Page 514 - Gay San Francisco_Eyewitness Drummer
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494                                     Jack Fritscher, Ph.D.
            the photo spread is a good example of the weak, coy, and silly prose that
            I labored to delete from Drummer beginning with the first full issue that
            I signed as editor in chief, Drummer 19.)
               Before “bears” came into existence in the 1980s as an acceptable body
            style possible for men like him, “Richard-John-Ivan-Olaf” struggled with
            his own bald, beefy look that he buffed with weightlifting. Like “Tom,” he
            was a bearded muscle guy living on Polk Street in a gay youth culture fix-
            ated on chicken. I saw that he and men like him might appreciate Drum-
            mer coming to their rescue through articles and illustrations celebrating
            the secondary male sex characteristics of men in their thirties. “Richard
            Moore” was an entrepreneur who hustled himself and his stable of gladi-
            ator musclemen out of his second-floor apartment on “Polkstrasse” where
            we often spent languorous afternoons on madras cushions, lying under his
            Casablanca ceiling fans, chatting among his potted palms.
               (The afternoons I spent with another San Francisco entrepreneur,
            David Hurles/Old Reliable, in his apartment of hustlers were a different
            kind of languor; Old Reliable’s rugged models, mentioned in this “Gift-
            ing” feature, were essential to my virilizing Drummer.)
               As a writer and editor, I was never one of “Richard Moore’s” clients,
            but we did work together on several projects. On July 30, 1987, he intro-
            duced me to one of his latest ingenues, Larry King, who was a twenty-
            five-year-old African-American freshly discharged from the US Navy for
            being gay. The deeply complexioned Larry King was built like a football
            linebacker at five-foot-eight and 235 pounds. He could afford to be the
            strong silent type because he also sported nine inches uncut. John Adams
            sat intent on set as I directed and lensed Larry King for my Palm Drive
            Video feature, Big Black Dick Black (1987).
               The last time I saw “Richard Moore,” I was spending a week vid-
            eotaping the 1988 Police Olympics in Bakersfield, California. In a sad
            Sunset Boulevard scene, he pulled up in front of the arena in a drop-dead
            vintage yellow Rolls Royce stretch convertible driven by a uniformed
            bodybuilder-chauffeur who helped him walk from the car. He was so
            gaunt, I did not think he would survive sitting in the audience of the Cop
            Olympics bodybuilding.
               Standing on the stage, and shooting the physique contest close-up,
            I confess that in the midst of all that healthy male flesh, death mes-
            merized me, overcame me, dissolved me with sadness; I could not turn
            away; I discreetly panned my video camera into the audience to film a
            half-minute cameo of him sitting alone with his bodybuilder-caregiver in
            the twentieth row. I panned back to the rowdy physique action, stifling
            small gasps of tears and panic I had to hide by pressing my face into my
            viewfinder because my tripod stood on stage in the midst of bright lights,

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