| Ernie Allo | ... | Joker (uncredited) | |
| Bruce Byron | ... | Scorpio (uncredited) | |
| Frank Carifi | ... | Leo (uncredited) | |
| Steve Crandell | ... | Blondie (uncredited) | |
| Johnny Dodds | ... | Kid (uncredited) | |
| Bill Dorfman | ... | Back (uncredited) | |
| Nelson Leigh | ... | Jesus Christ (uncredited) (archive footage) | |
| John Palone | ... | Pinstripe (uncredited) | |
| Barry Rubin | ... | Fall Guy (uncredited) | |
| Johnny Sapienza | ... | Taurus (uncredited) |
Directed by | |||
| Kenneth Anger | |||
Writing credits(in alphabetical order) | ||
| Kenneth Anger | uncredited | |
| Ernest D. Glucksman | ||
Produced by | |||
| Ernest D. Glucksman | .... | producer | |
| Arthur P. Schmidt | .... | co-producer | |
Original Music by | |||
| Jack Brooks | |||
| David Raksin | |||
Cinematography by | |||
| Kenneth Anger | (uncredited) | ||
Film Editing by | |||
| Kenneth Anger | (uncredited) | ||
Art Direction by | |||
| Jeremy Kay | (uncredited) | ||
Other crew | |||
| Tony Bandusk | .... | location assistant | |
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What is significant about this text is that Anger got many of the shots from the initiation rites of American biker gangs. As such, the butch ruggedness of these ostensibly "straight" men is conflated with the none-too-subtle homoeroticism of their rites--which leads the viewer to question the rigid dichotomies of "straight" and "gay" that dominate North American social discourse.
Also of significance is the extent to which, by appropriating "butch markers" such as leather and motorcycles, the homoeroticism undermines the stereotypicality of the "nelly" homosexual male.
Not a terribly accessible text, but it becomes pregnant with significance for the viewer who does a little background reading first.