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Gay San Francisco: Eyewitness Drummer                  5
                Gay San Francisco: Eyewitness Drummer is Some Dance to Remember
             with real people.
                In 1992, when Fritscher was writing his historical memoir of life with
             his bicoastal lover, Robert Mapplethorpe, the British critic Edward Lucie-
             Smith told him that it was unfortunate that Mapplethorpe had never writ-
             ten a monograph explaining what he was trying to do in his photography.
             Edward Lucie-Smith told Fritscher, “In that is a lesson about your own
             involvement as a writer and a photographer in Drummer and in gay cul-
             ture.”
                 — Mark Hemry, editor


                Youth needs the wisdom of the established, and the established
                need the energy of the young. The present usually takes a dim
                view of the past. This attitude is attractive to the naive who often
                think that the whole wide world began the day they first noticed
                it. Sometimes, too, people with some mileage wrongly dismiss
                the younger because the young weren’t present at the past.
                     — Jack Fritscher, Introduction to Larry Townsend’s The
                Leatherman’s Handbook



                                  American Editor:
                     From Prof to Pop — From University to Diversity
                                (What People Like)
                                                100

             In the Prague Spring of 1968 with student revolutions sweeping the
             world, university professor Jack Fritscher was a founding member of the
             American Popular Culture Association that was invented to introduce
             diversity to American Studies, and he was one of the first contributors to
             the Journal of Popular Culture. In July 1978, he added to the masthead of
             Drummer 23 the high-concept tag line, “The American Review of Gay
             Popular Culture.” When asked why a tenured academic would become
             involved with Drummer, Fritscher emailed:

                    Why did I choose to throw in my lot with Drummer in
                1977? Because in pre-Stonewall 1968, I realized the potential
                transgressive value of gay publishing. Gay pop culture was com-
                ing out of the closet in the 1960s the way Black culture and Beat
                culture had come out in the 1950s. Pop culture is what ordinary
                people like. I figured attention must be paid.



           ©Jack Fritscher, Ph.D., All Rights Reserved—posted 05-05-2017
                HOW TO LEGALLY QUOTE FROM THIS BOOK
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