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264                                     Jack Fritscher, Ph.D.
            is somehow the opposite of the drag x-ray of a woman trapped inside a
            male body. Camille O’Grady wrote all her rock poetry and punk songs,
            like “Toilet Kiss,” from a gay-male point of view. Robert Opel installed
            her as resident muse for Fey-Way. The extraordinarily beautiful Camille
            O’Grady became the central SoMa muse for the bunch of us leather
            photographers and homomasculine gender journalists playing South of
            Market and filling Drummer.
               Jim Stewart (born November 11, 1942) photographed Camille
            O’Grady in an extraordinary series of black-and-white shots punning
            on Catholic iconography with crucifix and rosary. Even in the quick
            “Camille” portrait photos which I shot from the hip during my April 17,
            1979, interview with her, Camille had “It.” At that same interview, my
            lover David Sparrow as my backup photographer for Drummer added in
            several photos of Camille and me together, lounging about with Robert
            Opel, the founding owner of the South of Market Fey-Way Gallery. Per-
            formance artist Opel was always O’Grady’s main man, and none of us
            had a clue that my April 17 shoot would be the last photographs of the
            power couple shot together. On Sunday evening, July 8, 1979, a gunman
            broke into the Fey-Way Gallery, demanding money, and threatening to
            kill Camille O’Grady in lieu of cash. When daredevil Robert Opel who
            had streaked the Oscars in 1974 foolishly dared to resist, the gunman shot
            him dead.
               Jim Stewart shot the salon portrait of “Robert Opel Contemplating
            a Skull” that I published with Opel’s eulogy on the last page of Drummer
            31 (September 1979).
               Within such an unfolding mise en scene, I drafted this bit of “Men
            South of Market” editorial-advertising copy to promote Jim Stewart and
            his Keyhole Studio in a runup to doing the same for the Leatherneck bar
            owned by my other roommate, Allan Lowery, in Drummer 18 (August
            1977). In my freelance writing business in the 1970s, I wrote copy to cre-
            ate “brand names” for the “emerging new gay advertising” of “emerging
            new gay businesses” South of the Slot, such as “The Wizard’s Emerald
            City” at 1645 Market Street which was owned by the darkly handsome
            Richard Trask, star of the fisting film classic Erotic Hands (1974). My
            text introduced the photographs of Jim Stewart at the moment he first
            presented them to Drummer.
               This press release, similar to my gallery release on my playmate, the
            artist Tom Hinde, in Drummer 16, typifies the kind of thumbnail then
            given to artists at their first exhibitions. Upgrading Drummer, I wanted
            to present these talented people as artists first and as “hot” second.
               A good example is my special “New York art” issue, Son of Drummer
            (September 1978), in which I presented Mapplethorpe in nine photo-

          ©Jack Fritscher, Ph.D., All Rights Reserved—posted 05-05-2017
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