BijouBlog

Where do I begin with telling the tales and memories of this iconic Folsom area locale?

First, I'll do my best to recount my presence and involvement at Hamburger Mary's. And, it is going to come from a very personal standpoint... I literally "lived there" for most of my thirteen-year relationship with my first partner Tom Beebe. He was one of the "original family" that started this restaurant back in 1972.

My first and sort of vague recollection of the place was having one of their legendary hamburgers after a night out prowling around the Folsom/SoMa area and its countless bars. This, by the way, was just before meeting Tommy. So, my view of the place was detached. Nonetheless, I was fully awestruck! Upon entering, I immediately felt like I was on the set of an Andy Warhol or John Waters movie. In the well-orchestrated chaos of the place was a waitstaff of latter day hippies, drag queens and some of the most colorful people (in a very colorful town!). All offered a friendly and slightly crazed welcoming feel!

Keep in mind this was late 1976. So, Baghdad by the Bay was in full swing in terms of wild sexuality and frivolity. What I was wearing I thought was a propos for the area and the night (leather - vest and chaps)... It turned out I was too tame. I wore 501s under the chaps! LOL. Hanging out at Sissy's Saloon (the bar connected and to the right of the restaurant proper) were all sorts of barely clad men and women - the men NOT wearing the 501s that I had just mentioned! And, it did not turn a single head! It was just standard operating dress at this time.

One of the cornerstones of the place was the food... always predictably good! From the legendary hamburgers (meatless to meaty) to scores of salads and homemade soups. Remember, this was also a representation of left-over hippie macrobiotic and vegetarian fare! Speaking of soup... the young lady who first started at 18 as one one the "soup crafters," Rose, went on to become manager and owner of this enterprise. She and Tommy were very close and remained friends for years.

One of the other cornerstones was the eccentricity of the appearance of the restaurant, itself. The walls were plastered with lots of local art and photos. One photo of note was of my Tommy's butt in 501s with a waiter's order pad in a back pocket that said "Thank You!" The tables were doors from Victorian homes of late. No two chairs in the pace matched... nor did the "china." And, one of my favorite touches was the milk or half & half placed on each table in a glass baby bottle complete with a nipped off nipple for easy dispensing. Another part that I really enjoyed were all of the exotic plants around the place. The legendary "Artista" took care of them and supplied the place with her artwork, as well. There was never any one star in either the staff or the guests... it was a collective! 

How I met Tommy:
Little did I know that he was a big porn fan of mine until his arrival in December of 1976 at Trinity Place. I was offered a job there by Chuck Holmes (of Falcon fame) back on Fire Island at the end of the 1976 Summer. I accepted the job and gleefully moved to San Francisco with a troop of other folks from Fire Island.

So back to Trinity Place:
In walks Tommy with his close friend Chrysler and they prop themselves up prominently at the bar. He was the cutest guy with the most dazzling brown eyes and smile. He orders up and, upon paying for the drinks, lays out a beautiful fine gold chain (along with a whopping tip!). At the end of his stay he invited me to come see where he "worked!" Later on that day we made our way down to Hamburger Mary's!

I could easily write a porn script around the first night we spent together. Suffice it to say, it was hotter than hot... I remember tearing off his clothes and tossing them on a coffee table. Under the glass top of this coffee table was a recent centerfold of me. (Who says "You Can't Always Get What You Want"!?) Within a month or so we were living together in our little "Mouse Palace" apartment on 10th St. near Howard. We remained there for thirteen years in the SoMa neighborhood well before it became chic. BTW, this was the Hamburger Mary's house... employees lived in four of the twelve apartments, including the Super of the building, Gregory. He is pictured below with his legendary red ponytail. That building was a hoot!

Also, "Mary's" was know for music. Their DJ booth was at the end of the bar just before a small game room. The two DJs were Tess, whose fare was classic rock, and Lee, whose forte was disco and new wave music. Every once in a while I would venture into the booth and play a mini-set. They both encouraged me to enter into the music world. I started my musical life soon after. My main musical attachment to Mary's was being their sound tech. Although the system sounded good with its JBL speakers and McIntosh tube amps, the playing console needed an update. With my connections in N.Y., I brought in a UREI mixer, Technics Quartz Lock turntables and Stanton cartridges. The sound system really popped and my DJ friends appreciated the new detail in the audio. While doing Mary's sound I was invited by Jimmy, the manager of The Stud (just across the street) to come and be their sound guy.

This is where I part from Mary's. Next episode will center on The Stud whose fame and history spanned not only the decades but two locations!

Bio of Will Seagers:

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

 

“Deep Inside” is a series in four parts that Will Seagers and myself are writing. The first in the series focuses on San Francisco’s Castro neighborhood, where Will and I both spent a lot of time during the 1980’s. Although Will Seagers and I have never met formally, I am convinced that he sold me my first VCR at Eber Electronics in 1984. I can’t say for sure, but that photo of him at Eber’s from his blog “The Stereo Maven of Castro Street” convinced me, because he looked very familiar. After purchasing the VCR on a payment plan I remember running across Market Street to Captain Video to rent a couple of VHS tapes, most likely a horror movie and a porn.

In 1984 my friends and I were incredibly lucky when we found and rented our flat at 629 Castro Street. It had three bedrooms, was located just above the corner of 19th and we paid $750 per month. Our landlord Marlene got sole ownership of the three level building and a nearby house in her divorce settlement. Our unit was located on the middle floor with an artist (painter) and his roommate above, and a leather couple below. The neighborhood had so much to offer with bars and restaurants on every block. 18th and Castro was the main intersection; to the right was your coin-operated laundry and Cala Foods Supermarket, to the left was The Midnight Sun video bar and Moby Dick (where Will Seagers was known to DJ).

Near the Corner of Castro and Market Street was The Castro Theatre, which is my focus for this blog as it was truly the heart and soul of the neighborhood. This landmark represented a place where the gay community could come together and show appreciation for their favorite films and icons. They hosted premieres like Milk, the story of Harvey Milk, and more recently The Matrix Resurrections, complete with cast and crew appearances. There was a constant array of new releases as well as classics that were shown, providing quite a wide variety of constant entertainment for the neighborhood. Inside this majestic palace the architecture was astounding and much was coated in gold leaf. There was a balcony, of course, and the main level consisted of three sections, the right side being the “smoking area.”

Suddenly Last Summer was the first movie I saw there. I was surprised and delighted when, prior to the beginning of the movie, the Mighty Wurlitzer Organ rose from the floor on a platform. The sound quality was amazing and when the player finished his performance with the song “San Francisco” (open your golden gate) the crowd sang along from the top of their lungs. What was this place? This experience was already so much more than just going to a movie house. Suddenly Last Summer was my first “real” introduction to Montgomery Clift and Katharine Hepburn, but it was Elizabeth Taylor with her 22” waist and pointy bra that stole the movie for me. I’d only ever seen her in films like Night Watch where she was, what?, late forties? Well in Suddenly she looked stunning from the moment she graced the screen in her insane asylum uniform. Even though the gay undertones in the movie were “way over my head,” just being in the packed house with a mostly gay audience was a thrill. The place exploded in applause when the real nut, Katharine Hepburn, rode up the private elevator in her gothic mansion at the movie's end. I’m sure they could hear the cheers and applause down the block!

There was always something going on at the Castro Theatre. We saw the premiere of Lust in the Dust with Divine and Lanie Kazan, and though the audience was every excited, the movie was a bit disappointing as we really expected a John Waters classic, but he didn’t direct it, Paul Bartel did. Joan Collins came there in person for An Evening with Joan Collins, a live on stage interactive event. I’m not sure if she was pushing a book or just riding the Dynasty wave, but it was incredible and we all thought that her head looked too big for her body. When her car drove off after the event, the street was so packed with queens screaming her name and banging on her car it could barely move down the road.

I even sat through four consecutive nights of Berlin Alexanderplatz (A 15 ½ hour , 14-part West German crime television miniseries, set in 1920s Berlin and adapted and directed by Rainer Werner Fassbinder) with Fritz, my boyfriend at the time (though he never admitted it). I thought he would see how invested I was in our relationship by showing my commitment to his viewing choices, since none of his other friends would sit through 15 hours with him. It didn’t really work, as you might have read in my recent blog, “Everybody’s Free To Feel Good.” I actually was blown away by Fassbinder’s work and became a fan, seeing a lot of his movies.

The best time ever was seeing Whatever Happened to Baby Jane, it would play there a few times a year and we would always go again and again and again. All those classic lines, which of course the audience all knew and yelled out! And that face, those Bette Davis eyes surrounded by all that white make-up on that giant screen! Nothing could beat that movie with a live audience!

Today I just so happened to go to the Castro Theatre’s website to see if they are still going strong and I am happy to report that they are! It looks like APE (Another Planet Entertainment) was chosen to partner with the owners of the Castro Theatre to implement significant improvements to the sound, lighting, customer and artist experience. They acknowledge the Castro Theatre is an icon of the LGBTQ+ community and a treasured space for film, music and live performance. It looks like they’ve got An Evening with Elliott Gould, a screening of A Mighty Wind (got to love Catherine O’Hara and Parker Posey!) and a performance by Shangela, made famous from RuPaul's Drag Race. The diverse schedule of events is in full swing. It’s great to see some things never change, they only get better!

Bio of Josh Eliot:

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

I remember my first Tom DeSimone movie: Reform School Girls. A large group of us were going on a Friday night and the film was a lot of fun, especially when Wendy O. Williams rode on top of a bus after barreling through the gates. In San Francisco, 1980s, when you had moments like that on film, the whole audience would scream and applaud in delight. My friends and I were constantly at the Castro or Market Street movie houses that would regularly show John Waters, Andy Warhol and other cult movies. When I saw actress Pat Ast was in Reform School Girls, I knew we were in for a good time. I remembered her from Andy Warhol’s movie Heat, shot mostly at the old Tropicana Motel in West Hollywood, where my friends and I stayed on previous visits to L.A. Tom made many popular mainstream movies including The Concrete Jungle, Hell Night, Prison Girls and the cult classic Chatterbox, to name a few.

Once I moved from San Francisco to West Hollywood and got settled into the Catalina offices, it was a fun surprise to find out that Catalina released and distributed gay adult movies made by Tom DeSimone, under the name Lancer Brooks. In my first blog: “Coming Out Of My Wet Shorts” I wrote about how much that movie poster influenced me. Wet Shorts, Flesh & Fantasy, The Dirty Picture Show, Skin Deep, NightCrawler and Bi Bi Love (with one of my favorite scenes ever in a bisexual movie, featuring Crystal Evans) were all sold by Catalina. I would say my VHS tapes of Tom’s movies were like a “video tutorial” on how to make a great adult movie. His movies had just the right combination of comedy, drama, and titillation, seamlessly edited to create these gems. In Wet Shorts it was the traveling salesman scene, Flesh & Fantasy the jacuzzi scene and Skin Deep’s minimalist yet multilayered story of a writer who befriends a sex worker spoke volumes about his internal thought process. It goes without saying that I was truly inspired. Where John Travis taught me the value of lighting and cinematography, Tom DeSimone’s movies inspired me to write and direct stories with a quirky flair to them. I know the adult movies of today don’t really embrace the “storyline” concept, but we did back then and I always tried to make the most of it.

After completing my final movie for Catalina Video called Hot Buttered Cop Porn in 2006, my partner Tony and I moved to Palm Desert and continued editing and remastering Catalina movies for release on DVD, until the company was sold to Channel 1. One random afternoon, I spoke to my friend Kurt about how I was remastering Skin Deep for DVD release and out of the blue he told me that he knew Tom DeSimone from The Desert Film Society, as Tom was a founding member and served on the board. I was shocked and elated when Kurt followed up to tell me that Tom said I could contact him. The order of things is a little fuzzy but meeting Tom was so exciting for me, and Chi Chi LaRue (who of course I told immediately when this all came about). I was working for Channel 1 Releasing at this point and Chi Chi was part owner. In addition to being a warm and wonderful guy, Tom was very generous in sharing his experiences within the adult and mainstream industry. Channel 1 gave me the go ahead to set up video interviews with Tom discussing the behind the scenes working of his movies released by Catalina. We shot four interviews, one for each movie - Wet Shorts, Flesh & Fantasy, The Dirty Picture Show and Skin Deep - which were added to the DVD releases of each movie as “Bonus Extras.” Chi Chi and Tom sat on my couch and we recorded them conversing with each other while watching NightCrawler, which then became a “Bonus Director’s Commentary” on that DVD. It was all very exciting to have our Idol (excuse the pun) spending time with us. Tom even invited us to a party at his house where he projected a classic old movie on the big screen in his backyard to a large group of partygoers. I have both the Skin Deep interview and full interview on my YouTube channel if you would like to view them.

Having access to Bijou Video's amazing streaming service, I recently watched the restored and remastered version of The Idol, and now I know what all the hype is about. This is one great, timeless classic which felt very much like a mainstream movie. Bijou’s streaming catalog also includes many other Tom DeSimone movies like: Dust unto Dust, Confessions of a Male Groupie, The Frenchman & The Lovers (formally titled: The Harder They Fall), Station to Station, and of course my personal favorite Hot Truckin', with Gordon Grant! The Bijou catalog’s vast number of movies never ceases to amaze me! So much content! I’ve heard through the grape-vine that Tom DeSimone’s Catching Up is a real crowd pleaser as well. That is the next one on my list to stream this weekend. Look at this, here I am retired from adult video making and yet I am still obsessed with watching more Tom DeSimone movies to see if I can still learn more from one of the best!

For more on Tom DeSimone's career, see also Bijou's 2019 interview with him: Part 1 and Part 2

Bio of Josh Eliot:

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

It was 1977, some four months since I had moved to San Francisco, and had proverbially tied the knot with my partner Tom. Of course, it was a personal bond since gay marriage didn't exist yet. Tom suggested we go to Palm Springs to celebrate Valentine's Day and have a Honeymoon! I had already heard that Palm Springs was a great place for a winter retreat and a "gay adventure" so I said sure!

Tom was already familiar with Dave's Villa Capri in Cathedral City... a legendary gay resort just outside Palm Springs. Little did I know what a surprise I was in for! So, we booked a flight on PSA and made our reservations for Dave's.

It was a great layout with a pool, sauna and well appointed "cabanas." Our cabana was centrally located between the pool and the sauna. One could feel the very heavy sexual undercurrent permeating the place. After settling in and having lunch with cocktails, a quick "bain de soleil" by the pool, some time in the sauna was next.

Oh boy... lots of friendly commotion was to be had in there. It was like a combination of some of the best bath houses that I had ever been to. Tom walked in and found me "busy"... and joined right in. (We were a pair but had an open relationship.) The sauna was a 24 hour service... only shut briefly for maintenance.

After that busy afternoon of travel, arrival and getting acquainted with the place, a nap was in order (or so I thought!). Our arrival hadn't gone unnoticed. A knock on our door. A very handsome man smiled an introduced himself. Without hesitation in he came and we started a free for all on our wonderful king sized bed. (That bed sure did get a work out during our stay!)

The most magnificent memory I have was one afternoon, a few days into our stay, there were quite a few knocks on the door. We had piled up a HOT mass of writhing men with me on the top! In my most decadent self in the midst of all of this sexual play, I was looking out the window for more! This was the decadence of the 70s in its full glory! BTW, being recognized at this early point in my career was the probable cause for the body pile ups in our cabana.

There were notable guests during our stay at the "Villa," as well. Divine had to top the list. I immediately recognized her from Pink Flamingos and other early movies. Little did I know that my other half, Tom, knew her personally and had been a roommate in a commune together earlier in the 70s. Divine was at (or should I say in) the pool not in wig or makeup... but, in total character! She was eating potato chips in this pool and for a little shock value regurgitating them back out on the surface of the water! Although it doesn't come near the ending of Pink Flamingos with the poodle, it did leave an indelible memory nonetheless!

I am sad to say that I never made it back to the "Villa." But, this was one experience that I will never forget!
 

Bio of Will Seagers:

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

The history of the popular 1970s/1980s gay porn theater, the Adonis Theater - the setting and subject of the classic Hand in Hand Films release A Night at the Adonis (Jack Deveau, 1978) - is discussed in an article we recently came across at back2stonewall. The article states that the Adonis Theater was originally built as the Tivoli Theater in 1921. Initially a vaudeville house, it then became a movie theater before its final incarnation as a porn theater/cruising palace. The Adonis was such a hot venue in the 1970s that, the article states, “it was hard to find a seat... but that was all that was hard to find. Patrons would literally avoid the seats under the balcony's edge at busy times for fear of being showered with semen from high above.”
 

Deveau's film (which Bijou is excited to announce that we are currently finishing re-restoring for a new and improved re-release next week) is an incredibly well-made, hot, entertaining, and historically intriguing look at this venue. The film does an excellent job capturing - in attractive photography that roams the building as it follows its ensemble cast - the physical layout of the space and the atmosphere created there, as well as featuring the theater's actual staff (their real ticket taker appears in the film in a memorable cameo) and detailing its cruising and sex rituals.
 

An insightful IMDb review points to some other notable ways the film illustrates some of the nuances of New York City gay culture in the 1970s. Characters bump into each other and have roundabout connections at this particular night at the Adonis, and, through this, the film deals with “both the very local, small-town 'everyone knows everyone else' nature of the then queer community and the odd coincidences and synchronicities that can happen when cruising takes place.”

One of the lead characters (played by hunky Malo, of porn and mainstream film), passes up a pick up attempt by his boss (porn superstar Jack Wrangler) with the intention of staying home to read a hefty volume, Gay American History, but, as this review says, the book only “tells him tales of sodomites of fallen times who were persecuted, tortured, and murdered by the state; Malo's subsequent visit to the Adonis makes a new kind of American gay history, which is... itself a vanished, historical past now."
 

The review points out that Deveau's film manages to “communicate the ways in which human beings locate themselves in history and space, therein creating themselves through a shared culture” and how an ambitious new employee character embodies “a bit of a prophesy of the future, wherein gay normative self-images in the West will be shaped by business-studies kids out to make bucks from the new gay communities.”

A Night at the Adonis played at the Adonis Theater, itself, and the back2stonewall article quotes an internet posting about the unusual experience of watching it on that very screen: “it was rather odd to be in the exact theater that was being depicted... sort of a movie coming to life all around you. What was happening on the screen was also happening in real life as you were watching the film.”
 

A Night at the Adonis is one of NYC-based studio Hand in Hand Films' productions set in and about a specific gay New York City sex space/landmark. Another is Times Square Strip (1983), set at the Gaiety Theatre, which focuses on the on and off stage antics of the dancers at the Gaiety Male Burlesk.
 

Times, like Adonis, is an ensemble piece set over the course of one night, full of breezy, quippy dialogue, and - though it isn't as full a portrait of its location as is Adonis (it occasionally ventures outside the building for sexual escapades) – it spends considerable time depicting the performances taking place on stage.
 

Wikipedia notes that The Gaiety Theatre was open for nearly 30 years, from 1976 until 2005, and, according to a 2005 New York Times article, attracted mainstream attention “after photos of Madonna and some of the club's dancers were included in her book Sex (1992).” These visitors included John Waters, Divine, Andy Warhol, RuPaul, Diane Keaton, and Shirley MacLaine. The club had an “unrivaled ability to survive, despite the strict zoning laws instituted during the Giuliani administration, thanks to a location just outside a restricted area.” Wikipedia also mentions a few well-known dancers who performed at the theater, including porn stars Joey Stefano, Johnny Harden, Kip Noll, and Leo Ford.

The Adonis Theater, however, did not survive New York City's changes to Times Square, with Mayor Ed Koch “using the AIDS epidemic to clean up Times Square” and “trying to get the theater closed down to tidy it up for the building of the monolith Worldwide Plaza, soon to be built on the next block.” The Adonis attempted to relocate to another theater building at this time, but did not last long there and this second Adonis was closed “in 1994 by the City's Health Department after a raid revealed high-risk sexual activities taking place among patrons.” The original Adonis was demolished in 1995, though a vivid portrait of what it once was remains in Deveau's classic film. In watching it, you almost feel as if you are there.