BijouBlog

By M. Webster

Looking through our archive the other day, I came across some treasures - photocopies of collaged pages full of newspaper clippings, photos, flyers, event invitations, interviews, articles write-ups, and more presumably from the personal files of visual artist, gay porn director, and NY Jacks member/resident artist, Michael Goodwin.

These materials include:

-Invitations to art shows, Jacks events, and a Goodjac event at NYC nightclub The Saint

-A 'thank you' note from 1986 Pride march organizers Heritage of Pride

-An announcement of an Independent Filmmaker of 1988 award that Goodwin received 

-Reviews of Goodwin's movies 

-An entry pass from his appearance on the Gay Cable Network's Men & Films TV show (which also profiled Rod Phillips, Casey Donovan and Daniel Holt, as seen in our recent re-release) 

-Interviews with Goodwin, as well as interviews he conducted, via Stallion magazine, with Joe Gage, Wakefield Poole, Tom of Finland, playwright Robert Chesley, and others

-Letters to Goodwin from fellow legendary gay porn directors Christopher Rage and Joe Gage 

Relevant to multiple upcoming Bijou Video releases (hint!) are the notes to Goodwin from Rage and Gage - a cool peek at correspondence between some of the figures behind major works of the early years of gay porn filmmaking and their respect for each other's work. The output of Goodwin and Rage - while of entirely different natures emotionally and tonally - has clear connection as some of the most artistically innovative and experimental 1980s gay porn.

Text of Rage's note (November 9, 1983): "Dear Michael, I wanted to make sure you know how much I appreciated my visit with you - most especially the drawings you gave me. Of course, it's always nice to hear compliments about one's work... but to hear them from someone who is so talented is extraordinarily welcome. I trust you will be able to make it back to the city at the beginning of the year and that we'll be able to spend some time together then. As I mentioned, if there's anyone I can help put you in touch with, please let me know. Again, thank you for the samples of your work. They are inspiring. Best wishes, Tray Christopher Rage"

Text of Gage's note (circa 1982): "Michael, many thanks for the prints - they are beautiful. The shooting went well - I made two films back-to-back: 'Closed Set II' on video and a film called '501.' As you can imagine, I'm up to my ass editing all this, and will be for a while. It all looks good. See you this winter. Cheers! Joe"

Also tucked into the files is this bio of Goodwin (text below): 

"Michael is the resident artist of the New York Jacks and is planning to tour his tapes throughout the U.S. visiting Jacks organizations and  doing fund raising J.O. benefits for various AIDS research groups. Eventually he plans to visit the newly founded Jacks groups throughout Europe, starting with the Amsterdam Jacks. Goodjac feels in this time of confused sexuality and  the lack of spirituality and  sensualness in our lives that his efforts are necessary and  will go unwasted in helping to re-unite our beliefs in ourselves and  one another. 'There is an important message in my tapes,' he says. 'Besides, it gives me a great thrill to know I have planted some new seeds of imagination and  brotherhood within my viewers.'"

Bijou currently carries Goodwin's The Goodjac Chronicles (1986), Goodjac Too (1987), and Crazy Horny Nutz (1988) from on DVD and Streaming - and stay tuned for Goodjac 4: Hot Sunday - coming over the next few months! 

By Will Seagers

[Originally published 12/25/24]

With all that's going on in the world, here is my heartfelt haiku and a wish for peace for all of you. This is not the time for us to stop our forward progress. We must continue with resolve. I am here to cheer us all on. Happy Holidays! XO

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, recent photo

By Will Seagers

Hi folks. Will here! And, in the spirit of the season, this week's "Booth Adventure" deals with the brightly colored and festive lights of club life and the party scene. I thought I was done with my "Booth Memories." But, they wouldn't be complete without recalling some of my "light-man escapades!"

My attraction to lighting in general started at a very early age... we're talking three or four years old! My mom used to tell me tales of when she and my father would take me on nighttime outings with them in the car. "See-da-light, see-da-light" were some of the very first words out of my young mouth! They were accompanied by my excitement and pointing, as well. Truth was, I do remember looking at intensely colored lights, such as those red lights atop radio towers and their blue counterparts. Knowing they were coming, I sat prepared to stare at some of these travel markers whose locations I memorized from regular trips that we made to visit relatives and the like. I remember being transfixed by my friends, the deep cobalt blue lights - which would appear later in my life.

Fast forward a decade and a half to my late teens and my experimenting with smoking pot. I wasn't that fond of smoking. But, I did like that the experience lent itself to color appreciation! Also at that late teen stage were a few dablings with the more potent LSD. Once again, not so much a heavy hitter with the frequency of use, but those times I tried it were very visual - particularly in the world of colors!

Moving further down the timeline, I was a young gay man who frequented New York's dance bars and party halls. Lighting was just starting to be taken as a serious accompaniment to the pulsing music of the day. Luckily, I happened upon some of New York City's most tasteful gay private clubs. I took mental notes on the lighting and what I had experienced. It wasn't so much the animation of the lighting - but, the sophisticated palette of hues that I was seeing.

I also noticed from better lighting technicians that I had the ability to "see what I was hearing!" The changes in light both in the instruments and the colors seemed to transition perfectly with the music. Something inside me told me I wanted to do this myself at some point in the future.

That came in my middle twenties when I moved to San Francisco. From the moment I arrived in town, I was enthralled with the ability to take on new projects and be successful at them. Although I had never attempted it before, the time was ripe for me to become a light-man!

I am right now searching through fifty years of "memory fog" to place where and when my first lighting gig was. But it is to no avail. Suffice it to say, I remember playing at some pretty big San Francisco clubs and discos like the Music Hall, Trocadero Transfer and Dreamland on established lighting systems. Not being of my own design, I quickly got bored and moved onto designing lights. It was at private parties-at-large where I got to assemble the gear and gels myself. I also thought it was very important to play up the architecture of a room as well as the dance floor.

Once again, my friend and mentor Bruce Trondson (primarily my audio engineer) welcomed me to ply my talents and imagination at a couple of rather large San Francisco party venues such as at the Long Shoreman's Hall and at The Peoples Temple (YES, of Jim Jones fame!). I was also summoned by Bruce to do the lights for the original party at the Russian River resort, "The Woods!" My design was kept in tack for future use when it transitioned into a permanent club! Both in town and at the River, I designed the lights and did all of the labor-intensive setup. This included cabling, setting up lighting instruments and other special effects and, finally, placing the color gels. Bruce was my godsend in that he could always figure out how to connect the scrimmers (lighting control boards) to power supplies of the various buildings. I was scared to do that (LOL).

 

Last but not least were the crowning events that I lit at San Francisco's Kabuki Theater. Rod Roderick, a famed S.F. showman and entrepreneur, was the MC of the whole affair. He invited me to work as operator and co-designer with John Tadesco of Industrial Light and Magic (yes, that arm of the Lucas film group!).

I was invited several times to Mr. Tadesco's private warehouse. There, I let my imagination go into full gear as we assembled some of the most impressive gear ever to be flown from the ceiling of that great Kabuki Theater.

With the glorious music of Frank Corr filling the Kabuki Theater, I instinctively followed him with my version of synesthesia (seeing what you are hearing). It was during the popular Gino Soccio tune "Oh What a Night" that I pulled out all of the stops and set off on a trail of my own. I had left some "tempo lighting" still engaged so as not to disrupt the energy of the dance floor. But, with defiant glee, I fired up eight emergency halide cans (the size of garbage cans!). These were a type of utility lamp most frequently used in parking lots! I had these gelled with Dark Urban Blue - a very deep cobalt shade (that color that was burned into my childhood memory). They took almost five minutes to come to full intensity. During the build-up time, the whole theater was turned so blue that you could almost taste it. At the peak of the aforementioned song, I shot teal-colored pin spots through this room of blue and then killed the massive blue lights, leaving just the pin spots. The crowd went nuts!!!! Soon, there was a line to my lighting booth with "thank you party favors."

That was a moment I will never forget. And like L.A. Tool & Die in my movies, the Kabuki Theater was the pinnacle in my lighting game, and I moved on from both shortly afterwards.

So, later in life when my mom used to tease me about "See-da-light, See-da-light," I would just nod and grin! If she only knew what came of that! From the folks at Bijou and myself, we wish you safe and happy holidays! XO!

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, recent photo

By Will Seagers

Hi folks! Will here! With a title like that, you know I'm headed for uncharted territories... but parts well known! Tee hee hee!

For the most part, I have left a lot of my own personal sexual life out of these blogs. BUTT, there is a time and a place for everything. This last installment has to do with my meeting, having a torrid summer affair with and ultimately working for a lovely gentleman and friend named Michael.

The year was 1978. It was the third and final year of my working at The Boatel in the Pines, Fire Island. I started early in the season. I had to get the pool and accompanying bar and deck in order as I was the lifeguard, bartender and food server. I shouldn't leave out the "new poolside gym" that I created under one of the tents in my domain. John Whyte, the owner and my boss just left me a pile of weights and dumbbells and said, "See what you can do with this!"

Although my days were filled with activity, I always had a nice workout followed by a swim. I think it was the best shape that I was ever in. Of course, after dinner and a "disco nap," I would head back down to the marina to The Sandpiper for drinks and the great music of Robbie Leslie.

It was here one night that I caught my first glimpse of Michael. He was working in the Sandpiper Restaurant as a waiter for the summer. We locked gazes and drifted toward each other on that lovely hardwood dance floor. With his being medium in height and stature, I wrapped myself around him, literally having sex on the dance floor. I, being taller, got to see his full head of beautiful sandy blond hair that was streaked with lighter shades due to his afternoons at the beach. His body was firm and muscular. Butt, butt, butt I don't remember ever seeing a more appealing ass. Now, mind you, this was at the bar with our clothes on!

After drinks and dancing, we literally fled to his place to shed our clothes and get down to business. I was pleased that amid all of this heat and passion he managed to remain a gentleman. He sort of cooled my jets and made me slow down so we could enjoy all of the passion of foreplay. At one point, I was actually trembling with anticipation. Then the clothes were shed!

My imagination was not good enough to compete with just how beautiful he was - especially his butt! I poured myself all over him, stopping to lick and playfully bite that ass. One of the things that I found extraordinarily sexy about his butt was a fairly large scar squarely in the middle of his right cheek. It was like a birth or beauty mark. I was not bothered by the scar in the least. It was his trademark!

All of this took place right after Memorial Day. So, the season was young. Although we didn't really have a formal relationship, we sure did become regular fuck buddies. Throughout the rest of the summer, we enjoyed many encounters. In late August when he was getting ready to leave, we had the heartbreak of not knowing whether we would meet again. Like I said, it had been a casual and comfortable affair. But, that would not be the last I would see of Michael.

That fall, I came back to San Francisco to start up the other part of my bi-coastal life. It was a wonderful life that I could hardly believe I was living! This time, I found out that I was not the only one to leave the Pines and come to San Francisco. In October, I received a party invitation from none other than Michael! I was really surprised, and pleasantly so. He had never mentioned to me that he was headed west after the season on The Island.

The party was an outdoor event held in his backyard in the Duboce Triangle neighborhood just below The Castro. It was a great gathering with a live DJ, dancing, food and drinks! It turned out that the DJ was Vincent Carleo, a good friend who originally came from NYC to SF to open Trocadero Transfer. Michael was with a new beau, so we couldn't pick up where we left off! (Wink, wink.)

It was at this party that Michael told me his intentions to open a new and major dance club. He soon found out that I was well connected with the party scene in S.F. We frequently gathered at my tiny apartment on 10th St. near Mission to have meetings and bring investors into the picture. It didn't take many people to fill my living room. But, that's where we gathered. My mirror-topped coffee table was where the blueprints were laid out (as well as many lines of "party favors!").

Dreamland was the name of the project. And, it came together very quickly once sufficient funds were acquired. It was a unique showplace, all white with arches and walkways that reminded me of an Italian piazza. It opened to great acclaim and fanfare. I remember the very first night and the very first tune: "The Land of Make Believe" by Chuck Mangione. The huge five-foot mirror ball was resting in a static position right in the middle of the dance floor. Although I was hired to be a light man, my first night was as an usher to protect the mirror ball from overzealous attendees. As the music started, so did the mirror ball, slowly starting to spin and then rising to the lofty two-story height of the ceiling. The lighting and music were fantastic and the crowd reveled!

The next night, I worked the lights. It was a whole weekend extravaganza! The club was a success. It should be mentioned that it was one of only a handful of Graebar Sound Systems... one of two on the West Coast. The others were at clubs like 12 West and, of course, The Blue Whale (Boatel) on Fire Island.

I did finally make my transition from light man to DJ at Dreamland with the help of its owner, Michael. My friend Roy, the main light man, had given Michael several cassettes of my recent music. I had a business where I made tapes for individuals, bars and restaurants. Michael thrilled me with the request of playing Easter Sunday Tea Dance 1980!

Although I had played several at large parties like the gym opening I mentioned in chapter two of this series, I had never played a huge dance floor like Dreamland. For over two weeks, I had assembled my very favorite tunes and ones that I thought the crowd would like. Regardless of practice, I was still a nervous wreck. Then, the fun began! There was a huge line to the booth to give me "party favors" to help me over my "nerves!" LOL. One friend slipped me a rather large green football-shaped capsule (a Placidyl)... and, that's all I remembered. The crowd yelled and screamed with joy over my selections (and my terrible mixing!). The mixing didn't seem to matter much to the crowd, as I was slamming them with hard hitting dance anthems! After the dust had settled, I was hired for tea dances. It was a helluva place for a debut! But, I guess the stars were in my favor!

From there, I moved to play in the Castro district - first at the Phoenix, then at The Badlands and finally at Moby Dick Bar. I loved those six years. I could hardly call it work - having a great time with exceptional people at the crossroads of the Gay World! So, in keeping with the season, I give "thanks" for the wonderful adventure that I call my life!

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, recent photo

By Will Seagers

Hi Folks, Will here! As this blog's title might imply, it wasn't my foot that got me in many booths! It might have been some other body parts! Regardless, over the years they have worked their charms.

Back to the story. If my memory serves me, the year was 1979 and the place was Cherry Grove, Fire Island. My partner Tommy and I were on "The Island" having a ball on vacation... a slightly different experience for me, as I had worked the prior three years in The Pines as a waiter, bartender and lifeguard.

We started off our vacation in Cherry Grove at The Belvedere - that landmark Victorian guest house situated on the Bay. Our accommodations were acceptable. But, not being air conditioned and with unusually high heat and humidity as I remember, it was uncomfortable to say the least.

A friend in need! While out one night, we ran into a dear buddy that I made during my three years working on the "Island" - Dr. Bob. We mentioned our Belvedere predicament and he generously offered his guest room to us. We snapped up his offer! Bob was a legend on the Island and in New York's gay scene in general. People would drop by his place in the city and on the Island routinely for a quick "pick me up" B-12 shot to help with endurance through the long sleepless NYC and Fire Island weekends.

It was here that I met another of my sound engineer legends and best buds - Lew. Although he was a good-looking and very intelligent guy, the sparks never flew from my side. Although I knew for the first couple of years he wanted to terrorize me with his sizeable appendage! Our first encounter was an orgy that took place in Dr. Bob's bay-facing backyard. There were four or five of us, naked and aroused, watching a slightly younger guy sucking the daylights out of Lew's ten-pounder! The next thing I heard was Lew's request - "Why don't you suck it?" That was directed at me. I liked Lew but I didn't feel any chemistry. Plus, I was in the early stages of a relationship with my partner who was right there next to me... It was awkward. However, the rest of the guys all lined up, so Lew was fine!

That chance backyard encounter started a friendship. At the time, I lived in San Francisco. Lew flew out from N.Y. frequently to San Francisco for mini-vacations and also to ply his trade as a sound engineer. It was this part of him that I really took to. He soon found out that I had aspirations to be a "sound man." We spoke frequently and at great lengths about the principles of the audio world.

I visited Lew in N.Y. at his fourth story walk up apartment in Chelsea frequently. Being at one of the high points of my porn career, he loved taking me to many of the clubs whose sound systems he designed to "show me off." Although it was not one of his clubs, we visited Paradise Garage! Here, after a tour of the dance area, he took me to the booth to see its wonders and meet the legendary Larry Levan. Larry was cordial but totally preoccupied with his music. The booth was a technical marvel with its hydraulically-mounted platform upon which the three Thorens turntables were mounted. This platform not only served to isolate the gear from vibrations, but could be custom tailored to the height of each performing DJ! The sound was legendary and I soon made it to the dance floor to take part in the Saturday night ritual!

Although not "In Bed" with Lew - so to speak - that whole situation changed with with my next "beau" from the Pines, Michael. Our dreamy encounters in the Pines solidified into a real brick and mortar dance palace called Dreamland. That will be the topic of the next chapter! Keep those Capezios on and ready to dance!

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, recent photo