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410                                     Jack Fritscher, Ph.D.
            Deliverance, and Salo appeared repeatedly. In the 1980s and 1990s, pho-
            tographs of men I lensed for Palm Drive Video, such as Keith Ardent,
            Larry Perry, and Donnie Russo, appeared on the covers of Drummer 118
            (July 1988), Drummer 140 (June 1990), Drummer 159 (December 1992),
            and Drummer 170 (December 1993). A further supply of film stills to
            Drummer happened in 1989 when Mark Hemry and I shot six films in
            Europe for Roger Earl and Terry LeGrand, the helmers of Born to Raise
            Hell. Drummer’s love affair with film embraced also the Super-8 films and
            video features of David Hurles and his Old Reliable studio. For details of
            film and video photos in Drummer, search the “Timeline Bibliography”
            of Gay San Francisco: Eyewitness Drummer.
               From its first issue wherein “Sidney Charles” reviewed  Sextool,
            Drummer included film reviews written regularly by Ed Franklin aka Ed
            Menerth aka Scott Masters. Sextool, forbidden by the LAPD, premiered
            simultaneously in San Francisco at the fratricidal Mitchell Brothers’
            O’Farrell Theater and in New York at the Lincoln Art Theater on June 4,
            1975, three weeks before the first issue of Drummer. Eschewing straight
            theaters, the Gage Brothers booked their films into San Francisco at the
            Nob Hill Theater where their friend Wakefield Poole directed the legend-
            ary stage show for the Colt model Roger in 1977.
               Because readers responded to film coverage, I added op-ed cinema
            features such as “Pasolini’s Salo” in Drummer 20 (January 1978), and my
            interview with Boys in the Sand film director Wakefield Poole, “Dirty
            Poole,” in Drummer 27 (February 1979), and made humor with movie
            stills in “Steve Reeves’ Screen Test” in Drummer 19 (December 1977) and
            “Nobody Fucks Lex Barker Anymore” in Drummer 26 (June 1979).
               When Ed Franklin wrote me that he was quitting reviewing movies
            because publisher Embry fell in arrears paying him, I turned to reviewing
            significant films such as Derek Jarman’s Sebastiane in Drummer 22 (May
            1978) and the homomasculine The Deer Hunter in Drummer 28 (April
            1979). Covering films was natural to me because I had been reviewing
            movies since 1953, and my love of film led into my 1960s career as director
            of a museum film program and as a university professor in the 1960s and
            1970s teaching courses such as “History and Esthetics of Cinema” and
            “Women in Film.” I assigned other movie reviews to my protégé, John
            Trojanski, a former Catholic seminarian whose photographs appeared in
            Drummer 25 (December 1978) and other issues. Had I still been teaching
            when the Gage Brothers debuted, I would have invited them to speak in
            my classes and at my museum film program where during the 1960s and
            70s I screened gay underground films and hosted filmmakers from the
            National Film Board of Canada.

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