BijouBlog

By Will Seagers

I remember always admiring those built young  men when I first started cruising Christopher St. and going to Village bars and clubs. There was no doubt in my mind - likes attracted. So, "Gymming" had to become a part of my life.

My first experiences were "Health Spas" and the good old YMCA. The health spas offered pretty good workout equipment. But, they were more family oriented and had no sexual undercurrents. One thing that I noticed about the Ys was the additional activity going on in the wet areas. I could hardly wait to finish my workout and get to the showers! Lol.

During my stint as a steward for Eastern Airlines, I always opted to go off on my own on layovers when possible. This was particularly true when I flew between NYC and Montreal. L'Aero - Navette was the name of this shuttle flight. I spoke French and made the inflight announcements... usually with some chuckles form the French Canadian passengers. It seemed nobody could figure out what my accent was! Lol.

 

Anyway, Montreal was one of those cities where I stayed at the Y. It was smoking hot! I was especially drawn to the burly dark haired Canadian lumberjacks! They never failed to deliver the logs.

Fast forward to my arrival in San Francisco in the mid 70s, the Y came to the rescue again! Being new to town and not yet acquiring a gym membership, I made frequent visits to the branch downtown. I was most amazed at how brazen people's approaches were! Lots of grabbing and groping were to be had!

I don't remember what brought me to The Pump Room, one of the earliest gay men's gyms, but I sure made a home for myself there! It was a modest storefront location just above Church St. on Market St. It had two partners, Lee and Bob. The first was the primary partner and a very flamboyant type. The latter went on to partner with two other folks and create The Muscle System - AKA The Muscle Sisters.

I really liked the feel of the place and asked for a job. I was at a high point in my porn career, was recognized and was hired. I got hit on by a lot of the members and developed a thick skinned "attitude." Some members complained. But, I did my job, helped train new members on the equipment and was a recognized asset to the business. So, Attitude and all, I remained part of the staff for three years.

I mentioned that one of the owners was flamboyant. And, I should also add very talented at pageantry. There were festivals held at the San Francisco Civic Center called the Beaux Arts Balls - an annual event. I was asked to participate in several of these major costumed events. Lee was very clever with design. He made himself up in a huge blue plexiglass diamond. Along with several other buffed members of the gym, we "linked' together with Lee to form The Hope Diamond and its silver chain. It was very well done and garnered awards.

Perhaps the most vivid memory of these Beaux Arts Balls was one where we came as the signs of the Zodiac. Lee was the Sun. And, once again gym members were recruited and made up the twelve signs. Even though it wasn't my sign, I was given a very fetching costume of a Centaur - Sagittarius - complete with bow and arrow! Lee had crafted the rear, horse half of the centaur from chicken wire covered in purple (Sagittarius' color) velour with the horse feet on castors. I strapped it to my butt and it blended with my purple leotards. It was a knock out costume. When we presented ourselves on the runway, we were met with cheers and screams. Due my recognition in the porn biz, this spectacular costume and a little extra bravado on my part, the place went nuts as I was announced and I trotted down the runway with this horse's ass attached to me. I certainly didn't mind be a Sag for a night!

The gay gym topic is a huge one for me. More to come au future!

Bio of Will Seagers:

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

 

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

 

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

 

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

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

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

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

Thank you to Josh Eliot for use of the photos.

Bio of Josh Eliot:

At the age of 25 in 1987, Josh Eliot was hired by Catalina Video by John Travis (Brentwood Video) and Scott Masters (Nova Video). Travis trained Eliot on his style of videography and mentored him on the art of directing. Josh directed his first movie, Runaways, in 1987. By 2009 when Josh parted ways with Catalina Video, he'd produced and directed hundreds of features and won numerous awards for Best Screenplay, Videography, Editing, and Directing. He was entered into the GayVN Hall of fame in 2002. 

By Will Seagers

The decision to leave San Francisco and return home to the East Coast in September of 1991 came from great fear and sadness. My "City by the Bay" had been home to me since 1976. But, life was closing in on me and I needed to reinvent myself (i.e save my life!).

In September of 1989, my partner Tom passed from complications of AIDS. We had been together for almost all of my time in SF. I watched the grim reaper take Tom from me over a torturous five year period. During this time, I coached myself on how I was going to make it through this and make a new life for myself after he passed. Although I remained strong for him and by his side, I crumbled like a sandcastle hit by a wave the day he passed.

To put it mildly, escapism took over. I used almost everything I could to stay high and away from reality. "Sex, Drugs and Rock 'n Roll" isn't just a saying - it became a lifestyle! I couldn't come home to the little apartment that we had for thirteen years anymore. It haunted me... too many memories.

 

I went through several apartment changes in SF... none of which worked. I needed to be by myself... to collect myself.

The last place I stayed was a room rental. The house owner was a casual friend and a coke dealer. Although he was very kind and understood my dilemma, I wound up pushing his product towards the end. That's when I knew I had to leave.

I contacted my Aunt in New Jersey... a person who had always been an anchor in my life. I asked if I could stay with her 'til I got on my feet. I could sense an anxiety on her part. But, she relented and I drove cross country. I left on Labor Day weekend. I'll never forget my drive down Market St. as I silently said my goodbyes to the city that I had loved so dearly. So, onto the freeway entrance and onto my four day cross country excursion.

I remained in NJ for three years, where I entered the musical instrument business and sold and taught organ and piano. I have always loved music. And, when times were good, I always had a theater organ in my home.

Bored to death in NJ, I sold most of my belongings and started a new adventure in South Beach, Florida. It was quintessentially even more of a gay Mecca than SF. (The year was 1995.) Things have changed substantially. I had more sex than ever... even episodes right on the beach! Yes! Stuff like that really happened. But, that too became hollow and unreal after a while.

NYC beckoned. Along with it came some serendipity. I returned on the first weekend of April. I stayed with my brother in Brooklyn while apartment hunting. The serendipitous part - I met my current spouse Alan the very first weekend I went to Manhattan on the dancefloor of the "Roxie" dance club. It was April 4th, 1995. That was the day that the Agony turned back to Ecstasy!

Thank you to Will Seagers for use of the photos.

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.

 

FLASHBACK, 1987: I was 25 years old when I started working with Catalina Video in San Francisco. Dan Allman was in charge of the new studio, which he ran with his new boyfriend, John, who he met on the set of a movie he recently directed called Bad Boys Club. Catalina Video moved their productions from Los Angeles/Ontario to San Francisco after the video crew got busted in a Ralphs Supermarket parking lot while shooting the movie Bulge. That’s really the extent of the information I was given at the time. All of the camera cases and equipment still had remnants of the “evidence” tape from the police department. The story I was told is that it was no longer viable to shoot in the L.A. County limits until a pandering case was resolved in the courts. So they set up shop in San Francisco. The Catalina Producer/Director was Scott Masters (Nova Video) and the VIP Director of the company was John Travis (Brentwood Video). William Higgins had recently moved to Europe.

John Travis started off in the industry shooting 8mm loops including the two infamous John Holmes gay porno scenes. He also shot the ever enduring Brentwood Video library of films, which are best sellers to this day. He was hired by Chuck Holmes and started a decade-long tenure with Falcon Studios. His work as cinematographer in The Other Side of Aspen 2, A Matter of Size, Big Guns and The Young and the Hung elevated those movies' statuses. He became lovers with and was credited for discovering Jeff Stryker. Travis’ Powertool starring Stryker became the most successful and best selling movie of its time. Travis won Best Director/Best Picture for Powertool in 1987 at the Adult Video News Awards. (The same year, I started working with him and he never mentioned it for months! That’s how unpretentious he was.) He also won an AVN Award for Best Director/Best Picture for Undercover in 1989.

Most of my days at the studio consisted of “woodwork”: building sets, then dressing and lighting them for upcoming shoots according to the specifications we got from Scott Masters in Los Angeles. The night prior to filming a scene, the director and models would fly in from Los Angeles and Dan would pick them up and take them to an apartment Catalina rented and furnished. It was always a nail biter when we would show up for the shoot in the morning. If it was a set for a Scott Masters movie, you can bet your ass that there would be major changes that would delay the beginning of the shoot. Scott would always have outrageous requests that drove us nuts. Things like, “I don’t like that end table, it’s too small to fuck on. Can we run out and buy another one?” - instead of just modifying his plans for the scene and fucking on the roomy couch instead. But when John Travis came to direct, he always had positive things to say about the sets. If anything, it was the lighting that needed modifications, which always made the set look better. His experience showed. He would always find creative ways to modify things on the fly and avoid situations that could make a shoot day come to a dead halt.

John Travis ALWAYS showed up to the set with two brand new packs of Benson and Hedges 100’s menthol cigarettes. He would smoke almost every one down to (and into) the filter. In the early days John was always directing from behind the camera as he had done for years and cigarette smoke was always creeping up into the shots! After the first couple of movies, we built him a beautiful deck and monitor station on wheels so he could direct from behind the monitors while Dan and I performed all the camera work. I think, for the first time in his career, he was able to get out from behind the camera and direct from the station at a distance, and he LOVED it! One would think that his movies would have a different look if he wasn’t working the camera himself, but he was very specific on the framing 100% of the time. “Pull out wider…No... too much... zoom in… but just a cunt hair.” That was one of his favorite lines and I kept using it when directing my own movies for the next 20 years. It was one of many classic lines John put out into the world. I credit him for my first award in 1992 for Cinematography on a movie called Sterling Ranch at the Gay Erotic Video Awards. He was in the audience and when I thanked him personally, my voice cracked and I nearly lost it, but after all, he did put me up there.

The crew was always enamored with him and we always laughed our asses off. This man was so relatable and sincere, he would give you the shirt off his back. This guy directed Powertool, for God’s sake, and had zero attitude about it. He shared all his experience, shooting secrets, and directing techniques without even giving it a second thought. I truly was the luckiest guy in the industry to have such an icon take me under his wing and mold me.

On a movie called Powerline with Tom Steele, we built a rooftop set, which he thought looked too clean and sterile, so at one point he walked on the set and tossed his full ashtray of cigarettes onto it. “There you are… it’s called seasoning… I’m seasoning the set... It’s too fucking clean.” We roared! That is John Travis in a nutshell. Truly inspirational, down to earth, generous, one of a kind, and an old soul who made the industry a much better place.

John sadly passed away in January of 2017 but his work will stimulate and entertain forever.
 

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.