Page 171 - Gay Pioneers: How Drummer Shaped Gay Popular Culture 1965-1999
P. 171

Jack Fritscher              Chapter 6                        153

                    If you would like some feature articles or fiction from me, or
                more photos, I’d be glad to do the usual trade for a Palm Drive
                Video ad which we can supply you.
                    Also, on your current masthead, it’s fine if you want to continue
                to list my name, because it links you to early Drummer. Could
                you have your copy editor please correct the spelling of my name.
                    Call if you wish to chat.

                Jack Fritscher (Phone/Fax Numbers)

                If Davolt needed material, he should have queried the huge national
             leather community he claimed to know through his contest-circuit trav-
             els and his blogs, but then he could not have held Drummer and its Mr.
             Drummer Contest possessively close to his chest for reasons of blond ambi-
             tion known only to him.
                He did not want to share Drummer.
                He wanted to be “Mr. Drummer.”
                With less hubris, with telecommunications, and with less of his own
             so-called “Drummer travel” funded from Drummer’s cash so he could party
             nationwide, Davolt could have evolved and driven Drummer from the printed
             page onto the internet screen featuring text, photos, drawings, social media
             personals, and videos, and become the biggest hero in Drummer history. It
             was Davolt’s millennial chance in the generational change at Drummer, and
             he blew it. So why blame the Dutch? If I was able against all odds to produce
             Drummer under John Embry, Davolt should not have been stopped by the
             lesser of two evils, Martijn Bakker.
                When Stamps met Davolt, their biggest misstep was their imitation of
             Embry in reprinting old material, and not developing original articles, erotic
             stories, media reviews, and reader-reflecting photography specifically for the
             new 1990s Drummer audience, whether funded by Bakker or not. All great
             underground mags—especially in a fin de siecle characterized by punchy
             little “zines”—were pop art created on a shoestring. In the 1970s, we artists
             who were writers, designers, and photographers created the golden age of
             Drummer, which had begun in 1972 as a trial-balloon zine, produced on a
             budget of thin air, talent, sex, drugs, and rock ‘n’ roll.
                Even the front cover of Drummer 201 was a corporate sell-out. It was a
             commercial photo from Falcon Video that was nothing more than a corporate
             ad. Was there a kick-back for such product placement? Traditionally, previous

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