BijouBlog

This week, we're reprinting Joseph W Bean's illuminating interview with legendary S/M filmmaker Roger Earl from the Oct-Nov 1997 issue of International Leatherman magazine. Earl and his collaborative partner Terry LeGrand were behind many of the most influential classic gay S/M films and videos, including Born to Raise Hell and the Dungeons of Europe and Bound for Europe series.

We're breaking this interview up into installments, so stay tuned in future weeks for its continuation!

Roger Earl: Thinking about this talk, I decided to start by telling you about a time when I was around 25 years old. I went to a party in the Hollywood Hills and, at that party, I met a great looking guy who was about 50 years old, six feet tall, with good body... and before the party was over, we were in the basement, on the cement stairs. I had his pants around his ankles, his shirt off and I was whipping his ass and his shoulders with my belt. It was his first experience ever in this sort of a scene – not mine, but his. He was a carpenter at the National Broadcasting Company and he was the one responsible for getting me a job at NBC. I say that was his first experience. It certainly wasn't his last.

After I joined NBC and was working there, George came to me and said he had been approached by a group of people who wanted to do a heavy S&M film. They wanted him to direct it. (George is the carpenter that I met at the party.) He said the only way he would do it is if I would co-direct with him and work with him on it, and I said, "Sure, why not."

Well, I went to the first meeting. George was supposed to be there. Needless to say, George never showed up at any meetings. George never participated. He dropped out and really didn't want anything to do with it. He wanted me to do it. This is where I met Terry LeGrand. The meeting was with Terry LeGrand and company, to do this heavy SM film. On the way home from the meeting that day, my mind was racing. I was thinking about all this stuff that needed to be done, thinking about the motorcycle men and the tattoos and all, and the tattoo "Born to Raise Hell" came to mind.

Right then and there, I knew, on the freeway, that was going to be the name of the film. They had no title. They had no script. All they had was, "Make us a heavy SM film. OK?" I knew that in order to do this film, I needed this dynamite top, this man that was always in everybody's mind as the Hot Top, and I had no idea where I was going to find him.

RE: Exactly! And, I even considered... there was this guy who was a Colt model, Ledermeister was his name with Colt. I forget his real name, but he hung out at the baths, and I was going to approach him. But he also was not into the scene. He really wasn't quite right. So I was haunting Larry's bar at the time in Los Angeles.

Joseph W. Bean: Larry's, the bar with the famous Full Moon Parties by invitation?

RE: Yes, and, one day when I went in there, there he was. He was the man that I knew would make this film what I wanted it to be. I knew I had to ask him to be a part of it, and can I tell you something: I was scared shitless. I figured he would knock me right through the fucking wall if l even approached him. I stood there on one foot, and my stomach turned and, finally, I said, “Hey, go for it, if he knocks you on your ass, he knocks you on your ass and we're done, we're finished.” So, I approached this guy, his name was Val Martin – of course, as we all know now, I told him what I wanted to do and he said, “Give me your number. I'll call you tomorrow.” And he did. Val turned out to be one of my dearest and closest friends, one of the sweetest men in the world, and totally made the movie, as we all know.

JWB: He went on to make Drummer and, in a sense, to make, or at least radically change, the whole scene as we now know it.

RE: Without Val there was no movie. He was the key to that whole movie. And, as I said, he became a very dear friend afterward. His was one of the first panels I made for the AIDS Memorial Quilt. I did his name in black with little silver studs, and, at the bottom, I put "A Leatherman and a Gentleman." To me, that really explained Val. He was really a gentleman and a hell of a leatherman. I admired him so much and miss him so much. I really miss Val.

RE: Anyway, that's how Born to Raise Hell all came about and, from that, Terry LeGrand became a business partner and a friend. We were never interested in each other sexually or anything, but we became very dear friends Terry will always be my friend through thick and thin, and hell and high water.

In all the films that I've done with Terry, I will say that all the real production values in these films are Terry's responsibility. I mean, he's responsible for that because he's the one that has the guts to go ask the Queen of England to let us shoot a fuck film in the palace. That's the kind of person Terry is, and that's why we got the great locations, the great people and the rest of it. I mean, had Terry been with me that night when Val was in the bar, Terry would have walked right up to him without any problem. I squirmed and carried on and went through six deaths, but Terry would have walked right up to him. So, Terry is really responsible for Marathon Films having the production values and having some of the great models. The two of us were able to work together so well because he has this wonderful chutzpah that created what I wanted, and every time I said, “Terry I need, I want," Terry would bend over backwards to make sure I got what I needed and wanted. We made a good tape – a very good tape.

There are a couple of things I would like to tell you about. This was during the making of Born To Raise Hell, when we were in the dungeon, and I had a guy tied up to the cross and all...

JWB: Where was that?

RE: That was a place in Hollywood called the House of Dominance, where all the Dominatrixes charged the guys anywhere from $200 to $500 to tie them up and beat their ass. They had lawyers, executives from film studios... everyone. And they were great gals. I really enjoyed them and they were terrific. They wanted to be there when I shot. They said they never allowed anybody to be there when they weren't present, and I said, "Bullshit! You will destroy everything I'm doing. You can't be here. These guys don't work well with women." Anyway, that was all solved, and they were very pleased with what we had done in their facility.

RE: But we were shooting this one scene with Tiger on the cross and tied up, and Val and Bob were whipping the hell out him and all this, and he was screaming bloody murder. I mean just screaming, wide open, screaming bloody murder. I finally just stopped, "Wait, wait," and I asked Tiger, "Are you OK?"

He said, "I'm fine. I was just acting."

I was so pissed off. I went back to Bob and Val and said, "Beat the shit out of that motherfucker. I don't like acting. I want to hear real fuckin' pain." I almost flipped. That's something I have never forgotten.

When we shot that last scene with the two cops out in the woods, I don't remember who I went through to get these two guys. But, anyway, I told them I needed their sizes to go to Western Costume to get the uniforms, and one of the guys said, "You don't need to get a uniform for me. I've got one." So, he showed up in his LAPD uniform, and it turned after I shot the whole thing, that he really was an LAPD – on the reserve unit.

JWB: I heard that from Val later.

RE: I told him I wished he had told me about all of this, and he said, "You wouldn't have used me if I had." I admitted he was right. Anyway, it was in the can, so I just went with it.

RE: Dale... yes, was the name of the guy we used in the opening scene, the guy that sat in the toilet and they pissed in his mouth, and they took him in and beat the shit out of him on the pool table and put the dildo up his ass. They really worked the kid over pretty roughly, and I was very pleased with all that he took, and I thought he was terrific. Then, when we finished that scene, I put my arm around him and said, "Man, you were terrific, you really were." And he asked if that was all. He asked if they weren't going to hurt him any more. "I love pain," he said, "I really was hoping there would be more." I said, "Hey, you want to do more, give me a few minutes." And that's when Val got out the alligator clips and we shot that extra scene, because the kid just hadn't had enough. As long as Val was willing... So, it's funny how these things happen in a shooting.

RE: Also, the kid whose head we shaved, the long-haired guy? What happened was, the first day we shot, I was so tired and so horny, I stopped by Larry's on the way home from the shoot and I met this guy and thought, “Well, I'll take him home, play with him a little bit and then go to bed and get a good night's sleep.” I brought him home, started playing with him, and I said something like, “I'm going to shave this long, fucking hair off." And he said that would be fine, "Go ahead." I went to get my stuff and I asked myself, "Am I fucking crazy? I want to do this on film." And I asked him if he would do it on film, and he said he would. I showed up the next morning with him and Terry said, "You told me that... You were very emphatic that we weren't allowed to bring tricks and friends to the shoot." I told him this wasn't a trick or a friend, this was a new actor. He said we didn't have the money. "Well, we'll have to find it," I said. He said the only way would be to take the money out of my money. I agreed, and that's how he came about.

JWB: Can I ask a couple questions about Born To Raise Hell while we're here? In the '70s, when you made Born, there were sex films sort of in the mainstream, and sex films were being shown in big theaters. It was all pretty different, but how different was it? Did you think, when you were making it, this is has to be a secret, this can't be thought of as part of my career, that kind of stuff?

RE: Absolutely, because it was a porn film... everything about it, I could not have been known as having done this. For years and years, it was very hush-hush that I had anything to do with it, and I actually denied having anything to do with it. Of course, Born to Raise Hell was shown on film and 16mm. It was edited on my dining room table in my apartment.

JWB: Movieola and canvas bag at the end of the table?

RE: Well, it wasn't even a Movieola, it was a reel-to-reel crank-through called the Moviescope, and I cut original. There wasn't enough money to do a work print, so I cut original.

JWB: Who cut the negative? Did you have to do that yourself?

RE: No. The original was...

JWB: Oh, you didn't have any kind of print at all?

RE: Nothing, I cut original, right out of the camera to my table. But I had enough confidence in myself that I could do it. And I said, "I'II do it. Don't worry about it. I know what I'm doing. I know the film. I shot it, I can do it." And I did. It didn't turn out all that bad. I made a couple little mistakes that I could certainly see, but most people don't see them. And it was very interesting.

Another little tidbit about Born To Raise Hell: the cameraman that we used was a cameraman for Jacques Cousteau, a straight man, of course. The action that went on never once bothered him. He never mentioned anything about what we were doing or anything. He just kept going on about, "God these guys have such dirty feet, I keep smelling those dirty feet, I smell dirty socks all the time, all these dirty feet." They're sniffing amyl one after the other. [Ed. Note: At the time, poppers were amyl nitrate in glass ampules, and spent amyl smelled powerfully of dirty socks.]

JWB: How much of a crew did it take to do Born To Raise Hell?

RE: We had a lighting director, a camera man, our still guy, myself, and I had an assistant, and Terry was there of course.

JWB: So, six or seven people?

RE: We had a gofer, too, who was running around getting food for the actors...

JWB: And how does that compare with the crew you needed to do the European shoot?

RE: About the same.

JWB: Really? So things didn't change that much in 20-plus years.

RE: When I started shooting in Europe, I switched to a two-camera shoot.

In the next installment, Roger Earl gets into his later work: the shoots in Europe with the Palm Drive Video photographers, Christian Dreesen, Marks of Pleasure, and more.

By M. Webster

Today, we're flashing back to the late '70s/early '80s for a peek at a much earlier time for Bijou. This was within the era when porn features were still at their cinematic height, playing in theaters in major cities across the U.S. In Chicago, the Bijou Theater & Sex Club (which later expanded into Bijou Video), projected many of the great gay porn classics of the time on its screen. The Bijou Theater was in operation from the earliest days of the hardcore film industry, opening in 1970, until its closing in September of 2015, making it the longest-running gay adult theater in the country. It screened countless movies, keeping the classics in frequent rotation up through its final day in operation.

At Bijou, we have an archive of vintage gay newspapers, including larger publications and smaller regional papers, particularly with a large stash of gay papers local to our home base, Chicago. A number of years ago, we scanned in a stack of vintage issues of Chicago gay newspaper GayLife, where the Bijou Theater frequently ran advertisements for the movies playing, improvements to the theater, live performances by big stars (including Peter Berlin, Richard Locke, Casey Donovan [more on his stage appearances here!], and Lee Ryder), video sales (by the later point of the VHS/Beta home video era), and more.

An August 31, 1979 GayLife interview with Steven Toushin, owner of Bijou Video and the Bijou Theater, gives some insight into the business at the time. Here, journalist Dennis Kouba asks Steven a few questions about the Bijou (before reviewing Tom DeSimone's The Idol, a 1979 Hand in Hand Films classic, which had recently opened at the theater, recommended to the writer as being one of “the best [films] in the genre,” a reputation which it still deservedly holds.)

Following are some excerpts from the interview.

"Mr. Toushin proved to be a relaxed and informative gentleman. Originally from New York, he has been active in Chicago's gay business community for several years, owning and managing several establishments... Mr. Toushin is an admitted film buff, seeing at least two films a week. He is well-versed in the film business and appears to be using his knowledge to provide quality entertainment for the gay community.”

GayLife: Why do you play films for only one week?

Toushin: We cannot afford to play a film for more than one week. We die if we play a film two weeks in a row. Frequently, if a film is popular, we will bring it back for a return engagement. Quite a few of our regular customers actually come to the theater weekly to see the films, and they complain if we play the same film more than one week.

GayLife: Where do you advertise?

Toushin: The Chicago Tribune, Gay Chicago, and GayLife. Actually, we have found that the Chicago Tribune attracts the biggest audience. We discovered that advertising in the Chicago Sun-Times did not bring in more patrons.

GayLife: Do you have have difficulty obtaining new films to exhibit at the Bijou?

Toushin: It is difficult to book good new films every week since the gay film market is limited and supply is scarce. We find it easier to book films from New York, especially from Hand in Hand. [Bijou now owns and distributes the Hand in Hand catalog on DVD/Streaming.] It is much more difficult to book films from California since the suppliers do not understand our situation in Chicago and present us with stiff, unrealistic terms. We simply can't afford to book films for several weeks and certainly not at the terms they constantly demand.

GayLife: What is the average cost of a gay film?

Toushin: Twelve to fifteen thousand dollars. The most expensive film to date was Dune Buddies [a Hand in Hand film directed by studio co-founder Jack Deveau, released in 1978], which ran $30,000. That's too much, since the market is limited.

GayLife: Do you have any future plans for the theater?

Toushin: Yes, next spring we plan to elaborate on the Bijou garden, giving it more of a legitimate garden atmosphere. Beyond that, I'm considering bringing in a video viewer so patrons have a choice of two films.

GayLife: Have you ever considered exhibiting any major commercial film?

Toushin: Yes. Immediately after viewing La Cage Aux Folles (Birds of a Feather) [a 1978 French film from director Édouard Molinaro, adapted into the 1996 Robin Williams/Nathan Lane movie The Birdcage], I contacted the studio – United Artists. I asked about the possibility of running it as a midnight show on weekends. At this point, I have received no answer. Other theater exhibitors in Chicago are considering the same.

GayLife: How seriously do you take the interests and demands of your clientele?

Toushin: I feel there is a legitimate need for a theater of this kind. I have a responsibility to our public to keep the theater clean, comfortable, and attractive. I take my responsibility to the gay community seriously.

The Bijou Theater did indeed wind up playing La Cage Aux Folles, a popular mainstream film of the era with a story focused on gay men, for an extended run the following year (1980). Numerous full-spread ads Bijou placed in issues of GayLife that year feature the French film in the mix with its typical fare of gay porn features. Particularly since the work of Hand in Hand was markedly highlighted during the late '70s/early '80s era at the Bijou, the cinematic, artistic, and narrative quality of gay porn films in rotation at the theater was of a high caliber and would have blended well with this addition of a piece of non-pornographic cinema.

In our scans, we have a couple of GayLife articles and letters to the editor praising the Bijou's decision to feature La Cage Aux Folles on the theater's screen.

GayLife, August 22, 1980 letter to the editor:

“I wish to compliment Steven Toushin, the owner of the Bijou Theater, for making an evening at his establishment enjoyable. Usually, a trip to the Bijou is serious business: serious porno viewing and serious cruising. But last weekend, at midnight, Steve scheduled a screening of La Cage Aux Folles, the Italian/French comedy that has been such a hit the last year or so. For the first time in my memory, the theater was jammed with people having a good time. People were actually watching the movie and enjoying it. People were laughing, smiling, and talking to each other at the end of the film. And best of all, there were all types of people, including people who would never have been seen at the Bijou before. I am told that the Bijou will lose money with each midnight show of La Cage, but I'm sure they'll more than make up for it in good will.”

As mentioned in the 1979 interview with Steven Toushin, Bijou's garden did see improvements by the following year, which is also spotlit in Bijou Theater advertisements of 1980.

Bijou maintained this mixing of various types of movies and materials of gay interest in the late '80s and 1990s through its mail order catalog, the most comprehensive gay porn print catalog of the time. In addition to an extensive listing of available gay porn films on VHS/Beta, the catalog expanded to feature an array of other types of video tapes, including LGBTQ documentaries, documentation of LGBTQ events and competitions (such as Mr. Drummer, International Mr. Leather, the Gay Games), sex educational videos, lesbian porn (particularly a large selection from important early lesbian porn studio Fatale Films), and a number of non-pornographic films of interest to an LGBTQ audience, from those popular in gay culture (George Cukor's 1939 film The Women) to LGBTQ underground, arthouse, and independent films (Donna Deitch's 1985 lesbian classic Desert Hearts, John Waters' 1972 Pink Flamingos, and more).

This spotlight on the Bijou Theater's original publishing date coincided with our 2024 re-release of the classic 1994 Bijou Video production Fulton Street from director Mike Donner, unavailable for decades, and now newly restored and re-released on DVD and Streaming! This narrative gay porn feature was set and shot in Chicago. Its complex storyline thoughtfully incorporates weighty thematic material, romance, and character development - and, of particular interest here, its Chicago locales include an extended cruising/sex sequence filmed in the Bijou Theater, itself!

This Fulton Street scene shows action in a couple of spots in the theater that those who have visited are likely to recognize: the lobby where VHS/Beta sales and, later, DVD sales took place (catch glimpses of tons of box covers of Bijou classics, many of which we still carry) and in the maze of interconnected gloryhole booths on the second floor. (Only fellow Bijou Video production A Winter's Tail, an intense 1984 S/M video from Dave Nesor, also illustrates the Bijou Theater's interior.)

Catch Bijou's Fulton Street, plus peek at the mini-documentary on the Bijou Theater page of our website and these tales of events at the Bijou Theater over the decades for more flashbacks!

By M. Webster

During a recent session of scanning and touching up behind the scenes photos from Jack Deveau's Hot House (1977) from our archive of materials from the great Hand in Hand Films, I felt a lot of enthusiasm to share them with an interested audience. In that spirit, here is a primarily photo-based blog featuring a selection of those images, interspersed with interview excerpts from Hand in Hand crew members pulled from the 2019 book Good Hot Stuff: The Life and Times of Gay Film Pioneer Jack Deveau, a historically valuable peek into the inner workings of one of the foundational studios of '70s/'80s gay porn!

On Hot House:
Classic porn icons Roger and Jack Wrangler star in this comical tale of frustration as two horny men trying to find privacy to have fun in a NYC apartment that is invaded by obnoxious painters, crabby janitors, and neighbors who have lost their keys.

Also starring Jayson MacBride (Catching Up, A Night at the Adonis), David Hunter, Eric Streiff, and Garry Hunt (Ballet Down the Highway, Dune Buddies, Fire Island Fever), and featuring the voice of Tray Christopher (aka legendary fetish video artist Christopher Rage).

Director: Jack Deveau
Writer: Moose 100
Camera: Kees Chapman & Jack Deveau
Sound: Rolf Pardula
Key Grip: Ken Schnetzer
Make-Up: Gene Kelton
Make-Up Assistant: Jim Delegatti
Production Coordinator: Sydney Soons
Editor: Robert Alvarez
Mixer: Kees Chapman
Music Consultant: Bobby
Producer: Jack Deveau

“The big-ticket draw of Hot House was to have been the sex scene between Wrangler and Roger, and the pay-off is there. Back in 1977, these two porn titans knew that the audience expected to be transported nearly to Valhalla when settling in for this section, and both go all out to create what comes off as a genuine physical desire.” - Manifest Reader

“There's a sense of humor and a sense of innocence that resonates from an earlier time.” - Mr. Magazine
 

Frequent Hand in Hand sound mixer Rolf Pardula started with the company with 1975's Ballet Down the Highway and continued to work with them throughout the rest of their productions. He went on to serve as the sound mixer for many independent films including George Romero's Day of the Dead, Larry Cohen's The Stuff, and several Spike Lee productions (School Daze, Malcolm X, Crooklyn, Summer of Sam, and Bamboozled). In Marcus Siedelmann's Good Hot Stuff interview with Pardula, he credits Hand in Hand with helping him to come out.

“When I started working with Bob [Alvarez] and Jack [Deveau] – that was back in the 70s – this was my first introduction into another world, the homosexual world. I had never been exposed to that. I was having relations with women at the time. Bob and Jack, they liked me... They treated me as a part of the family, which was very kind. They had love and care, and they didn't want anything to happen to me. In fact, they protected me, and at the same time allowed me to be on the set, and see these beautiful men having sex with other men. After a few years, I realized I'd been hiding my sexual feelings, and that I really wanted the company of other men. So thanks to Jack and Bob, I was allowed to formulate my personality, who I really was... I didn't have to suppress my feelings or to hide them. Why should I hide my homosexuality if Jack and Bob didn't do that?”

On Jack's style on set: “[Jack] managed it in a very casual style; never something like the set of a Hollywood film. It was always like having a party. He was always comfortable. He never screamed, and he was always a gentleman on the set. He said he wants this and that done, but it was always graciously, and with great respect... That's one of the things Jack Deveau was very well known for.”

Hot House screenwriter Moose 100 had begun as a playwright and was introduced to Jack Deveau and Bob Alvarez through his friend David Earnest, who wrote original scores to many of the studio's early films. Moose 100's writing brought Hand in Hand into its later era, which largely focused on lighter, more comedic works cleverly and affectionately capturing and spoofing NYC gay life.

“Most of the films I've written opened at the Adonis Theater. People went there to cruise. The most unusual thing was that somebody would sit down and watch the movie from the beginning to the end. So the audience saw the films in fragments. Jack and I felt that it was giving us the opportunity to write the movies just like we wanted to, because no one paid that much attention. They were just looking at the sex scenes. They were fantasizing. They were picking up men. That freed us. We felt we were able to experiment. In fact, I used to borrow a print of a new movie, throw a big party, and asked the audience consisting of my straight female friends. They loved them! And they had plenty of hot men to look at.”

Moose 100: "We had a style of working where I would present a first draft. Then we would meet and talk about it, discussing some changes. I used to go home and write [these revisions]... Once we got a shooting script – and this is what I really liked about the process – I was on set all the time in case I was needed. The minute a sex scene starts, you're shooting a documentary. It's what happens in reality, and sometimes, people who act in porn movies got problems, because suddenly there are all these people around, those big hot lights, and they're expected to get erections. Sometimes it doesn't work that way, and things have to change. So having the writer right there can be a helpful thing, or – depending on the people in the cast – sometimes you see one of the actors and you want to sort of customize the role for them. There was one incident during Hot House. They were shooting a sex scene, and right when they'd come to the cumshot, the film suddenly went out of the camera. And they lost it. Immediately, Jack fixed the camera and put in new film, and by that time they were ready to re-shoot the scene – Jack Wrangler also was sexually ready again. I think he was amazingly good at what he was doing. I used to call him The Sexual Professional. You could tell him: 'Jump out of an airplane, jerk off, and come as you land!' (laughing) And he could have done it, because he was totally a pro. In a way that nobody I ever worked with was. He could control his sexuality in a way most people couldn't.”

Robert Alvarez was Jack Deveau's partner in life and in Hand in Hand. They co-founded the studio with Jaap Penraat in 1972 and later co-ran it with Kees Chapman. Bob was the studio's editor, with past experience in experimental and documentary film, and his creativity and skill brought polish and excitement to Hand in Hand's productions.

“[Kees Chapman] came to us actually as the partner of Sydney Soons [aka Mark Woodward]. Sydney came to our office and worked as a production assistant. He also was in Drive, of course, but he was way more interested in the jobs behind the camera, and so he ended up working for us in production. Kees then was working as a waiter downtown. He came in, hung out, and next thing you know, he also was doing work for us [behind the scenes]. At a later point in the game, Kees and Sydney split up... Kees became another partner [in Hand in Hand] because he was very valuable to us. He was a huge help in the later years of Hand in Hand Films' existence. He organized a lot and he also got into camera work. He actually shot some of the stuff in the later films with Jack. He had no specific artistic background; I guess it just came out while working with us. He was very ambitious to learn the different aspects of filmmaking. He was able to work with actors very well, especially after Jack died. More or less, he took over the directing of the actors. We always worked well together.”

Jim Delegatti worked in many different behind-the-scenes roles for Hand in Hand over the years. He initially came to them after seeing their debut film, Left-Handed (1972), with the fantasy of being a performer. They didn't need any at the time, but were looking for crew members. He began as assistant to their make-up artist, Gene Kelton, and served as primary make-up artist on some of their final films. He additionally did set decorating, still photography, acting cameos, and more (“I was still doing this and that. I was learning a lot during the films.”). In his interview with Siedelmann, Delegatti says of Hand in Hand, “We really were a family in many ways” and that, as a small company, everyone helped with everything.

“It was a wonderful time of my life... I always wanted to do it, and I did it. And it was good. I helped a lot to create these films, because in these kind of films you need a certain atmosphere on set; a special mood. And I helped a lot on that too. The actors got their buffet. (laughing)”

“Jack became sick and after he passed I was... he was a big influence in my life. He meant a lot to me. At the time, I needed someone like him to be around. He was there, and so this was a big family loss.”

“I really don't think there was such a thing after Hand in Hand. Jack tried to make something out of it, something different than just a porno film. He was a great cinematographer, and he learned to do all these different things by himself... [Jack] did a lot to improve pornography, and gay cinema. There was a story behind all his films, and there is so much knowledge about the gay community.”

Read more interviews and catch more behind the scenes photos from Hand in Hand Films in Good Hot Stuff: The Life and Times of Gay Film Pioneer Jack Deveau!

In addition to Hot House, Bijou carries the Hand in Hand Films catalog of movies on DVD and Streaming.

For more Bijou Blogs on Hand in Hand Films:
-Interview with Robert Alvarez
-Blog on Jack Deveau & Hand in Hand
-Interview with Tom DeSimone Part 1 & Part 2
-The Backstory of Peter de Rome's The Destroying Angel

By Will Seagers

Hi Folks, Will here. As usual, I have yet another strange title for you! The name of this multi-faceted adventure won't be significant until we get to the end of the blog. Like the house that landed in Oz, this story will go through lots of turbulence before getting there. But, with the help of of my friends, it turned out quite well.

In the summer of 1975 in The Pines on Fire Island, a seed was planted by my beau of the time, Roger. He told me that he was moving to San Francisco in the fall. I was taken aback by this as Roger was a quintessential New Yorker, never having lived anywhere else in his thirty-four years. He was born in the Bronx, lived in the West Village, and was also a teacher in the NYC school system. To me, he seemed happily entrenched in his metro lifestyle. But, San Francisco bound, he was.

After an intense but brief affair, our relationship morphed into a really solid friendship. Soon, the idea (adventure) of moving to San Francisco grew on me, as well. Ultimately, this would be a move that I would make on my own. Even though I had never been there before, I was not daunted. And, it was not the first nor last time I would made that kind of move. But first, a rather eventful year would transpire before getting there.

Denis, my brilliant and zany former roommate from San Juan (Eastern Airlines days) had won a scholarship to Arizona State University and needed a "companion." Truth be told, it was really his parents' idea, as they were scared to death of him living alone and so far from their New Jersey home. Although Denis was quite book smart (Fulbright Scholar and MENSA member), his street smarts were lacking. Not having a formal plan nor date for my move to the West Coast, I agreed to be his chaperone and roommate for this truly hysterical adventure!

His parents gave him a car. After loading it to the hilt, we left NJ on Route 80 for the trek to Tempe, AZ. I only wish that we had a video camera to record our antics en route. I don't think I have ever laughed as much in my life! Between our two unconventional outlooks on life, there was never a dull moment. I do remember nearly running the car off various interstates in fits of laughter on several occasions! We arrived in Tempe and took up lodgings at an apartment complex complete with pool!

He went to school and I went to work as a bartender... something I had never done before. I relied heavily on my appearance to keep these gigs afloat! A bartender I am not! I also had some small legit modeling jobs at a local agency. I did manage to land a cattle call and get a small part in a crowd scene in the Barbra Streisand remake of A Star is Born. I was within arm's reach of Kristopherson - not so much Ms. Streisand!

As Denis finished up his school year, I was contacted by a dear friend, Lou Thomas, of Target Studios. I had done some print work for him in NY and in Arizona. Lou asked me if I would be interested in working for John Whyte at the Boatel in Fire Island Pines. I jumped at the opportunity (as I had nothing planned for after Arizona). So, back across the country I zoomed!

My summer of 1976 at the Boatel deserves and will get its own chapter in my upcoming autobiography. Suffice it to say that it was a vivid and fabulous experience that I repeated again in the summers of 1977 and 1978! But, the most important events to happen during that first summer were meeting Chuck Holmes (of Falcon fame) and becoming "family" with my Boatel co-workers. Chuck Holmes offered me a job at his SF restaurant, Trinity Place, as well as modeling work with his studios. And, my Boatel co-workers all wanted to move to SF at the close of the season on the Island. Synchronicity, eh?

So, Denis popped up again. He requested the pleasure of my joining him on a trip to Mazatlan, Mexico as soon as I finished up with my Fire Island duties. Naturally, I joined him... but not before seeing "Irma" in Huachuga City, AZ. I told him about SF. But, he said it would only be a week at Mazatlan's beautiful beaches. After he picked me up at Tucson airport, he drove me to see "Irma," the tiny trailer where he lived in Huachuga City. BTW, this was the rather hilly and very green section of Arizona where the high speed driving scenes were filmed towards the end of A Star Is Born. More synchronicity?

We left for Mazatlan from Nogales, AZ on an ancient but beautifully preserved train - a la Orient Express! It was mid-October... and guess what? That's the height of Mexico's hurricane season. So, we had no sun for that week! This made me even more anxious to set sail for San Francisco! After getting back to the U.S. and to Tucson Airport, I finally departed for the "City by the Bay" with only the clothes on my back and a small duffel to stow overhead.

Arriving in San Francisco but not knowing the workings of the BART system, I paid the hefty cab fare to my Castro and 19th St. destination. Although I was offered only the floor of one of my co-worker's tiny flat... this was my liaison in SF! I wasn't concerned about my accommodations - I was finally here! After a few hugs and putting away my duffel bag, I ventured out.

As I eased my way down the steep slope of Castro Street towards 18th and Castro (the gay crossroads of the world), I felt like Dorothy swinging open the door to her house that had just crash landed in Oz. Gazing around at all of the men and the "gaiety" that blanketed the area, I could only think: Nope... This Sure Ain't Kansas!

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, here I go again starting off with another obscure blog title. The I.M.H.O is of course "In my humble opinion." I have always liked that phrase because it allows the delivery of a potentially heavy message but buffers it by categorizing it as an opinion and not necessarily a fact. The real meat of this blog is what's sexy and what is not. And, of course what floats one boat does not necessarily float another's!

To be blunt, I have always been a devotee of porn. No... not just because I participated in it. But, from an early age (somewhere in my early adolescence), I have always enjoyed some good dick pics. And, the ones that I have found most stimulating are basic ones. With my age at 73 and the fact that I started to seek out these cheap magazine thrills, we are talking about stuff that was from 60 years ago and then some!

I remember seeing the very first nude body pic even before that. My uncle had a stash of softcore porn under his bed. My first exposure was the famous first Playboy issue with the spread of Marilyn Monroe. I found it both shocking and intriguing in that I had never seen a nude before - male nor female - and I didn't really get the physical reaction that I expected. That was when I became aware that I might be a little different.

As I mentioned in an earlier blog, I loved hanging out with the boys for a circle jerk throughout my teens. Most of them considered it a "phase" and simply outgrew it. But, that wasn't the case for me! During this time I found it very difficult to come by any naked male porn. And, what did come my way was very primitive. Let me explain. Most pics were B&W cut outs from porn mags. And, some of the pics were actual photos taken by various people. This was where I got my taste for straight-forward porn - no acting, fancy sets, or enhanced facial expressions – unadulterated.

From this, I tried to develop a "practice what you preach" concept when in front of a camera. I tried a minimalist approach to participating in these films and print works in terms of "fluffing up" the sexuality in these adventures. Some good examples of this were the first shots taken and published by Man's Image on the Christopher Street pier back in the mid 70s. Nothing was put on... I just stood there being myself. I will have to admit, I was coaxed - or should I say directed - into creating a rather ridiculous, so called "sexy looking" face for the centerfold of a the first Playguy Magazine. I still blush every time I see it! To me it was too contrived.

Anyway, back to "Matters at Hand." My current tastes haven't changed that much over the years. I love the simple straight-forward approach of straight looking guys being filmed or photographed in a J/O scene - no frills. Consider this: the studios that collected these successful gay models over the years did so because their sexuality was naturally projected - nothing was put on. And please, no plucked eyebrows, totally shaved bodies and heads rolling back with mouths agape expressing gratuitous (and obviously not real) sexual ecstasy. I will go as far to admit that still two of my favorite studios are Old Reliable - talk about raw and unedited - and my home base, Bijou World.

Well, I did name this article "Taxing I.M.H.O." You've read my opinions. The Taxing part of it is the work I go through to find the quintessentially simple sex in the smorgasbord of gay sex porn that is out there. For those like me that don't need a plot, stage setting or anything else theatrical to glom up the fantasy of that hunky guy, who is really is the centre du monde, keep the faith there are plenty of goodies out there to ogle. Oh and BTW, I am plenty good at creating the fantasy part, myself.

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