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Gay San Francisco: Eyewitness Drummer                649
                three slide projectors and two Super-8 projectors of his transpar-
                encies and leather films. . . .Where can we go from there?. . .At the
                Lone Star [bar], of course. . .
                     — Ron Johnson

                It was because of my experience with erotic bar happenings in SoMa
             that Drummer publisher John Embry asked me as editor in chief to start
             up and manage the first Mr. Drummer contest in 1979; but I refused,
             because editing and writing the magazine was task enough.
                By the time New Yorkers such as Night Flight producer Wakefield
             Poole arrived in the orgy that was late 1970s San Francisco, I (who called
             1960s Manhattan my second home) was very pleased to write about their
             new infusion of art-sex energy. This article introduced the new East Coast
             players to the City, and, as a calling card, introduced Drummer to them.
                They were the best kind of Manhattanization as New York met San
             Francisco which had reservations about being “Manhattanized.”
                That was one of the great pleasures of being Drummer editor in chief.
             It was like the line in Casablanca. “Sooner or later everyone comes to
             Rick’s.” Almost immediately, after I became editor in chief of Drummer
             (March 1977), the ultimate New Yorker, Robert Mapplethorpe, showed
             up in my office for Halloween, and came back for Night Flight on New
             Year’s Eve 1977. If my early issues of Drummer had not been well received
             in New York, Robert and I might never have met. He wanted Drummer;
             he needed Drummer; and I gave him his first magazine cover on Drummer
             24 (September 1978).
                See Victor Bockris’  Beat Punks for his interview “Mapplethorpe
             Takes Off” recorded October 16, 1977, as Robert taxied to JFK to make
             pilgrimage to California where he scheduled himself to meet the editor
             of Drummer. See also my subsequent formal introduction of Mr. Map-
             plethorpe to the leather world in “The Robert Mapplethorpe Gallery” in
             my special New York art issue, Son of Drummer (September 1978), featur-
             ing three A-List New Yorkers: Mapplethorpe, the pointillist artist Rex,
             and photographer Lou Thomas of Target Studio. The issue also included
             Tom of Finland.
                Night Flight producers and artists Steve Barnett, Ed Parente, and Paul
             Hatlestad, the partner of Wakefield Poole, became my good friends, and
             we worked together with New Yorker Michael Maletta’s Creative Power
             Foundation on the next party, Stars, held on a pier under the Bay Bridge.
                 Night Flight was pure Warhol via Poole, and very much based in
             Andy’s historic  Exploding Plastic Inevitable tour and happening with
             Lou Reed, Gerard Malanga, Nico, and the Velvet Underground. For the
             subsequent art-sex party, Stars (1978), I was quite happy to have my pho-

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