and soon, of Gay documentaries as well, made him big box office at the Park Theatre, his openings sometimes out-grossing almost every theatre in town for the night.

And so his cinematic travels began, as a part of the Gay revolution then beginning to sweep the country.

In August he took his camera to Disneyland to film a blossoming love affair between two fetching youths. To sentimentalists, this remains Pat's most lovely film. Unfortunately, while the proprietors of Walt Disney's photogenic amusement park like having its attractions advertised by hundreds of home-movie-makers, a Gay love story made on the sacred premises was something else. The resulting film had to be badly chopped before it could be generally released.

For that same film program, Pat Rocco also went across town to Echo Park (site of constant entrapments, one of which 20 years ago led to the American homophile movement's first spurt of growth) to film blond Voldemar, an early Rocco favorite, in the first intimate male-to-male kiss to be shown on a public screen.

He went out to film a San Fernando valley stock car meet with stark realism and intensity, for a warm love story with Danny Combs also featured in Pat's first documentary, portraying the ADVOCATE's first "Groovy Guy" contest.

Soon after, Pat went to New York and San Francisco for his openings there briefly filming each trip.

His big splurge of traveling about preceded his spectacular April 1969 program, Pat Rocco Dares. First and most spectacular of these trips was only up into the Hollywood Hills and back down onto the Hollywood freeway on a Sunday morning. Brian Reynolds actually danced nude in the

Brian Reynolds on the Hollywood Freeway for A BREATH

OF LOVE.

"That Pat Rocco will go anywhere!"

middle of the freeway, in plain view of traffic passing on both sides! With Lyn McMurrey's fine choreography, it made a breathtakingly beautiful film.

Then Pat sailed out onto San Pedro bay for another love story.

Third trip, and best performance ever for Rocco star Ron Dilly, was to The Patch, a then thriving Wilmington,

Calif., bar. Pat's vibrant, lively film, The End, was made there even while owner/entertainer Lee Glaze was fighting PTA, police and local toughs to keep the bar open. After police raided The Patch, Glaze led a sortee of flowertossing queens to the police station "to release our sisters." Metropolitan Community Church and HELP (a Gay

Finale of 1971

SPREE

Awards

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