Page 512 - Gay San Francisco_Eyewitness Drummer
P. 512

492                                     Jack Fritscher, Ph.D.

                       Three photographs. Three unencumbered views of Mineshaft bartenders
            Eyewitness  and the bar near the entry where Wally Wallace, the Autocrat of the
            Illustration Mineshaft, ruled who could enter his club. Having once mistakenly
                       turned away Camille O’Grady, Wally made her the official singer of the
            Mineshaft. When the Beautiful People spilled very late out of Studio 54 and tried to crash
            the Mineshaft, they had to have a certain je ne sais quoi to get past Wally who said he turned
            away Mick Jagger, but admitted, he said, Nureyev, Minnelli, Fassbinder, and Foucault.
                       Three photographs. “Butt Parade on the Mineshaft Bar as a Runway.”
            Eyewitness  Top to bottom: Compared to the exclusive fisting palace of the invitation-
            Illustration only Catacombs in San Francisco, the Mineshaft in Manhattan was an
                       open and inclusive parade of real “fundament”-alism. Butts that shim-
            mered in contest pageants on the main bar enticed logical conclusion in the dark maze of
            Mineshaft rooms where men hung, waiting in slings, like the raw carcasses hung on hooks
            outside the door of the Mineshaft at 835 Washington Street where bloody young butchers,
            aproned in white, worked nights shouldering huge sides of beef lit by the blinding fluores-
            cence of the loading dock.
                       Three photographs. At the Mineshaft, slings, hoists, and trapezes removed
            Eyewitness  gravity from sex and added to the circus of sexual acrobats. Bottom: In a
            Illustration Skulls of Akron performance art piece, Wally Wallace received the “New
                       Year’s Baby” doll birthed from inside the butt of the man lying on the
            covered pool table. The man handing Wally the doll was one of the most able of masoch-
            istic leading men in the Skulls of Akron videos.

                       Photograph. Every night was Halloween, Santeria, or homo-religious
            Eyewitness  leather ritual in some corner of the Mineshaft lit with black light that
            Illustration showed off Day-Glo body-painting that was popular in the 1960s and
                       1970s.

                       Photograph. Mummified and hung on a rough-hewn cross in the Mine-
            Eyewitness  shaft, a gent discovers the rare human satisfaction that he has finally
            Illustration found the place where men will do to him the kinds of things he always
                      dreamed men would do. In the 1970s, New York sculptor Nancy Gross-
            man fashioned life-size wooden heads sinisterly hooded with tight black leather and indus-
            trial zippers that sold in galleries for thousands of dollars. The Mineshaft admission for the
            real thing in a hood (including one’s own head) was no more than the three-buck cost of a
            Mineshaft membership card.

                       Two photographs. “Blacksmith 1” and “Blacksmith 2” were lensed outside
            Eyewitness  at night on the roof of the Mineshaft. What at first glance seems like a
            Illustration festive barbecue morphs into serious S&M because of the anvil in the
                       lower left corner as two blacksmiths heat and shape branding irons for
            red-hot action.











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