Page 160 - Gay Pioneers: How Drummer Shaped Gay Popular Culture 1965-1999
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142      Gay Pioneers: How Drummer Shaped Gay Popular Culture 1965-1999


            rear-view mirror to animate what she could in the soul of each of her new
            issues of Drummer. She had only to look at issues produced by Drummer edi-
            tors such as Jeanne Barney, Tim Barrus, JimEd Thompson, and Joseph W.
            Bean, or browse through our 1970s San Francisco issues, 18-30, that helped
            set the bar for leather publishing during that first decade of gay liberation
            when we were inventing the vocabulary, and the qualitative criteria, with
            which we wanted to represent ourselves as we uncloseted our leather culture
            in American media.
               Because editors and owners change, I kept my allegiance true to
            Drummer itself. In the 1990s under the absent third publisher Bakker, I
            was not paid in cash but in trade. For the last dozen years of the magazine’s
            run, it cost Drummer nothing to exchange my writing and photography
            for a quarter-page display ad for my Palm Drive Video in each issue. When
            in 1998, Mark Hemry and I met in the Drummer office with Davolt, an
            obviously non-S&M accountant swished in and told me I owed Drummer
            six-hundred Dutch guilders—I mean dollars—for my one little Palm Drive
            display ad because stories and fiction were worth only sixty dollars. After I
            politely offered him a new body part, and explained the ancient Drummer
            trade agreements to him, he ran away in his wooden shoes. That ended that
            conversation. Stamps, no matter what she tried, faced the same European
            devaluation of her work. During this time of chaos at Drummer, I debated
            why I even bothered to have anything to do with the Dutch Drummer where
            all the power and decisions and taste were far away in Amsterdam.
               Nevertheless, Stamps and I continued to work together. She published
            nineteen newly stylish “frame grab” photographs of Colt model Dave Gold
            starring in my Palm Drive Video feature Dave Gold’s Gym Workout as an
            interior photo spread along with my story “Hustler Bars” in Drummer 204
            (June 1997). On June 12, 1997, at the suggestion of Stamps’ friend, the poet
            Chris Hewitt, I faxed Stamps an assortment of five of my new and seasoned
            leather and fetish performance poems which Hewitt liked but whose receipt
            Stamps never acknowledged: “The Young Turks Dream of Derek Jarman,”
            “Foot Loose” from Drummer 29 (May 1979), “The Real Cowboy” from
            Man2Man Quarterly, “Tomorrow on TV Talk: Adults Who Wear Leather,”
            and “Rough Trade: Chico Is the Man” from Son of Drummer (September
            1978) which had won two poetry awards. In 1998, I gave Stamps four of my
            color photographs of Palm Drive’s Mickey Squires, the Colt model, which
            I offered for publication in Drummer itself, but somehow they jumped into
            the Drummer spin-off magazine Tough Customers 12 (1999) where they were
            shifted from editorial content and turned into a two-page commercial ad
            selling that magazine.


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