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514                                     Jack Fritscher, Ph.D.
            washed. Can one brew tea from DNA? Those sheets, and their shelf-life,
            are among my souvenirs with a lock of David Sparrow’s strawberry-roan
            hair, a small chunk of cement from the Berlin Wall, a fragment of bone
            from the leg of Saint Isidore, the posing briefs of Jim Enger, a tiny Titian,
            the key to Mapplethorpe’s Bond Street loft, and my personal ticket and
            program from August 7, 1961, when Merman opened in Gypsy at the
            Curran Theater in San Francisco. I dance to remember and to think.
                Exuding masculine gay appeal, another theatrical production that
            rocked San Francisco’s pre-Drummer community was staged with a very
            new kind of uncloseted gay heart that moved self-defining gender one click
            farther in the evolution of identity. In the early 1970s, the drama depart-
            ment of Lone Mountain College premiered a nearly all-male production
            of Tommy: The Who’s Rock Opera. The muscular young actor-dancers,
            stripped to the waist, and wearing sailors’ white bell bottoms — refer-
            encing the seafood fetish of Herman Melville in Billy Budd, Tennessee
            Williams in “One Arm,” Jean Genet in Querelle, and Kenneth Anger in
            Fireworks — set the hippie-Castro and leather-Folsom crowds on their ear.
            These benefit-of-the-doubt “straight” young men were the first sign of
            “something new” in the post-Stonewall sea change. Their debut revealed
            the arrival of an emerging and twenty-something homomasculinity that
            was a 1970s “way of being” beyond the early 1950s trope of thirty-some-
            thing “leather, motorcycles, and S&M.” Printed on the Tommy program,
            the twenty-two athletic actors were listed with hippie names: Charming
            Fred, Tommy John, Golden Gai, Starlight Alan, Psychedelic Ron, and
            so on.
               Less musical and sexy, in 1976, the Yonkers Production Company
            produced a one-act play I had written about gay life emerging in San
            Francisco on 24  Street and Castro. It was titled Coming Attractions (aka
                        th
            Kweenasheba) and played on a double-bill with Lanford Wilson’s one-act
            homage to — and “out-take” from — Tennessee Williams: The Madness of
            Lady Bright. The plays were headlined on the front-page of the Bay Area
            Reporter (BAR), Volume 6, Number 5, March 4, 1976, and were noticed
            in the San Francisco Chronicle Pink Section (March 21, 1976), because
            Coming Attractions was the first little gay play written in San Francisco at
            that time about gay identity in San Francisco at that time and produced at
            that time.
               In August 1977, spurred on by the local Theatre Workers produc-
            tion of Brecht’s translation of Christopher Marlowe’s Edward II (whose
            poster I later printed with my purposely claustrophobic two-person dia-
            log playlet, “Bondage,” in Drummer 24), I wrote a kind of quintessential
            dominance-submission play, Corporal in Charge of Taking Care of Captain
            O’Malley: Drummer 22 ( May 1978) and Drummer 23 (July 1978). (In the

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