed a sponsor - so to speak - to get in. Full of audacity and not yet having one of these sponsors, I tried to pull off being old enough (21 y.o.) in my look and comportment. Most of the time it worked, unless I got an unfriendly doorman or one that wanted to me to put out in order to get in! Anyway, aside from the late 60s politics of my underage bar hopping, I did gain access and learned to love the feel of my new community and their musical gathering places.

The boardwalk of Asbury Park - always very cruisy after the bars shut!

 

The late 60s were sort of the pre-club era. They were simple pick up places. Their music even predated disc jockeys. Rockola, Seeburg and Wurlitzer jukeboxes provided the musical fare. Overall, the sound was good enough. But, it lacked the continuity to create any kind of musical atmosphere. That was to change with the advent of private clubs.

The pre-DJ era.

 

The early 70s ushered in a whole new concept in "clubbing" with regularly occurring private parties that required an invitation or membership to get in. The very first of these parties that I regularly attended was held at the Gay Activist Alliance Hall - aka - "The Fire House" on Wooster St. in lower Manhattan. There I saw tons of very hot men dancing shirtless to music the likes of which I had never heard before.

The Fire House's bleak exterior betrays the mayhem within.

 

First off, there was no jukebox. There was a very special man sitting in a cordoned off area on the floor toggling between two RCA 45 RPM record players... nonstop! Between lustful dances with many handsome men, I would go to an area just above the "DJ" and watch him create his magic. Barry Letra was this magic man. I would meet him decades later in San Francisco as Co-Founder of Graebar Sound - a legendary name in the club sound reinforcement industry.

The next of these early experiences I had with private clubs was The Loft. This was truly a private party, unlike the Firehouse. A member, who I had been dating, took me there one very cold Saturday night in January 1972. At that time, I was a flight attendant for Eastern Airlines based in San Juan, P.R. and had come up to New York seemingly for just a weekend date. But, my friend said that we were all going to a very special dance party that night. I did not know what we were in for, as I was not living in the city at that time.

We all piled into his early 60s Ford Falcon, nicknamed The Club Car, and barreled down from Chelsea to the lower Manhattan King Street address. Upon arrival, we lumbered up an endless staircase to where the party was already beginning to take off. This staircase acted as a transition point from the "reality" of busy metropolitan streets, to a totally other-worldly party event.

I have two vivid musical memories from that first visit to the Loft. Number one happened going up that long staircase. Midway up those steps and coming on to a rather potent hit of blotter acid, I could feel the powerful thumping bass and hear the lilting refrains of "Cherchez la Femme," a song that was totally new to me and was destined to become a nationwide hit. Reaching the landing at the top of the stairs reminded me of when Dorothy swung open the door of her recently crashed house in Oz. Technicolor! During that night, I was exposed to several other songs that went on to become club standards. Hearing music like this well before its release to the general public was another cherished benefit of private club parties.

The godfather of club life at work.

David Mancuso owned this loft and carefully crafted the music we heard. His use of Mark Levinson amplifiers and Klipsch speakers brought a notable brilliance to the whole room. The second profound memory was his use of a technique that night that really brought the floor to a frenzy. In this particular case, he took the song "TSOP" (The Sound of Philly) and "sprinkled" it over several popular tunes during the night as sort of a teaser. THEN, when he finally dropped that song in its entirety, the floor went nuts. That was 54 years ago... and it is still an impactful musical memory. 

The Loft dancefloor and its legendary Klipsch speakers.

Before I get too distracted by the music... there were the men! All shirtless and soaking wet from nonstop dancing (and the various party favors they consumed! LOL). But, what was great about this club was that it was a trendsetter. It was not a gay club - it was very co-ed, urban and laissez-faire. You never quite knew who you were going to be dancing with... it was one big party!

After The Loft, things really started cooking all over Manhattan in terms of these private clubs. Although the list was long, two clubs of mention were the Tenth Floor and, of course, Flamingo!

Legendary "discaire" Ray Yates of the Tenth Floor.

The Tenth Floor was located in Manhattan's Chelsea section on 25th St., sort of tucked away from the sweeping Manhattan avenues. You took a freight elevator to the tenth floor... hence the name. Like The Loft's staircase, when you entered the Tenth Floor's elevator, you knew that you were being whisked to another reality! Upon arriving at floor ten, the freight doors opened onto a floor bedecked with potted palms, dark green art deco leather armchairs and a fabulous hardwood dancefloor. Coming out of that elevator was like entering a Hollywood set! Ray Yates was at the turntables and created a night of lush, sophisticated and "underground" music - again - not yet released to the general public.

The Flamingo in lower Manhattan. Once again, these bleak exteriors sure were a good disguise.

The Flamingo dance hall, where everyone came to worship.

The legendary club called "Flamingo" really etched its name into the "dance halls of fame." Known for being the "wintering ground" for the Fire Island 500, the art, music and bedazzling array of handsome men made you think that perhaps you died and went to heaven! Upon entering this massive club, you went through a gallery that showed the artistic work of the very members dancing away in the adjoining hall. Also, a mark of distinction were the tables of delicious fruits and refreshments lining that gallery area. Many, many famous DJs graced the turntables of this club... two of whom I got to work with later on in San Francisco - Vincent Carleo and Howard Merritt. Fate is such a strange thing!

You know, I thought this would have been the second and final part of the story. Truth is, I have only laid the groundwork for another part of this personal saga. It is here where I take all of my impressions and inspirations from these musical venues and climb behind the "wheels of steel" myself.

My current wheels of steel.

I can hardly wait to share this chapter with you! Will.

 

Bio of Will Seagers:

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

Will Seagers, present day

You can read Will Seagers' previous blogs for Bijou here:

Welcome Matt/Will | What's For Dessert? | On and Off the Set of L.A. Tool & Die | Wanted, Weekend Lockup and Weekends in Hermosa Beach | Honeymoon in the Palms | Birds of a Feather | The Stereo Maven of Castro Street | The Pass Around Boy | The Ecstasy and the Agony | Fitness and Fantasy | Chasing the Boys and Chasing the Sun | Becoming Invisible | The Reverse Story of Dorian Gray | Pin Money | One Organ Leads to Another! | The Wheels of Steel | Feast and Famine | An Alphabet Soup of Powders and Pills | Merry Christmas (and Getting Re-Organized) | Now and Then | DEEP INSIDE THE CASTRO: The Badlands | DEEP INSIDE THE CASTRO: Moby Dick Bar | DEEP INSIDE THE CASTRO: "Just Another Stroll Down the Castro!" | Diving Into SoMa/Folsom: Hamburger Mary's | Diving Into SoMa/Folsom: Long Live the Stud! | Diving Into SoMa/Folsom: Club Life..."Hit me with your Rhythm Stick!” | A "Split Ticket": SoMa/Folsom and The Haight! | Staying Vanilla in a Flavorful Culture | A Little Secret | Recollections of the 1977 S.F. Gay Pride Parade | Life's a Beach | Flora & Fauna | Once Is Just Not Enough! | A Love of Cultures – A Knack for Languages! | For the Birds | It's About Time! | The Perfect Storm | Hello Chicago/Adieu Fire Island Pines! | Sex in the Woods! | My Life at the Gym | The Last Picture Show | Cumming Attractions! | The Peter Pan Syndrome | Valentine's Day Reflections | The “Idus Martias” and a Peacock! | Taxing I.M.H.O. | Nope...This Sure Ain't Kansas! | The French Connection | Water Baby | Pride: You Wear It Well! | Life Goes On... | The Dance Floor and the Booth, Part 1 | The Dance Floor and the Booth, Part 2 | The Dance Floor and the Booth, Part 3 | A Christmas Haiku | It's My Party & I'll BLOG If I Want To! | "Werk!" | It's My Party & I'll BLOG If I Want To! | Heart Throbs from the Past! | Traveling the Arc | Music Is My Way of Life, Part 1

By Josh Eliot

The Castro Theatre's interior, before & after renovation

In the mid 1980s until 1990, I called the Castro Neighborhood in San Francisco my home. We lived in the middle flat of a three-floor Victorian just a few houses up from the corner of 19th and Castro - 629 Castro Street, to be exact. Only two blocks from my flat, at the corner of Market and Castro Street, was what I always considered a magical place called The Castro Theatre, where the community came together to celebrate new and classic films. Back in January 2023, I was working with Will Seagers as we developed a series of blogs about iconic locations throughout San Francisco. In one specific blog, "Deep Inside The Castro: The Castro Theatre," I wrote about how the venue was the heart and soul of the neighborhood. Even though the interiors were already dated in the 1980s, the theatre felt majestic because of its astounding architecture. With the fact that one third of the seating was the “smoking section,” it’s no wonder that the once shimmering gold leaf covered columns and ceiling always seemed dull and faded. My favorite memories in the theatre were when I went there to watch the movies Whatever Happened to Baby Jane and Suddenly Last Summer. The packed audiences at the Castro Theatre were never shy about howling at the screen or screaming out one-liners that always got the audience riled up! That was part of the fun, but as years went by the allure seemed to fade, much like its interiors, at least for my friends and me. As an avid moviegoer, there was really no place like it back in its hey-day. On February 4th, 2024, after screening the classic Victor/Victoria (1982), the newer owners, Another Planet Entertainment, enacted the plan they announced back in 2022, stating that they were closing the theatre down to start a major renovation. The goal was to reinvent this icon of the LGBTQ+ community into a treasured space for film, music and live performances.

Jump ahead to Friday, February 6th, 2026: a large rainbow colored ribbon is extended across the entire width of the entrance to the newly restored and elevated theatre. The 41 million dollar two-year project had reached its completion. The renovations were extensive, and in order to make the historic venue profitable, they removed the permanent seating, flattened the floor and installed motorized risers with removable seating. By doing this, they could adjust the occupancy floorplan to set up for concerts. The completed configuration allows 1150 seat capacity for movies and 1400 patrons for concerts. There was strong opposition regarding the proposed configurations, which tied things up for well over a year, but eventually the plans were approved by City Hall. The fact that APE was committed to hold true to their promise of continuing queer representation through movies and scheduled performers helped them to win over wider support. The Nasser family, who originally owned the theatre since its opening in 1922, also spoke out in support of the changes. The original designer of the theatre, Timothy Pflueger (1892-1946), was a top architect in the Bay Area who also created the Transbay Terminal and The Bay Bridge. APE was determined to preserve as many of the original elements as possible. Most of the murals with dragons, cherubs and wreaths were covered in up to two inches of dirt, varnish and nicotine. All were painstakingly cleaned and preserved to their original pristine condition. Honoring all of that work with a ribbon cutting were Mary Conde, VP of Another Planet, Senator Scott Wiener, CEO of Another Planet, Greg Perloff, San Francisco Mayor Daniel Luire, Drag Performer D’Arcy Drollinger and Rafael Mandelman of the San Francisco Board of Supervisors. Just prior to cutting the ribbon, Ruby Day, from the famed long-running musical Beach Blanket Babylon, sang our national anthem. Cheers and applause followed as they made their way into the theatre. Once they entered the auditorium, the stunningly restored ceiling with its original chandelier, designed by Pfluger, drew everyone’s attention. There was a forty minute pre-show prior to the special screening of Priscilla, Queen of the Desert, hosted by Dirty Carol, Sista Roma and The Sisters of Perpetual Indulgence.

The Castro Theatre was always known for the Mighty Wurlitzer Organ that would rise from the floor prior to the beginning of any movie they were playing. The age-old classic song, “San Francisco,” would fill the room, and on most days the audience would sing along with it before quieting down for the beginning of the film. Today was no different, but gone was the Mighty Wurlitzer and its large, ominous pipes. Now a new one million dollar, 2000 pound digital organ emerges from the stage, and at the helm is organist David Hegarty, who has played proudly for the theatre since 1978. He collaborated with the organ builder regarding specifics for its finished design. The sisters never missed a beat and promptly escorted David Hegarty from his instrument to center stage, where they presented him with an award and proclaimed him “Saint Mellifluous!” The energy of the theatre was reminiscent of the Castro in its heyday, and to finish out the pre-show, the sisters and others gathered on stage where fourteen drag queens started a sing-a-long to “Mamma Mia.” When the 35mm print of Priscilla, Queen of the Desert began to play, the audience broke into applause and cheers at the first appearance of lead actor, Terrence Stamp, who had recently passed away.

David Hegarty trying out the new organ & receiving award from the Sisters of Perpetual Indulgence

 

A few days later at the official grand opening on February 10th, artist Sam Smith started the first concert of his twenty-day residency. With all shows sold out way before that date, his final concert at the Castro was planned for March 14th. The diverse acts on the upcoming schedule include: Trash Talk with John Waters: Serial Mom, The 30th Anniversary Opening Night of the Berlin & Beyond Film Festival, musical acts The Breeders, Indigo Girls and Lucy Davis, comedian Robby Hoffman, Clara Bow in the silent movie It, a sing-a-long to The Sound of Music, Showgirls with guest star Gina Gershon and the multi-night 29th Annual San Francisco Silent Film Festival. The show certainly does go on now that the Castro Theatre is back and better than ever. I could not be more thrilled for my old neighborhood!

Day 1 of Sam Smith's residency, Gershon, Hedwig, Clara Bow & John Waters Trash Talking Serial Mom

 

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.

 

You can read Josh Eliot's previous blogs for Bijou here:

Coming Out of my WET SHORTS | FRANK ROSS, The Boss | Our CALIGULA Moment | That BUTTHOLE Just Winked at Me! | DREAMLAND: The Other Place | A Salty Fuck in Saugatuck | Somebody, Call a FLUFFER! | The Late Great JOHN TRAVIS, My POWERTOOL Mentor | (Un)Easy Riders | 7 Years with Colt Model MARK RUTTER | Super NOVA | Whatever Happened to NEELY O’HARA? | Is That AL PARKER In Your Photo? | DOWN BY LAW: My $1,000,000 Mistake | We Waited 8hrs for a Cum Shot... Is That a World Record? | Don't Wear "Short Shorts" on the #38 Geary to LANDS END | How Straight Are You Really? | BEHIND THE (not so) GREEN DOOR | The BOOM BOOM Room | CATCHING UP with Tom DeSimone | Everybody’s FREE to FEEL GOOD | SCANDAL at the Coral Sands Motel | DEEP INSIDE THE CASTRO: The Castro Theatre | DEEP INSIDE THE CASTRO: The Midnight Sun | RSVP: 2 Weeks Working on a Gay Cruise Ship | VOYAGER of the Damned | I'M NOT A LESBIAN DIRECTOR | Diving Into SoMa/Folsom: THE FOLSOM STREET FAIR | Diving into SoMa/Folsom: A TALE OF TWO STUDS | BALL BROTH | My 1992 “Porn Set” Diary | Out of Print | There’s a Gloryhole WHERE??! | LUNCH HOUR: When the Big Boys Eat | IN and OUT and All ABOUT | UNDER the COVERs with Tom Steele | 8 Is Enough on Sunsex Blvd | Steve Rambo & Will Seagers For Breakfast | The Many Faces of Adult Film Star SHARON KANE | The ALL-MAN Magazine Interview: The Man Behind Catalina Video | Captain Psychopath | BAD BOYS SCHOOL | VAMPIRE'S GRAVE | The Making of CatalinaVille (PART 1) | The Making of CatalinaVille (PART 2) | Private Dick & The Young Cadets | Meet RAY HARLEY | The GOLD COAST Gold Rush Boys | Colt Model MARK RUTTER: In His Own Words | Bringing in the BIG GUNS | “WHAT THE F@CK?” Moments | You So RUSSO | Bond, SCOTT BOND | I Just Watched: KILLING ME SOFTLY | Sex in Tight Places | Calling GLORIA | DOWN FOR THE COUNT | More Than a Mouthful | When JON KING Returned to Catalina Video | Junior Meets the BEAR Patrol | A Taste for Leather and Fur | Straight to Bed | The Hills Have Bi’s | The Malibu Pool Boy: Cody Foster | New England Summer | The Making of RUNAWAYS 1989 | The Making of FULL SERVICE 1989 | Hot Buttered Cop | The Making of HARD TO BE GOOD 1990 | The Real CONJURING HOUSE | It’s Not a Crime, It’s a SCORE | I Just Watched: Steve Scott’s SCREENPLAY (1984) | Wet and Wild | 69: Discover the Secret | What Really Happened BEHIND THAT BARN DOOR! | I Just Watched AL PARKER & WILL SEAGERS in WANTED | Secret Boys Club | Jawbreaker Pt. 1 | Jawbreaker Pt. 2 | I Just Watched CRUISIN’ THE CASTRO | 80s/90s Porn Star RYAN YEAGER | ADAM Film World’s GAY VIDEO GUIDE | ERIC STONE: Ranger in the Wild | THRILL ME with a SINGLE WHITE MALE... | The SPOILED BRAT | BUSTER & STEVE YORK | LANCE, TEX ANTHONY & MICHAEL GERE | KIP NOLL: The First Real Twink Superstar | THE GREASE MONKEYS | The "Other" Idol | The AMERICAN Way | DERRICK STANTON Talks About Life on the Set, Part 1| DERRICK STANTON Talks About Life on the Set, Part 2

Hi Folks! Will here with an "Upbeat" look at a force that has helped propel me throughout my life - Music. Some of you might recognize this title as one of Patti LaBelle's biggest hits from a few decades ago. With this title, I recognize and celebrate her talents along with my own lifelong love of music. 

Some of my earliest recollections of music were sitting on my mother's lap and learning to harmonize with her singing. I would have to guess that was around age four or so. My mother had a great voice and used to sing at most family gatherings back in the 50s. Like I said, my musical participation began with hearing a harmony part in what she sang and "chiming in" to the best of my young ability. And, according to the applause we used to get, I guess we did a pretty good job.

As far as playing instruments, it all started one Christmas morning with a toy clarinet by the Eminee company. I think my parents initially regretted buying this for me, thinking I would be blaring it all around the house making a racket. But, much to everyone's surprise, by the end of that day I had figured out how to play "When the Saints Go Marching In" and a couple of other standards. Before I knew it, clarinet lessons were booked for yours truly. A musical "door" had opened that continues to usher in the wonder and joy of playing music.

It should be mentioned that the house we moved into in the mid-50s came with an upright grand piano in the basement. It was a huge and wonderful instrument. My father used to love to dabble with it and even took some lessons. Monkey see, monkey do. I started to have regular sessions with that keyboard and found it much easier to navigate than the holes and levers of the real clarinet that replaced my Christmas toy. Once again, with my picking out melodies on that piano by ear, music lessons soon followed.

I was a bad student, in that I easily drifted from my lessons to messing around with tunes by ear. My parents were not pleased by my straying from the printed page. So, after a year or so, my lessons were suspended. That didn't stop me from banging away and discovering more about music... especially chords. (It seemed like the harmonizing I did with my mother was showing up again.) 

It was about 1963 or 1964 when a musical arrival completely changed my life. My mother and father used to like to go out "clubbing" with their friends from our new Jersey Shore home location. In their travels one Saturday night, they dropped by the Hammond Organ store in Asbury Park (about ten miles south of our new home).

It was late one Sunday morning when a rather large delivery van pulled up in front of our house. Sprawled on the side of it was (you guessed it) Hammond Organ of Asbury Park. Instantly, I knew what was going on. They bought an organ: a beautiful Hammond A-102, a full-sized console organ in French Provincial cherrywood finish! I guess the style and finish were to appease my mother, as everything in our new house was of that ilk.

The delivery men eased in the three large pieces - the main console, the pedal clavier and the handsome matching French Provincial bench. I was not only awestruck, but I couldn't wait to get my hands (and feet) on this beautiful instrument. It fit beautifully into a corner of our rather large living room opposing a lovely Mason & Hamlin baby grand. My father and mother finally came down from their slumber to see the new musical entry. After being shown how to turn it on, I was well on my way to picking out some of my piano favorites... even using the pedals... as these were obviously just another keyboard - just for your feet!

My mother and father were once again spellbound watching me dive into the musical unknown without missing a beat. I was sorry to say that upon the organ's arrival, I never looked back at the piano again seriously. These instruments are really two separate universes, and I had chosen mine.

I was about twelve or thirteen when the organ came into my life. It rocked my world. A dozen or so complimentary lessons came with the organ's purchase. I took to this instrument like a duck takes to water. My musical world was further broadened by the available LPs that were sold at the organ store. I quickly started an organ record collection... mostly theater organ with a few classical organ records, too. I learned to play a lot of songs by listening to these albums. My musical "ear" was on the move!

Once again, music lessons followed. Although I was grateful for these lessons and the enhanced ability to read music that came with them, I mostly liked to play by ear and read what I needed. Unfortunately, the same pattern followed. I was not the best student in terms of practicing my lessons. As a result, my rather prestigious organ teacher gave me the boot. 

An unfortunate financial time befell my father and our family. One day, that French Provincial beauty disappeared from our living room. Soon, we moved out of that house altogether. We relocated to the small shore town of Spring Lake about fifteen miles south of our prior West Deal location. I was in high school by this time, and was totally pissed off about moving and leaving my school and friends that I loved. There was one small caveat - my father did get another, albeit smaller, Hammond L-101 spinet. With our family's financial climate, even that spinet only lasted for a couple of years. Alas, we were totally instrument-free in our household!

In all my teen years that I had been listening to theater organ records, I had promised myself that, by hook or by crook, I was going to have either an Allen or Conn electronic theater organ. They really sounded a lot more like the theater organs that I heard on my records. But, it wasn't until my early thirties (and with the help of my new "porn income") that I finally purchased the first of three Conn 651 three manual theater organs. I was in heaven!

One of three Conn 651s

It took all my will and determination to get one of these behemoths into my tiny one bedroom apartment on 10th St. in San Francisco. Not only did the apartment door have to come off its hinges, but the frame had to be dismantled, too. Then, with some furniture blankets and a dolly, I turned the organ on its side and rotated it into my little abode! I bought this beauty from a priest in the East Bay with the understanding that if I ever sold it, he could buy it back. And, that's the way it wound up almost ten years later - back in his hands. This was shortly before I moved back to the East Coast in 1991.

Friends gathered in the San Francisco apartment with looming Conn 651 organ in profile.

I was shell shocked after my move back to NJ. Arriving in the "Garden State" after fourteen years of "Sodom and Gomorrah" in San Francisco was like hitting a brick wall!

Thank God for the speed and arrival of my new job on the East Coast... selling organs! It is one of two fulltime jobs in my life that fit like a glove!

The brother of my sister's fiancé was working at a piano and organ store. And, they were looking for sales people. I don't quite remember the interview. But, what I do remember was that I was hired on the spot. I did quite well with that company and managed, sold and taught elementary organ lessons for them until my move in 1994 to South Beach.

At a client's house, invited to dinner and to play the Lowery console that I sold them.

Let's fast forward to my move to the Southwest with my spouse from our NYC apartment in 1999. As soon as I arrived, I started scouting out music stores where I might attain gainful employment. There were only a couple of organ stores in a sixty mile radius from where we lived, and no one was hiring. But, I did manage to find a nice little Lowrey spinet organ. Back at the keyboard(s) and having laid some groundwork, another Conn 651 three manual console organ became available from the same dealer, and I snatched it up. That Conn stayed with me for about three years until I made the (permanent) switch to Allen Organs.

My first Allen was a two manual model, and was quickly followed by two three manual models. Once you have three manuals, it's hard to go back to two! All of these models were purchased through an eBay seller who was a franchised dealer in upstate NY. My last and grandest Allen three manual was purchased in 2015 and is still with me.

My current Allen three manual organ.

So, here I am some sixty years later with my dream come true. I have my beautiful (and third) Allen three manual theater organ. Now retired, I have the time to play to my heart's content. No, I am not a concert organist. But, I play for my friends and my own pleasure. I cherish the moments when this huge, majestic instrument can either bring the house down or sing like an angel. I am grateful to have travelled this musical journey!

An after work organ performance video! (Click to play.)

 

Bio of Will Seagers:

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

Will Seagers, present day

You can read Will Seagers' previous blogs for Bijou here:

Welcome Matt/Will | What's For Dessert? | On and Off the Set of L.A. Tool & Die | Wanted, Weekend Lockup and Weekends in Hermosa Beach | Honeymoon in the Palms | Birds of a Feather | The Stereo Maven of Castro Street | The Pass Around Boy | The Ecstasy and the Agony | Fitness and Fantasy | Chasing the Boys and Chasing the Sun | Becoming Invisible | The Reverse Story of Dorian Gray | Pin Money | One Organ Leads to Another! | The Wheels of Steel | Feast and Famine | An Alphabet Soup of Powders and Pills | Merry Christmas (and Getting Re-Organized) | Now and Then | DEEP INSIDE THE CASTRO: The Badlands | DEEP INSIDE THE CASTRO: Moby Dick Bar | DEEP INSIDE THE CASTRO: "Just Another Stroll Down the Castro!" | Diving Into SoMa/Folsom: Hamburger Mary's | Diving Into SoMa/Folsom: Long Live the Stud! | Diving Into SoMa/Folsom: Club Life..."Hit me with your Rhythm Stick!” | A "Split Ticket": SoMa/Folsom and The Haight! | Staying Vanilla in a Flavorful Culture | A Little Secret | Recollections of the 1977 S.F. Gay Pride Parade | Life's a Beach | Flora & Fauna | Once Is Just Not Enough! | A Love of Cultures – A Knack for Languages! | For the Birds | It's About Time! | The Perfect Storm | Hello Chicago/Adieu Fire Island Pines! | Sex in the Woods! | My Life at the Gym | The Last Picture Show | Cumming Attractions! | The Peter Pan Syndrome | Valentine's Day Reflections | The “Idus Martias” and a Peacock! | Taxing I.M.H.O. | Nope...This Sure Ain't Kansas! | The French Connection | Water Baby | Pride: You Wear It Well! | Life Goes On... | The Dance Floor and the Booth, Part 1 | The Dance Floor and the Booth, Part 2 | The Dance Floor and the Booth, Part 3 | A Christmas Haiku | It's My Party & I'll BLOG If I Want To! | "Werk!" | It's My Party & I'll BLOG If I Want To! | Heart Throbs from the Past! | Traveling the Arc