Page 141 - Gay Pioneers: How Drummer Shaped Gay Popular Culture 1965-1999
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Jack Fritscher              Chapter 5                        123

             and masochists in West Berlin that summer was easy and hot because sadis-
             tic sex and masochistic endurance was one way gay West Berliners felt de-
             stressed and free even while completely surrounded on their West Berlin
             “island” by Communists with guns. Our star from East Berlin, Christian
             Dreesen, had twice been caught escaping across the Wall and had twice done
             time in a gruesome Stasi prison cell. His third try he reached freedom, and
             the silver screen.
                While filming on location in Der Knast bar and the newly opened
             Connection bar, both on Fuggerstrasse, we passed though Checkpoint
             Charlie, which still gives me chills, to scout the ruins of East Berlin for
             additional location shooting we decided not to do because of the political
             danger. On our last night in West Berlin, we were taken to the underside
             of the bridge where, to release their Weimar tension, Liza Minnelli and
             Michael York, on location for Cabaret, had screamed with the train roaring
             overhead. So, of course, we waited, and waited, and laughed, and waited,
             and finally with a train rushing overhead and our backs pressed against the
             stone wall, we screamed our own primal scream releasing our tension about
             porn, plague, and politics.
                Drummer, however, having perforce become politically correct in its
             fantasies by 1989, could not scream out its lust. It was past its journalistic
             zenith of 1970s activism and realism. It sought refuge from the horror of
             AIDS and sexual politics by retreating into self-help advice, fantasy fic-
             tion, and leather contest reports. In Drummer 21 (March 1978), the maga-
             zine published the true New Journalism feature article about San Quentin,
             “Prison Blues.” But by the 1990s, when bought by the Dutch, Drummer
             could not handle the true story of how the handsome Christian Dreesen’s
             homomasculine sex appeal, obvious even to resentful homophobes, had
             itself made more intense the brutal sex abuse he suffered at the hands of
             East German and Russian jailers fueled by the jealous passions of Cold War
             politics against gay decadence.
                Expressing the zero degrees of our creative salon life around Drummer,
             the blue-eyed Teuton, Christian Dreesen, whom Mark Hemry and I also
             shot for our own Palm Drive Video in West Berlin, shared the cover of
             Drummer 147 (March 1991) with my other Palm Drive Video model, Glenn
             Marsh aka Blue Blake, one of the stars of my “twincest” feature, The Blake
             Twins Raw. Both actors appeared in my British coffee-table photo book
             edited by Edward Lucie-Smith, American Men: Christian Dreesen, who was
             “Mr. Germany Drummer,” page 36, and Blue Blake, who was “Mr. UK
             Drummer,” page 61.

               ©Jack Fritscher, Ph.D., All Rights Reserved—posted 03-14-2017
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