THE ‘60s: Birth Pangs
The Stud’s beginnings can be traced back to Beirut, Lebanon. That’s where George Mason, who was working as a pantomime entertainer met back up with former acquaintance Richard Conroy and the two made plans to open a cafe in Las Vegas. The location later changed to San Francisco and the idea evolved into a bar—a place with a beer and wine license opened up on Folsom Street whose owner had to unload because he’d been busted for selling to minors. It had previously catered to a motorcycle club, the Gypsy Jokers. “We had chains to hang your jacket on and tried to do everything as cheaply as possible,” is how founder George Mason recalls it in 1994 interview given at his quiet farmhouse in Sonoma County.
The Stud opened on May 27, 1966. “I was becoming a hippie, I guess, when I came back from Europe. I put up psychedelic posters in our place and people came in and seemed outraged to see the guy with long hair behind the bar. A year later, though, they’d come in with own hair long. We ran it as a bar for people, not just pretty bodies,” is how George puts it, “and coincidentally, a lot of love affairs started there. A lot of women also came, and said it was the first gay men’s bar that they felt comfortable in.”
Among the innovations that made The Stud different from other bars was the type of music played. Its jukebox played ‘French rock ‘n roll and some sappy tearjerkers, so I substituted comedy records without changing the old listings.” People thought they were getting rock, but out would come “Caro Nome” from Rigoleto, or Beatrice Lillie singing There Are Fairies at the Bottom of My Garden or a Gracie Fields song. Then, they removed the jukebox entirely (“Which almost caused riots, since it was a meeting tool”) and began to program tapes, an innovation even without the last-call piece, Vaughn-Williams’ The Lark Ascending, “which sent patrons home with a quiet smile.”
But George never really liked the bar business and sold his half to his partner in the early ‘70s. “Richard is still alive, but under different circumstances; she is now Alexis. She sold the bar to the owner of Hamburger Mary’s and left to live in a 35-room mansion in Mexico.”
What about The Stud does George miss? “Maybe the Saturnalias. Since Christmas stole a lot of its glory from the pagans, we decided to celebrate Saturnalia. We’d close early and completely redecorate the bar. The first year it was psychedelic and the second year it was all country—we brought in trees and live birds and made the rear exit the entrance. Then we stayed up all night putting it back together the way it had been. No photos allowed. So it existed only in the memories of those who were there.”
THE ‘70S: In With the Out Crowd
The Stud has occupied a remarkable place in this city’s gay history. There were always bigger and better places to dance, it’s true. At one point that honor would have gone to the Mineshaft on Market St. (once picketed for carding only minorities and women) before it became Alfie’s. For a while, Oil Can Harry’s filled the need for excellent Black music and a racially mixed clientele. When the Midnight Sun moved around the corner from Castro Street it stopped being home base for “genderfuck queens” and became the first video bar. The Alley Cat in the Tenderloin had a few too many fights involving dykes and/or drag queens and finally closed, as did Union Square’s Rendezvous, catering to a Sweater Queen clientele, and which used to keep go-go boys in sailor suits dancing in cages. The I-Beam became the new “in” place (and not just at Sunday tea dances). And there were the Trocadero and Dreamland, and then Boy Parties, in a Larkin Street venue that is now an evangelical church. Later venues included fun, surreal Klubstitute, run by the Popstitutes, and the Underworld underwear affairs, world beat Fridays called N’Zinga at El Rio, hip-hop Thursdays at Page Hodel’s The Box (a real sweatbox), and a series of lesbian dance party clubs that began with Club Q.
But from the golden days, The Stud was often the first and favorite mixed gay bar for all the children. There was never a line to get into the old Stud in the ‘70s—nor a door charge. All it took was a walk through the neon glow from Hamburger Mary’ s across the street, through a heavy door, and then past two big, seemingly always stoned bouncers who sat against the wall.
In the old days the Studettes crowded the place on any night of the week with all that ‘70s San Francisco could offer. Down a long carnal tunnel the crème of dishabille nightlife rubbed shoulders and torsos with: random tourists in button-down collars and even some clones in Izod-wear; bearded or longhaired hippie bucks and ‘fro-topped pool sharks like Ric Mavrick; Sal Mineo lookalike Eddie Rodriguez before he became Jamal, who belly danced as part of Al Fellahin at Castro’s Hibernia Beach, then started filling short orders at Hamburger Mary’s. (Full disclosure: I was love with him.) Here too were seen the first of the NY-style hip chicks in high black boots, as well as drag queens who didn’t even try to pass for female.
And the sexual atmosphere of the place was not to be denied. This was no stand and drink only with your friends kind of place. In its back were men, boys and women in hippie garb or tank tops dancing freeform to music that was always far out, or at least ahead of its time. There was even the occasional slow drag for close-up dances.
Beyond this tiny “ballroom” area was a coat-check boy who shared space with a urinal open to public view and two semi-private toilet booths, which were almost exclusively used for making drug deals. The “stage” was about 4 feet by 4 feet, the dance floor was made of uneven wooden planks. Funky and camp paraphernalia dripped from the ceiling and eclectic artwork adorned the walls. An extensive collection of art deco lighting globes was featured.
The circuit from the back went around the far side of the central bar, through another narrow passageway filled with friends, or posing artwankers, past the pool table– an elite corner of trash and trade—and came to an end at the pinball niche that guarded the office. Always this same great circle route; I never knew anyone to do it counter-clockwise.
Larry Holloway, or LaRue, as he was always known to Studettes, began work at the bar as a janitor a short while after George had sold it to Richard (Alexis), who sold out to Jerry “Trixie” Jones along with Heidi Steffan (a RG) and Jan Hill. Trixie, along with a man named Pooh and Toulouse (Lips) Mulvey, also owned Hamburger Mary’s across the street. The Stud was later bought out by Jim (aka Edie) in October, 1974.
Larry and Jim were together for 15 years and friends for three more. “He’d been a deejay at Hamburger Mary’s while I was a janitor at The Stud,” as LaRue tells it, “and he used to come over and play pinball. Then we’d challenge each other at pool. One day the prize was my bootie. And the rest is history.”
The first deejay hired was Chrysler Shelton (in drag tradition, known as Borora Borealis), who bucked the then current disco craze by playing lots of funk. Music at The Stud continued to be eclectic; favorites were The Pointer Sisters, Al Green, Eddie Kendricks, Suzie Quatro, David Bowie and songs like Lou Reed’s Rock ‘n Roll Animal. Then one night, as LaRue puts it, “I replaced another deejay who wrote an article about punk rockers and how rude they were.” And so Larry played punk music.
THE ‘80S: First To Go Punk
“We weren’t just the first gay bar to play New Wave music—we were the first bar of any kind in San Francisco to do that. It was almost demanded of me,” said DJ LaRue. Punksters who made the art scene and lived South of Market used to find their way to The Stud every Sunday afternoon for the free (if you bought a drink) spaghetti feed. “They were my friends and they started bringing in new records—like Patti Smith—and insisting I play them.”
“Mondays became Punk Nights and they were always exciting, some even more than others. White Night [the riot after Dan White got minimal sentencing for shooting Mayor Moscone and Harvey Milk] was one of the most memorable because they all came to party after the riot at City Hall, and it just happened to be on a Monday. I don’t recall anybody bleeding, but there was a lot of slam dancing. I played all the revolutionary music—you know, Stones, Sex Pistols.”
“It was on another Punk Night that Dianne Feinstein came in. She was campaigning, shaking hands before the election the next day—it was brave of her to show up on a Monday. And all the girls yelled, ‘Hi Diane, love your hair.’ But when I put on the most popular dance song of the day—the Ramones’ hit ‘I Want to Be Sedated”—a cheer went up, and poor Di thought it was for her!”
LaRue Holloway was the bar’s best-known disc jockey. He made cassette tapes for a number of other bars in the Castro and South of Market, and eventually became a nationally influential reviewer whose Top Ten list appeared in Billboard. “I often put gay groups on top of my list and tried to push Third World sounds, like Ziggy Marley.”
And there were always celebrities. “One night after Gay Day there was a concert with Two Tons of Fun and Sylvester. On our tiny stage they did a show that sent shivers down your spine—this was before Sylvester got real big,” tells LaRue, who was the Stud DJ by then. “Once when Etta James played here—on a whole bottle of Remy Martin and who knows what else—she wouldn’t get up onstage until her coiffeur was perfect. We had a hairdresser just for her who had to do it over and over.”
The bar moved to Harrison Street in 1987. Ushering in the ‘90s with “fierce queer fun” was Junk, with DJs Zanne and Jennifer “Junkyard” Morris (also co-director of Frameline Film Festival during its heyday), playing everything from Dolly Parton to Motorhead. Once they even had a klezmer music mosh pit! Junk continued the tradition of The Stud bar as an “All Welcome” venue.
During the years at the height of the AIDS pandemic, for the ten years from 1985 until the “HIV cocktail” arrived in 1995, clubs and gay businesses and allies in San Francisco provided a sense of community and real support for the DIY model of fighting back, in the face of government inaction at the rapidly rising death rate.
THE ‘90s: Can We Just Dance Around It?
For many, the clubs became “church.” Deep House music and a new sound system arrived with the Saturday Club Sugar, featuring DJ Ellen Ferrato and brought by hosts Kevin and Kevin.
But it was Trannyshack on Tuesday nights that most epitomized SF as a phoenix rising. Hosted by Icelandic queen Heklina presenting local genius drag performers who worked for peanuts, plus special guests Ana Matronic and RuPaul before they became international names, and Charo long after she had.
In Sean Muller and Deena Davenport’s documentary on Trannyshack, “Filthy Gorgeous” a quiet Heklina recalls 1995 as the height of the deaths of her friends. “Trannyshack rose out of the ashes of all that grief.” And anger, at the Do Nothing and Maybe They’ll All Just Die policy of President Ronald Reagan. The film opens with a performance by Dear, one that involved a full-sized American flag slowly being pulled out of her anal cavity.
Few of the old Stud employees were still around by the mid-‘90s. Bartender Brian Egg—his real name—hadn’t been heard of for some time. Sherrie Beth Reese, their first female bartender was “still around. We were one of the few bars I know that got paid vacations and health insurance,” Larue reported.
Jimmie Even and Paul “Gidget” Sinclair (the one who made their collector buttons) both passed away in the ‘90s, as did the popular Black bartender Walter. A lot of the thrift store finds on the walls came from him. Trixie, then owner of The Stud and Hamburger Mary’s, also passed away. In the spring of 1994, The Stud staff held a memorial service in the bar for owner Jim “Edie” Fleckenstein, who died after “falling” off his Potrero Hill balcony. “Nobody witnessed it,” his surviving ex-spouse LaRue tells. “Or if they did, they’re not talking.” LaRue and longtime accountant Ben “Fiesta” Guiborg inherited the bar from Edie. Later, Fiesta became partners with Michael McElheney. New owner Michael finally built a real stage to replace the makeshift beer cases, and on occasion even performed with his own dance company.
Larue also recalled one death that actually took place at the bar. “It was on an Oldies Night [Wednesdays] and he was a heavy drug abuser with a heart condition. He was using poppers and had a heart attack right on the dance floor. A doctor happened to be there and pronounced him dead at the scene. But you’re not supposed to move the body ‘til the ambulance arrives. Eventually people just danced around him.”
Larry “Larue” Holloway passed away of AIDS a few years after this article’s publication in the Bay Area Reporter of June 16, 1994. Sylvester was already gone by then.
THE 2000s & More: What Can You Say?
By now The Stud had a national reputation as many peoples’ Most Fun Gay Bar. With barely an announcement, Bjork would show up with her then boyfriend Matthew Barney, to dj a set for the few hundreds who had managed to hear about it, with her backup band Matmos, made up of locals Drew Daniels and Martin Schmidt.
But more regularly, to the opening theme song from The Muppets, Tuesdays continued to be ruled by Trannyshack, which had a different title each week. There was “Weapons of Ass Destruction Night,” a “Serial Killers Night” and “When Nellies Attack.” Among the classic Trannyshack queens are:
Kielbasia Fudgie Frottage Jordan L’Moore Squeeky Blonde Johnny Katt Cricket Bardot Portia 666 Peaches Christ Electro Rusty Hips Pippi Lovestockings Suppositori Spelling Nikki Starr Timmy Spence Lou Reed The Steve Lady Leigh Crow Laurie Bushman Putanesca Precious Moments Jenny B Steven LeMay David Hawkins Jazizi Cappuccino Foxy Flynn deMarco Adrian Roberts Wendy Plains Renttecca Princess Kennedy Rusty Hips Mx Justin Vivian Bond Fauxnique Holly Woodlawn Birde Bob Watt Miz Ana Matronic Dear Peggy L’eggs Ana Conda D’Arcy Drollinger DJ Pinkyring Juanita More Glamamore Eric “ShutterSlut” Stein & finally, the lovely and inimitable Phatima Rude
In the midst of a kerfuffle over terminology—“tranny” came to be seen not just as an affectionate term among queens, but also a real red light for violence against transgender women—Heklina finally ended the ‘Shack at The Stud in 2008. But when one door closes, another orifice opens up, no? She went on to start “Mother” at Oasis, a new and highly successful club she opened with Geoffrey, Jason and D’Arcy Drollinger in 2014.
Meanwhile, the House of More continues the theme drag night tradition at The Stud. On Fridays, Some Thing benefits from the mentorship of Glamamore (drag couturier Mr. David) and Mica “Vivvyanne Forevermore” Sigourney, with frequent hosts Rahni Nevermore, Mutha Chucka, Dulce de Leche and a new slew of outrageous drag stars.
Meow Mix now anchors Tuesdays, and Sing Til It Hurts is on Thursdays. Monthlies includes Frolic, a full furry party, the slippery Polesexual, and the ‘80s/goth Club Bodice. Then two weekend monthlies bring The Stud back full-circle to its beginnings. Every last Saturday Dark Room blasts electro, punk & post-punk. And at Go Bang on each first Sunday DJs Sergio Fedasz, Joe Prince Wolfe and Steve Fabus (ex of the Troc) soulfully bring back classic disco.
Current employees behind the bar include Charlie Triano, who started in the mid-‘80s (but has been a Studette since 1974!), Kristo Valle who began in 1990, and the ever-energetic Bernadette F, who started working at the bar in 2005. Holding his own at the bar once a week is Brian Feagins who’s worked at The Stud for 27 years.
After Orlando, the value of clubs to our community’s existence is clearer than ever. Celebrate The Stud’s fifty years of sound service to San Francisco by adding your memories of a First/ Best Time at The Stud below. And please do your part, whatever that may be, to Save Our Stud!
- updated by Mark Freeman from his historical piece “The Stud: A Dreamspace for Queer Angels”, Bay Area Reporter, June 16, 1994
- the original article lives at http://little-red-dots.com/101pop/stud.html