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456                                     Jack Fritscher, Ph.D.
                 studies of black men. For a consideration of racism in Map-
                 plethorpe, see Mapplethorpe: Assault with a Deadly Camera,
                 Take 16, “White Art, Black Men.” In his will, Mapplethorpe
                 left the sum of $100,000 to one of his Black models, Jack
                 Walls.] . . .Camille told me she was in a video shot early in the
                 Mineshaft.
               Wally Wallace: Before Leather Rick made a video, the first video
                 was shot by a director from France who was a friend of one of
                 the guys who worked for me at the Mineshaft. Supposedly this
                 would only be seen in Europe and not in America. We got a
                 little money, but it was a strange film.
               Jack Fritscher: Even in an age of Warhol and John Waters and
                 underground films?
               Wally Wallace: It was a French version of the Mineshaft. What
                 the French thought we were about. They tied one guy up and
                 put Christmas lights around him.
               Jack Fritscher: Very teenage Kenneth Anger.
               Wally Wallace: I remember Camille O’Grady was in it, singing.
                 She was a good singer. But the soundtrack on the video had a
                 terrible echo. . .
               Jack Fritscher: Maybe it was the punk rock sound that had just
                 become so popular from CBGB.
               Wally Wallace: The movie did nothing for Camille’s career.
                 She thought it would. I remember her. She did sing at the
                 Mineshaft a couple times for benefits. We did a lot of benefits
                 like after the fire at the Everard Baths in 1978 when so many
                 died. We also did a Casino Night to raise money for Rex. . .I
                 just love Rex. Our heads are complementary. Very private.
                 But he’s nowhere near as quiet as he seems. He’s a wonderful
                 human being. Rex drew three posters for the Mineshaft. I
                 feel fortunate in having known so many great people in male
                 porn. Rex is our Michelangelo and so is Tom of Finland and
                 A. Jay [Al Shapiro, art director of Drummer].


               In the zero degrees around Drummer, Rex was the official Mine-
            shaft artist who illustrated my “Mineshaft” article in Drummer 19. He
            had drawn the cover of Drummer 10 (November 1976) which was on the
            stands when the Mineshaft debuted. I also wrote a major feature article
            about his work in my special issue, Son of Drummer (September 1978),
            pages 48-51. In 1980, I formally interviewed Rex who had moved in the
            migration of Manhattanites to San Francisco. For the excerpted interview,
            see Mapplethorpe: Assault with a Deadly Camera, “Take 14: Merchandising

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