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Gay San Francisco: Eyewitness Drummer                 317
             1972-1973. The No Name became the Bolt which became the Brig which
             became the Powerhouse.)
                In 1972, the ever gracious Robert Walker asked my lover David Spar-
             row and me as a favor to him to pose for one of his very large paintings
             which was not meant to be a portrait of us. Because Robert Walker had
             appeared in my Super-8 film, turn-about seemed fair play. That experi-
             ence of being made into the object of a painter’s eye is recounted as an
             episode in my 1975 short story, “Rainbow County,” in the female char-
             acter named “Cleo Walker.” Robert Walker after several sessions said, “I
             can’t capture the two of you in one frame. There is too much tension.”
             Neither David Sparrow nor I needed to ask exactly what that meant.
             The painting which was mythic in theme lies unfinished in some San
             Francisco attic. The short story that remains appears as the title story in
             Rainbow County and Other Stories, as well as in Sweet Embraceable You:
             Coffee-House Stories featuring my spin on Virginia Woolf, “Mrs. Dalloway
             Went That-A-Way.”
                David Sparrow and I were gorgeously tempestuous lovers, truly in
             love and loving each other, officially from July 4, 1969, through March
             17, 1979. After that we became even more tempestuous friends who con-
             tinued to fuck together, as well as tempestuously create together (mostly
             billed together, explicitly or covertly), shooting many photographs for
             Drummer under the names “Spitting Image” and “David Sparrow.” Actu-
             ally, from 1977-1979, the salon of friends and talent and fighting at Drum-
             mer drove David and me closer together in creative work, and drove us
             apart as a domestic couple. Drummer at that period of High Sex was the
             only game in town, and the very handsome David Sparrow — depressed
             by his genetically addictive and suicidal personality, confirmed by his
             sister — never felt he could compete with other players such as Robert
             Mapplethorpe, who, as I recall, bought several drawings by Tom Hinde,
             because, Robert said, he admired Tom Hinde’s work at Tom’s second
             Fey-Way Gallery show, January 21 to February 18, 1979. (David Sparrow,
             my first true love, is loosely fictionalized as the character Teddy in Some
             Dance to Remember: A Memoir-Novel of San Francisco 1979-1982.)
                Everything about our lives in the Titanic 70s was in the fast lane,
             but at least we were celebrity passengers in a decade when everyone was
             a star. On March 3, 1979, Fey-Way, the first art gallery South of Mar-
             ket, celebrated its first anniversary hosted by founder Robert Opel and
             his muse, the poet and singer Camille O’Grady. On April 20, 1979, I
             recorded live my interview with Camille O’Grady and Robert Opel which
             was published in Mapplethorpe: Assault with a Deadly Camera (1994). On
             May 21, San Francisco gays, angered by the light sentence given to assassin
             Dan White, set police cars on fire outside City Hall during the White

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