BijouBlog

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

By Will Seagers

Hi folks - Will here! In this second of (#?) installments, we'll have a look at the behind the scenes aspects of club life - that "Sacred Territory" known as “the booth” - from the perspective of a guest to a DJ plying his/her trade. That Ivory Tower you might have gazed upon during your many club excursions holds a lot more mystery than you might think!

Myself, I held that territory and the DJ within at high esteem. In just a few years, I watched booths morph into "musical altars" from their very humble beginnings as just a place to play records and put the musical equipment. And with reverence, whether at a simple dance bar or a dance palace, an invisible line existed around "Le Discaire" (DJ) that you never crossed (unless, of course, you were invited!). During my first few years as a disco reveler, I was relegated to the dance floor with the masses - only to cast my longing glances at the booth! That was about to change.

It was after I moved to San Francisco in 1976 that I decided to create some music of my own. Although the town had its own great distinctive sound, I missed the burly, manly, and urban sounds from New York's underground scene. My first partner, Tommy, worked at Hamburger Mary's on Folsom St. It was famous for food, drink and Live DJs. Quickly, I became friends with the house DJs and was always welcome in their booth. They knew my musical aspirations and would let me play briefly when they needed to take a break. That got my motor running!

One of the DJs (Tess) played rock and the other (Lee) played dance music. Lee and I made it a ritual every Friday afternoon for him to come to my place with his bag of new records from the record pool to audition on my home mixing system. This gave me a front row seat to hear all that was new and fresh - good or bad. It also gave me the shove that I needed to start a small cassette taping business for friends, restaurants and small businesses. This grew quickly and favorable word got out about my music.

This leads me to my first gig as a DJ. Somehow, the owner of a new gym opening at Castro and Market was given one of my current tapes and he contacted me. He asked me to play for their grand opening party. I believe the year was 1977. But, I am foggy on the name of the gym, itself. Anyway, this was how I got to meet a legendary sound man Bruce Trondson. Our meeting was not cordial at all. He wanted to know why an unknown like me was playing while there were dozens of S.F. DJs to chose from. He hinted that it was just because I was a porno star. He actually said it right in front of me. I threw major shade and said, "Wait and see." Long story short, he was testing a brand new amp - a Unisync - which literally caught on fire right at the beginning of the party. He was pulling out his hair because he did not have a back-up amp. Being my first official gig, I wanted to play on my own turntables and mixer (and had even brought along a Phase Linear 700 power amp - just in case). Bruce's attitude about me radically changed. He hooked up the Phase 700 and the party roared on! And, the crowd liked my music! From that point on, we started to become friends. Over the years, we became very close and exchanged a lot of creative ideas. I went on to work with him at San Francisco's "Music Hall" on Larkin Street.

P.S. I wasn't using that Phase 700 in my home system. So, I let Bruce hold onto it. He wound up putting it into the Trocadero Transfer sound system as its bass cabinet amplifier! (At 350 watts/channel, it was well qualified to do the job.)

I also did a similar gig at a Folsom Street bar called “The Black and Blue.” There, I hauled my home system just a short distance to the bar. (For a dozen plus years, I lived in the South of Market area at 10th and Howard Streets.) For this venue, I played very low tempo bath house-style (sexy) music since there was no dancing. It seemed to go over well. The men in attendance were hot and flirtatious - I almost lost my concentration on the music! LOL.

In my next installment, I will describe some sexual encounters from Fire Island that landed me in booths in New York as a guest and behind the turntables at San Francisco's “Dreamland!” You never know what "Treat" is going to happen after the "Trick!" Happy Halloween to all!

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! So many times as I set out to write these blogs, I feel that I have hit a bit of a wall in terms of finding worthy and interesting material. That was the case today until out of the blue I started to think about bars and dance clubs that have given me so many great memories.

Starting at the beginning, my long time buddy Michael from my home state of New Jersey and I worked our way into a local Asbury Park bar called Danny's Golden Dragon, both at the tender age of 18. The legal age to enter was 21. But, depending on who was the doorman, we would ply our charms at the door and (as promised) after the bar closed. Tee hee hee! That year would be 1969. This was a rather large bar with a dance floor at the end of which was a Seeburg Jukebox. This was in the era before mixed music from a Disc Jockey even was a thought. The dancing was simple and everyone flooded the floor when tunes from The Supremes, Marvin Gaye and the like would come on said jukebox. At this age, I had never danced before. But, I had a lot of wonderful tutors who were eager to show me... wink.

That Asbury Park venue was soon followed by another just down the street - the M&K. It started off as a tavern with lots of sexy locals. The owner expanded the place and added a back room just for dancing - Asbury's first discotheque! At the end of its raised and colorfully under-lit dance floor was the first DJ Booth that I had ever encountered. John, the DJ, at first played very much like a juke box - no mixing to speak of. And, with really popular tunes, he would play a song over again! Soon slip-cuing and blending followed. The crowd really took to his performances.

I can't leave my Jersey Shore roots without mentioning the El Moroccan Room, also in Asbury Park. The music was a cut above all the other local places. There was a reason. The disc jockey was Richie Kaczor who went on to be one of the lead disc jockeys at Studio 54 in New York. Most of the music that he played I still have in my record collection to this date.

Moving ahead a couple of years, I was living in Jersey City - right across the Hudson River from New York City! Things had already kicked into high gear with a lot of the bars and clubs in the Village in terms of DJs replacing the jukeboxes. But, a totally new thing was springing up all over lower Manhattan - private loft style clubs.

My first experience was going to one of these "clubs" with a dear friend of mine named Mark. The club was the Gay Activist Alliance's home base called The Firehouse. Every Saturday night a private party was thrown in its authentic and vacated four floor fire house on Wooster St. in the SoHo area. The music was amazing and like nothing I had ever heard before. Barry Lederer was the first actual mixing DJ that I had ever had the pleasure of listening and dancing to. I would go to the level above where he played just to watch him. He worked with two RCA 45 RPM spindle type turntables and toggled between them without a mixer. His sense of taste and timing were incredible. He went on with his lover Peter to form Graebar Sound. This company's sound systems graced many clubs in many cities such as Trocadero and Dreamland in S.F. and The Saint in N.Y. just to name a few. Oh, and BTW, Mark became the legendary light man of The Saint!

As a dancing reveler in San Juan, P.R. I cannot leave out The Abbey in Old San Juan. While living and working in P.R. I spent almost every Saturday night enjoying local and N.Y. DJs in this quaintly converted chapel. It was the early 70s in the golden age of aviation. Every winter weekend, NYC flew down to San Juan to party.

Moving right along, living in Manhattan gave me a wealth of clubs to visit, as well. But, the one that conjurs up the best memory was The Loft. This was a weekly event held at the private loft of David Mancuso. His sound system was extraordinary - Klipsche speakers and Mark Levinson electronics. David chose not to use a mixer. The ones available at that time did not have the sonic quality to fit into is demanding taste. Nonetheless, he seamlessly stitched together legendary nights of music for his revelers!

Jumping around chronologically, I need to mention other New York paradigms of entertainment. 12 West, Le Jardin, and of course Flamingo. Although all of them were wonderful clubs, Flamingo holds more memories for me than about any other club. As a wintering ground for the Fire Island 500, this very private club sported not only a great dance floor, incomparable DJs, but also a central gallery just before the dance floor representing art from the very members themselves. Fresh fruit, snacks and non-alcholocic beverages were adjacent to the gallery area. It was truly a club paradise!

While working on Fire Island in the pines during the years of '76, '77 and '78, my "neighborhood bars" included The Sandpiper with Robbie Leslie at the wheels of steel and Cherry Grove's Ice Palace where a plethora of top Manhattan DJs would play. Permanently etched in my memory is a night I will never forget in 1975. Just prior to my working there, my friend Roger and I along with the frenzied party goers at the Ice Palace literally collapsed one end of the dance floor! Keep in mind, this was in Fire Island where many buildings were elevated on piles. The DJ politely stopped the music "congratulated" the dancers and relocated the crowd to another part of that same dance floor to continue their night! Now, that's what I call a party!

I'll be back with more!

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