"I love a Parade!" Recollections of the 1977 S.F. Gay Pride Parade

By Will Seagers

 

Hi folks! Will here. Today's blog will be a bit of a departure from the last few in that it will be primarily a "Photo Essay" courtesy of my trusty Pentax K-1000. Although considered a beginner's 35mm SLR, it was good quality and easy to use! From the mid-70s 'till the mid-80s, when it was replaced with a Nikon SLR. Yes! I used some of that "pin money" from my porn adventures to buy lots of nice toys! LOL.

Although this was not the first S.F. Pride parade, it was my first. I had only been in town since September of 1976. And, during the weeks leading up to this event, I became increasingly excited to see it. My partner Tommy as well as many of our friends went on and on about how festive it was going to be and all of the beautiful people that were going to attend. So, I immediately got out my Pentax and made sure it was in perfect working order.

Sign reading Human rights are absolute
Pride parade and all of its political beginnings.

Ornate yellow dress

The glee and beauty exposed at the parade!
 

Footwear close-up
Fashionable footwear on the floats.

Roger and Tommy watching parade
Roger Magan (left) and Tommy (right) both high as a kite! Roger was instrumental in my move to SF. And, Tommy was there when I arrived!

Tom Junnell on Oil Can Harry's float
A dear buddy and laser mouth cut up – DJ Tom Junnell from Oil Can Harry's disco.

Crysler wearing a Stud shirt
Tommy's bestie Crysler wearing an original Stud t-shirt.

Anita Bryant protest sign equated with hate symbols
The very political theme of this year's parade equating Anita Bryant and Hitler.

Orange-shaped sign protesting Anita Bryant
The “Orange Lady” Anita Bryant was getting more pie in her face!

June in San Francisco is one of the most stellar months, weather-wise. The sky could not be any bluer nor the Sun any brighter. With the temps climbing into the mid-70s, it was shirts-off weather for sure. And, that is exactly what happened - with both men and women! Although it took a decade or two for S.F. to reach the Sodom and Gomorrah heights of the Folsom Street Fairs, this parade for its time was pretty "edgy!"

Tommy and I had a leg up on a lot of the parade revelers in that we lived a mere two blocks from Market Street - the parade route. We decided to walk a few blocks downtown where the crowds were really piling up. I climbed atop a (Walk/Don't Walk) traffic signal for my photo perch. I guess I was up about 8' – 10'... a perfect vista. Although I got a lot of choice photos, I did miss out on taking pics of Harvey Milk and Mayor Moscone who both attended. As this was the era of Gay Empowerment both fiscally and politically, it was great to have our heroes with us!

One star that did not escape my lens was Sylvester. At this time he was quite a rising musical talent. Originally, he performed in neighborhood venues. But, that soon morphed into national and international attention! As I mentioned in a former blog about The Castro, Syl and I became friends. He came into the bar where I spun records (The Badlands) to say hello and drop off new releases (that I was delighted to play - on the spot!).

Sylvester at the 1977 parade
Sylvester at the 1977 SF pride parade.

Shot down Market St. with Women's Contingent in background
A long shot of Market St. (the parade route) and the many revelers!

Dykes on Bikes
The ever popular women's contiengent from Oakland, “Dykes on Bikes!”

Carmen Miranda drag
Carmen Miranda – move over!

Musicians performing on float
On this sea of floats talent abounded.

Drag royalty
San Francisco's royalty of the day in all of their splendor.

Sign reading The Right to be Human
Voicing our rights!

Sign readign Ministers for human rights
Again!

So many wonderful names and faces were in this crowd! Many became life-long friends. The experience was dazzling and it became an annual affair for me. It has been great to recreate this time capsule. I hope you enjoy! Will.

Thank you to Will Seagers for use of his photos.

 

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.

George Ferren, a close friend of Will's frequently mentioned in his blogs, was a major figure in the San Francisco music scene in the '70s/'80s. His current music is available for your pleasure on Soundcloud: BY GEORGE

 

Will Seagers, present day image

 


You can read Will Seagers' previous blogs for Bijou here:
Welcome Matt/Will
What's For Dessert?
On and Off the Set of L.A. Tool & Die
Wanted, Weekend Lockup and Weekends in Hermosa Beach
Honeymoon in the Palms
Birds of a Feather
The Stereo Maven of Castro Street
The Pass Around Boy
The Ecstasy and the Agony
Fitness and Fantasy: The Early Gyms
Chasing the Boys and Chasing the Sun: My Story of Sun Worship and Where It Got Me
Becoming Invisible
The Reverse Story of Dorian Gray
Pin Money
One Organ Leads to Another! Part 1
The Wheels of Steel
Feast and Famine: The 1970s to the 1980s
An Alphabet Soup of Powders and Pills
Merry Christmas (and Getting Re-Organized)
Now and Then
DEEP INSIDE THE CASTRO: The Badlands
DEEP INSIDE THE CASTRO: Moby Dick Bar
DEEP INSIDE THE CASTRO: "Just Another Stroll Down the Castro!"
Diving Into SoMa/Folsom: Hamburger Mary's
Diving Into SoMa/Folsom: Long Live the Stud!
Diving Into SoMa/Folsom: Club Life..."Hit me with your Rhythm Stick!”
A "Split Ticket" - SoMa/Folsom and The Haight!
Back to Basics: "Staying Vanilla in a Flavorful Culture!"
A Little Secret

 

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DEEP INSIDE THE CASTRO: The Castro Theatre

By Josh Eliot

 

“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).

 

Will Seagers and Eber Electronics

Will Seagers and Eber Electronics

 

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.”

 

Milk and The Matrix Resurrections premieres at The Castro

Milk and The Matrix Resurrections premieres at The Castro

 

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!

 

Suddenly Last Summer and the Castro Theatre interior

Suddenly Last Summer and the Castro Theatre interior

 

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!

 

Lust in the Dust, What Ever Happened to Baby Jane & Berlin Alexanderplatz

Lust in the Dust, What Ever Happened to Baby Jane & Berlin Alexanderplatz

 

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. 

 

You can read Josh Eliot's previous blogs for Bijou here:

Coming out of my WET SHORTS
FRANK ROSS, The Boss
Our CALIGULA Moment
That BUTTHOLE Just Winked at Me!
DREAMLAND: The Other Place
A Salty Fuck in Saugatuck
Somebody, Call a FLUFFER!
The Late Great JOHN TRAVIS, My POWERTOOL Mentor
(Un)Easy Riders
7 Years with Colt Model MARK RUTTER
Super NOVA
Whatever Happened to NEELY O’HARA?
Is That AL PARKER In Your Photo?
DOWN BY LAW: My $1,000,000 Mistake
We Waited 8hrs for a Cum Shot... Is That a World Record?
Don't Wear "Short Shorts" on the #38 Geary to LANDS END
How Straight Are You Really?
BEHIND THE (not so) GREEN DOOR
The BOOM BOOM Room
CATCHING UP with Tom DeSimone
Everybody’s FREE to FEEL GOOD
SCANDAL at the Coral Sands Motel

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Judy

posted by Madame Bubby


I was dating a part time fireman in Milwaukee some time ago, and he made a comment that the gay guys in one bar should have gotten out more, rather than sitting inside said bar and listening to Judy Garland. (A rather ironic comment, I might say, as he spent 12 hours Saturday and Sunday inside bars himself, but he of course was better than listening to Judy.) Our romance was intense but ephemeral. He was, I found out via the internet many years later, after getting his dream job as a full-time fireman, arrested for drunk driving.

And some time ago, a former friend opera queen type decided to become an older gay “auntie” type and teach me Gay 101. I fit the opera queen stereotype, but he seemed put out that I showed very little interest in Broadway and the “older” female popular singers who were gay icons. And number one on that list was Judy. He bought me the CD Judy at Carnegie Hall. One could say I failed to understand its significance. I ended up giving it away. At that point, Judy’s significance for me was her role in The Wizard of Oz.

(And in that movie, I was more interested in Margaret Hamilton’s tour de force as the Wicked Witch of the West.) And of course I was supposed to think that Stonewall was caused by all those closeted “sweater” gays in tight trousers upset about the death of Judy Garland. (No, that was not the reason.)
 

Judy Garland at Carnegie Hall CD cover

Fast forward many years later. The younger gays’ divas include figures such as Lady Gaga (significant because she starred in a remake of A Star Is Born, one of Judy’s most famous movies and performances) and someone named Lizzo (I found out about her only because I joined Twitter). I live in the past. Perhaps many younger gays are into Judy, Barbra, or even Ethel. Perhaps.

Perhaps. I admit I did go through a brief Ethel Merman phase about the time I failed to worship Judy, mostly because I was fascinated by the famous conductor Toscannini, after hearing her, saying she was a castrato. It was the voice.

And now my love affair with the female voice includes Judy, mostly because of one book and because of youtube. Henry Pleasants, the late great music critic, wrote a book The Great American Popular Singers, which I think managed to pierce to the beating heart of the matter (and in Judy case, that heart one could say ended up killing her more than the pills), when he reflected that she “had the most utterly natural vocal production … it was an open-throated, almost birdlike vocal production, clear, pure, resonant, innocent.”
 

Henry Pleasant's Great American Singers book cover

The innocence of what became her anthem of the heart, Somewhere Over the Rainbow, always remained inherent in all her performances: more than emotional honesty, more than the bond of love she experienced with her live audiences, gay and straight, that reached a type of apotheosis in that Carnegie Hall performance I have since listened to again and again in conjunction with youtube clips of the short-lived Judy Garland Show.

Judy, born with that immense talent, it’s true, never really experienced that idealized innocence as a child. (Who has, really?), according to the admittedly at times very depressing bios (the stage mother, the closeted gay father, the pills, the sexual harassment at MGM, all those men, yes, the gay and straight and bi husbands, in her life) I recently read. By the time she was 18, she experienced, suffered, more than what most persons experience in a lifetime.

Yet I think it’s too easy to get swept up in all the over the top, truly frightening personal drama of her life, because in her case, life and art aren’t mutually exclusive categories.

I now, perhaps because I’m in a different point in my life (yes, I’ve lived, lived, lived in my own way) can really hear the voice (I always appreciated the lustrous beauty of her lyric contralto in its prime), but now the art that in her case is organically a part of that voice. I thank youtube, because I was able to see and hear her performance of “Old Man River” on The Judy Garland Show.
 

Judy Garland performing Old Man River

Give a listen. Take a look. She doesn’t just sell that song. She doesn’t just intuitively understand the style of that song which is often treated as an operatic aria or a piece of campy cultural appropriation. It’s her, and she’s doesn’t need, like some divas, all the glittery trappings which are now Instagram and other social medias to portray her image. She’s no illusion here. She is the song.

When she sings “land in jail,” it’s not a phrase to show off low chesty notes, sung in a melodramatic way. Just in those words is heartbreak, resignation, even a bit of wry humor, a twinge of hope that she’ll get out of jail, the river will keep rolling along, and just maybe, and in her case, tragically, she might herself find the elusive love over the rainbow.

She did find that love when she sang to her audiences. Or rather, when she is singing, because she still is.
 

Judy Garland Wizard of Oz image

(P.S. I haven’t seen the movie with Renee Zwelleger, yet.)

Sources:

Anne Edwards, Judy Garland

Gerald Clarke, Get Happy: The Life of Judy Garland

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