BijouBlog

Hi Guys! Will Seagers here to share some more Castro Neighborhood memories from the past. The focal point is the Moby Dick Bar, which I'm glad to report is still open. Once again this comes from the perspective of having been an employee. Hope you enjoy reminiscing!

 

It is sort of strange that I wound up DJing at three of the Castro Neighborhood's most prestigious bars when I was never a bar person. I did dabble in it back in my early 20s when I lived in New York City. I enjoyed the music and sexual energy of bars like The Eagle and The Anvil in particular. This was a good thing to have in my memory banks as when you are playing at stand up bars rather than dance clubs, you are creating background music to help the guys "achieve their goals!"

Routinely, as I mentioned in a prior blog about The Badlands, I played Sunday evenings right after Timmy Rivers. I had a nice little SAAB sedan that I drove from my apartment in the South of Market area to work. Parking was always a nightmare. My first choice was always on Hartford Street... just down the block from the Moby Dick Bar and two blocks from The Badlands. Frequently I lucked out. With my smart canvas bags full of records, I would pass by Moby Dick and notice the crowd. That wonderful music that spilled out the front doors sure helped me get in the party mood to play my shift at Badlands!

Moby Dick was a popular spot. Both music and people were to be found spilling outside of the place! Physically it was charming, a converted turn of the century retail store that had been painted in very Gay Colors. It's key feature was an enormous aquarium behind the bar... hence the name. There were two levels; the main level where the bar was located and surrounded by major windows. Then up a few steps was a gaming area with pool table and pinball machines. Off to the side of this upper level was a nearly hidden DJ booth.

I think how I started there is almost a blog in itself! My dear friend Michael Goglia, Moby Dick bar manager and former bartender at the Badlands, called me in a panic on New Year's Eve 1990 in the afternoon. He said his main DJ, Vincent Carleo (who was also a friend and who I greatly admired as a DJ for decades), had taken ill and could not play that night. I hadn't played out for several years but leapt at the opportunity! Needless to say, the rest of that afternoon I spent putting together my New Year's Eve ensemble. I have always kept a fully functional mixing system in my homes including a Technics RS-1506 open reel deck upon which I recorded my ensemble.

So, I arrived at the bar which was already partying and festive with my bags of records and my New Year's Eve mix. I was slightly nervous - but ready to take on the night! I was familiar with all of the equipment. At first, I was a bit put off by the location of this booth - there was no view of the bar or main floor. Up until this point I had always gauged how and what I was going to play by watching the crowd. That all changed very abruptly! So, midnight was quickly approaching and I got my program cued up on their open reel deck. At the stroke of 12, I started with the bells and alarm clocks from "Time" from Pink Floyd's "Dark Side of the Moon." As the bells faded into the heartbeats, I brought in "Fanfare for the Common Man" by Aaron Copeland and followed that with a very popular disco hit by Thelma Houston - "Don't Leave Me this Way." The crowd went nuts and the cheering was even loud in my remote booth. Soon after the midnight celebration, Michael came rushing to the booth with a shot (and a line) to congratulate me on rocking the crowd. I do have my own rather unusual musical style. But, I had no idea that it would have been so well received. Michael was so happy that he was teary-eyed. He relayed to me the brilliance of using "Fanfare" followed by "Don't Leave Me this Way" - Aaron Copeland had just recently passed and I never even knew it! I know that my guardian angel was looking out for me! Michael then asked me to be a permanent member of the staff. After accepting, I enjoyed my final year and a half in San Francisco playing my heart out at Moby Dick Bar!

Moby Dick Bar's contemporary exterior
 

Previous blogs in DEEP INSIDE THE CASTRO series:
The Castro Theatre - Josh Eliot
The Badlands - Will Seagers
The Midnight Sun - Josh Eliot

 

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.

 

 

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

 

My roommates and I lived at 19th and Castro for many years starting in 1984 when I was 22. The neighborhood had everything we needed. Between Market and 18th, just across from the Castro Theatre, was Marcello’s Pizza where they sell pizza by the slice to a non-stop line from opening to closing time. Two doors down was Louie’s Barber Shop which was always filled with guys checking each other out while they waited for their haircuts. Every three weeks or so I plopped my ass in one of those chairs for a crew cut on the sides while keeping it a bit longer on top, with spiking gel. While I changed my haircut over the years, it always seemed to revert back to that same look.

Donuts 24 was on the corner of 18th and Castro and was the place to cruise for your last chance hook-up after all the bars let out at 2am. For those truly too horned up to go home, a block away was Collingwood Park which was basically a baseball field with some extra land. Men would line up along the chain link fence, cruising the passersby and sometimes jumping into whatever random car might pull up. It was all a bit dark, murky and desperate, but my roomies and I would end up there from time to time.

The infamous Elephant Walk bar was kitty corner from Donuts 24 and became notorious as the place the cops came to when they exacted their revenge for the gays setting City Hall ablaze after the Dan White verdict. Police descended onto the Castro and the Elephant Walk, violently striking the bar patrons who were already filled with complete fury and disdain for the police state and justice system. The gays fought back and set police cars on fire. By the end of the night, dozens of police cars were set ablaze and 20 people were arrested.

We cooked at home a lot, but when we were too lazy we could pop across the street from our flat to the Canton Bistro for Chinese takeout. My roommates were: Alvonne, a student at San Francisco State University, Paul, a waiter at the Patio Café on Castro, and Brian, who did odd jobs like mover, waiter, bar back and call boy, advertising in local gay classified ads. We spent a lot of time at the Patio Café which had an incredible outdoor setting and a great cheap meal, because Paul would leave most of our ordered items off the bill. My aunt and uncle visited once with my parents so we took them there for lunch. Eating at the table right next to us was porn star Rick Donovan, with his sister I think. The café was buzzing about it so my aunt took the opportunity to swipe the ashtray and salt and pepper shakers while everyone else was transfixed on Donovan. The four of us were inseparable and, because we were in our early 20s, we related mostly to the Midnight Sun Video Bar as our top choice for a local hangout.

The Midnight Sun was a new concept at the time born from the new and exciting MTV generation. We were there for milestone moments like when Madonna rolled around on the floor while performing "Like a Virgin" at the MTV Awards, gathering anxiously to see premieres of videos from The Talking Heads, The Bangles, Bananarama, The Go-Go’s, Psychedelic Furs, Human League and Queen’s “I Want To Break Free.” Roxy Music’s Bryan Ferry was tripping my trigger in those days, especially the Avalon album. There was a waiter friend of Paul’s at The Patio Café who was a dead ringer for a young Bryan Ferry. I tried every trick in the book to peak his interest, but it just wasn’t in the cards.

The Sun was not a place to necessarily brush up on your cruising skills, but more of a gay social scene where we all could form comradery with complete strangers who appreciate music and visuals on the big screen. Charging only $1.75 for a Seagram’s 7 and 7up and $1.25 for Budweisers, the small space was a gold mine for the owners. Literally a standing room only place with ledges for sitting along the side and back wall.

Wednesday Night was Dynasty night and you needed to get there at least 45 minutes before the show started or you would be stuck outside in line, not getting in until after the show - if you were lucky. Watching Crystal push Alexis into the lily pond for the very first time was the ultimate high. Everyone went wild! I remember seeing the episode on Halloween in 1984 where Alexis is put in jail, after which we hit the packed streets of Castro to take part in all the costumed madness! Dedicated fans didn’t miss a beat as we saw several drag groups with their “Free Alexis” banners! I guess it wasn’t only the Castro that was clicking with Dynasty’s theme that night. You know, I like to rummage through my spouse’s photos (as you might have read in my blog “Is That Al Parker In Your Photo?”) and, lo and behold, there he and his friends were, that same night in West Hollywood… dressed in drag and carrying “Free Alexis” signs!

The Midnight Sun’s VJ followed the crowd pleaser cues from the Dynasty clips and regularly showed classic fight scenes. I remember one in particular from The Turning Point with Anne Bancroft and Shirley MacLaine, fighting and pulling each other’s hair on a rooftop! Anne Bancroft’s real name was Anna Maria Italiano and she was cousin to my spouse’s father. Unfortunately I never got to meet her!

The Midnight Sun is still going strong to this day but is now featuring a diverse weekly line-up including: drag shows, go-go boys, karaoke, throwback hits with 2 for 1 drinks and Latinx Thursday Nights. Next time you're in San Francisco, pay them a visit If you find yourself on the corner of 18th and Castro looking for some good clean fun.

Previous blogs in DEEP INSIDE THE CASTRO series:
The Castro Theatre - Josh Eliot
The Badlands - Will Seagers

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 am very excited to begin this new series with my co-author Josh Eliot. Readers of the Bijou blogs should be quite familiar with Josh's excellent writing style and accounts of gay history past. This new series will be delving into various neighborhoods in San Francisco during the 1980s. Our first look will be in the Castro... a perfect place to start!

My knowledge of The Badlands and its sister bar The Phoenix will be coming from the perspective of a DJ. That was my job in both of these bars. It would not have been right to skip over the Phoenix, as that was actually the first of three bars that I played in the Castro. Also, in its original iteration known as Toad Hall, it was one of the most famous and history rich spots in the district. Many a famous face (and body) waltzed in and out of its doors during the heydays of the mid 70s. People such as Al Parker appeared there frequently. You never knew who you were going to bump into. But, you were always guaranteed a good time!

After my brief but pleasant stint playing at Dreamland, I realized that I was not cut out for playing the very long hours that were required. My hat is off to those who could play those sometimes twelve-hour shifts! Luckily I had been approached by the manager of the Phoenix and Badlands who asked me if I would be interested in playing. Without hesitation I said yes and soon started at the Phoenix.

This was a very different kind of place for me. It was a Castro St. bar with a very regular and dedicated clientele. They seemed to take to my eclectic mix of R&B, disco and jazz. My only complaint about the bar was the booth. It was more like an aerie! One had to climb what appeared to be a ladder straight up the wall and enter the booth through the floor. Bringing up crates of records... well, you can imagine what that was like! The view and the sound were great. But, you certainly had to put on a long song if you wanted to take a pee break! Lol. My tenure at the Phoenix was only a few months, as I was suddenly moved "across the street" to The Badlands!

But before leaving the Phoenix, I need to mention a neighborhood spot just two doors down on the corner of Castro and 18th: the Star Pharmacy with its celebrity Jackie “Star.” She was loved by everyone in the neighborhood.

Moving on, one afternoon the manager of both bars, Ben, came into the Phoenix to ask me if I wanted to play at The Badlands. Once again without hesitation I said yes. I was pleased to find out that he had become a fan of my music and thought it would be an even better fit at The Badlands. I guess I should also mention that this move had something to do with my popularity in L.A. Tool & Die! The booth in The Badlands was in the back of the bar but was visible to most of the clientele. It was shortly after this that I met the owner of both bars, Ron Holmes. Ron was always very quiet and a bit shy. He seemed to like me and always treated me with respect. When I least expected it, I would find him in the back of the booth smiling and enjoying the music. Sometimes it actually startled me!

This was a great job and a great house to play. I remained there for four years! At first, it was a bit daunting in that some of the very best DJs in the city played there: Timmy Rivers, Johnny Hedges and my very dear friend Jorge Martinez (who formerly played at the Boom Boom Room as discussed in one of Josh's previous blogs). For the first few weeks I followed Timmy Rivers' "Church." Timmy did an amazing and soulful mix on Sunday afternoons that got the whole bar swaying! I would come in at 8PM to relieve him and continue until we closed at 2AM. My biggest challenge and goal was to seamlessly blend into his last record and keep the feeling he had created intact for as long as possible. After a bit, I would segue into something more energetic with my signature thumping bass line! After about a month or so, I was given Saturday nights. These were my most cherished memories of being a DJ. I loved to take the room on a trip by taking popular tunes and building momentum to a point that the crowd would scream with joy when a new peak was hit during the night. One of my fondest memories/compliments was when a patron came to the booth with a shot for me and told me that my music made him feel like he was on cocaine! Their only complaint was that they could not dance... it was a stand up bar!

It was a treat and a privilege to have worked with the great and sexy bar staff that that provided the drinks and visuals that made this bar a legend. Its iconic cedar shake interior with license plates from all states and years adorned the walls. Most iconic were the "do not" placards. They resembled stick figures in various positions. Two of my favorites were the figure holding a pot to his mouth and a red circle and a line through it indicating - no pot smoking. The other was in one of the two men's rooms - the open men's bathroom. It had a bathtub AND a trough style urinal! This sign had two stick figures - one kneeling in front of another with the red circle and red line running through it. (I let you figure out what that one meant! Lol.) Regardless of the signs, hot little incidents would have to broken up from time to time. Men will be men! I look back at all of this and think "what a great time to have been alive!"

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.

 

Well, Season's Greetings to one and all! This will be my first sequel blog. Back in November, I wrote about my love and fascination with the "musical" organ as well as the biologically attached one that got me into Bijou in the first place! Lol.

Because music has been such a large part of my life, whether it be DJing, selling Hi-Fi or playing and selling organs and pianos, my first blog on the organ left a lot out of a rather large story.

I remember leaving off the first blog at my arrival in Santa Fe. Until the purchase of the Lowery spinet, I had been without an organ for 5+ years... which seemed like a lifetime! I wound up purchasing a couple more organs in Santa Fe, which got me back to another Conn 651! It was not in the best of shape, electronically speaking. It seemed like my organ tech was always coming over to jump start this one.

With all of the abovementioned technical issues, I started pondering another brand... Allen. It was a wise move - musically and technically. My first was an ADC-3600, a beautiful two manual theater model. That didn't last long. Once you have had three manuals, two is a little limiting! That led to the ADC-3600's big brother, the ADC-4600 - the three manual and very well equipped version for its time.

 

It was at this time that I started to take organ lessons again. This was at the suggestion of my Allen technician. Little did I know that the man he was referring was a legend in the theater organ world who lived right here in my home town. I have decided as a courtesy to keep the anonymity of my teacher and tech. My "lessons" were really coaching sessions as my "coach" thought pretty highly of my playing and overall knowledge. I let him know that I was gay right from the start. He "let the cat out of the bag" during our first lesson, as well. He was my senior by 20 years. Besides the wonderful music, we had hilarious times with him recalling his various gay escapades during the '50s and '60s. Belly-laughing was always part of our curriculum!

Through him, I was introduced to his house-mate and his partner and we became a very large family that got together on all of the major holidays. All of this was wonderful except that in only a year and a half of knowing my teacher, his health failed and he passed in 2012. I was not only saddened but lost. I thought I had finally gotten a musical liaison back in my life! Oh well. I am quite thankful for that period of time that I had with him and the rekindling of musical energy that he gave me.

A year and a half later my step-father passed. He left me a nice sum that I used to get the organ that I own today... an Allen MDS TH 17. I still have to pinch myself when I look at it! It is massive and gorgeous! Oh, how I could have used my teacher to learn all of this organ's features. Playing music and playing an organ like this are two different things. Learning to maneuver through a song and change registrations with the thumb pistons and toe pistons was something that I was never taught. And, now in my 70s, it is something that I am determined to learn on my own.

All of these instruments have one thing in common - they have brought great pleasure. From the very first time I heard a theater organ as a child, I knew I wanted to play one. I have been moved to tears on many occasions. It has proven to be the gateway to my soul.

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.

 

By Josh Eliot

Years before starting work with Catalina Video in 1980, I lived on the corner of O’Farrell and Leavenworth Streets in the “Upper Tenderloin” (as I like to think of it) in San Francisco. A typical walk up to Polk Street, where my friends and I would tend to eat dinner, would take me right past the Mitchell Brother’s O’Farrell Theatre. In 1972, the Mitchell Brothers' first, and most famous, full length adult feature Behind the Green Door was released. The movie was filmed inside the theater and featured the debut performance of Marilyn Chambers who, at the time of its release, was the cover model on the Ivory Snow laundry detergent boxes. That fact hit the newspapers and magazines, helping the brother’s $60,000.00 investment earn them a profit of over 50 million dollars!

Marilyn Chambers; The Mitchell Brothers' O'Farrell Theatre & Art Theatres

 

Of course I didn’t know any of this information at the time, I just loved the fantastic way they painted the building, with whales, tigers and all sorts of wild animals. I guess it was pretty wild inside as well! It felt like they were always showing Green Door either as the headliner or as a second feature to a new release. Boy, that print must have had a lot of edit tape splices from being run through the projector so much! I didn’t realize how much of a classic it was at the time. I lived in a studio apartment that I shared with Abraham, a classmate at the Art Institute. Abraham mentioned that he had never seen Deep Throat, which was playing on a double bill with The Devil in Miss Jones at the Art Theatres in the “Lower Tenderloin,” evidently for a good ten years straight! We went to an afternoon showing and the place was packed! As expected, the print was choppy as hell and at one point got stuck in the projector and started to burn. It wasn’t pretty when the house lights went up while they fixed it, but that’s what made the experience all the more fabulous in my book. We were both kind of surprised how low-budget “Throat” was and how “Miss Jones” looked like an old lady! Abraham starred in my class assignment for instructor George Kuchar titled Behind Blue Eyes (Tap this link to my YouTube Channel if you want to see my very first 8mm feature.) Behind Blue Eyes? Did I subconsciously come up with that title because I kept seeing Behind the Green Door on the marquee? Hmmm. I never got to see the Mitchell Brother’s movie but I always wondered, just what the hell went on behind that door?

Flash forward, way forward, from 1980 to 1989. I received the news that Catalina, for whom I’d been working for about one and a half years, was closing down the soundstage and moving production back to Los Angeles. It was rough saying goodbye to my friends and crew members, because I was the only one Scott Masters and John Travis had convinced general manager Chris Mann to take back with them to run production in Los Angeles. They found me a condo in West Hollywood a few blocks from Scott Masters' house and I moved in. First thing Monday morning, Masters and I drove to the Catalina offices in North Hollywood where I was reunited with Chet Thomas, the editor, who I became friends with when he came up to San Francisco to shoot his “earthquake porn,” The Big One, and I also reunited with Chi Chi LaRue whom I'd met once before. When I was in Chet’s editing suite, we were talking about musical scores. The first couple of movies I made in San Francisco were sent to Chet for editing, not allowing me to have any input on specifics, music, titles or anything. After shooting the scenes, I never saw the footage again until it was out on VHS tape. In a few days I would be starting my third movie, Hard to Be Good, about a young corn-fed stud heading off to a big city college. Costello Presley was credited for music on all of the Higgins and Catalina releases and I wanted to see if he would create a theme song with vocals for the title sequence.

Chet walked me over to a random door in the middle of the warehouse, which was access to Costello’s area. “Should I knock?” I asked. “Oh hell no… You’ll freak him out.” Chet told me that the only way to communicate with Costello was to write a note with the type of music you wanted and slip it under his door. “You’ll never see him in person, he’s a bit of a recluse,” Chet explained. When William Higgins high tailed it to Amsterdam then Prague, he allowed Costello to move into a private space in the warehouse. Evidently Costello Presley only left that room after everyone went home for the night. No one ever saw him, or if they did it was a rarity. So, I wrote my note and magically a cassette tape was waiting for me one morning with the song “Beauty, Beauty,” with music and lyrics by Costello Presley. The only problem was that by the time I got that cassette in my hot little hand, Hard to Be Good was already finished and released, so I held onto it and used it in my future movie Easy Riders. (Honestly I’m not 100% sure he wrote and recorded it for me or if he had used it for something in the past and gave it to me as “new for you.”)

Again I found myself wondering what was going on “behind that door” of his to cause such a delay of my request. I’m pretty certain that it wasn’t as exciting as what was going on behind Marilyn Chambers' Green Door! (If he was living there, where did he shower?) About a year later, the Catalina offices moved to a smaller facility in Reseda. During the move, I actually saw Costello Presley for the first time! He was leaving with a couple of knapsacks filled with his belongings, as he wasn’t allowed to “shack-up” in the new building. That day, the music stopped; Costello Presley walked out of the Catalina offices and we never heard from him again. It was kind of sad. We continued re-using music from his cassette tape collection and credited “Music by Rock Hard” on the movies, until we met Sonic Seduction, who scored our movies until the company was sold to Channel 1.

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.