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Gay San Francisco: Eyewitness Drummer                505
             (1977). This was the same Drummer 27 that published my Playboy-style
             interview with Wakefield who had also produced the participant-cabaret
             party extravaganza, “Night Flight.” (See Drummer 20, January 1978.) On
             August 24, 1978, Wakefield told me:

                Technically, we’re moving into the Videotape 80s . . . . My fantasy
                for the 1980s is to produce a live Broadway show. Multi-media.
                Using all the pornstars I could employ. Just like A Chorus Line.
                Have it all take place in a discotheque.

                Having filmed Roger (1977), Wakefield proceeded in early 1978 at
             San Francisco’s Nob Hill Theater to incorporate that film into the mixed-
             media SRO stage show he produced and directed for the Target and Colt
             model, “Roger” (Daryll Hanson), whose orgiastic Nob Hill performance
             as an erotic “Eugene Sandow” I profiled in “Pumping Roger,” Drummer
             21 (March 1978), and whose nude pose, shot by Wakefield, I featured on
             the “Homomasculinity” cover of the “Virtual Drummer,” The California
             Action Guide (November 1982).  In 1980, Wakefield introduced me to
             his friend, Georgina Spelvin, the star of his film, The Bible, and, most
             famously, the star of The Devil in Miss Jones (1973). In the zero degrees of
             separation, my literally embedded interview with the grande dame porn
             star, “The Devil in Miss Spelvin,” was published in Hooker magazine
                In a letter dated September 7, 1978, Wakefield wrote:

                Dear Jack, Enclosed is a copy of A la Recherche du Temps Perdu,
                The Proust Screenplay [written by Harold Pinter]. I hope you
                enjoy it as much as yours truly. I’m on my third reading and it
                gets better each time.  — Love, Wake.

                The book itself is inscribed,
                To Jack, I found a copy for you today. Now you need only read
                and enjoy.  — Wakefield

                He sent the Pinter film script because we had talked earnestly of our
             “Proustian” responsibility as artists in the 70s to write and create the 70s
             from the inside out — he in the recorded visions of his films, and I in the
             recorded journal entries which he knew I was shaping into the 70s drafts
             of Some Dance to Remember which I shared with him and with Robert
             Mapplethorpe who was also capturing esthetic documentary “takes” on
             the 1970s. I had titled my 1978 Drummer interview of Wakefield Poole

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