Page 280 - Gay Pioneers: How Drummer Shaped Gay Popular Culture 1965-1999
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262      Gay Pioneers: How Drummer Shaped Gay Popular Culture 1965-1999


               Blogging on his leatherpage.com, Davolt wrote secondhand comments
            repeating a mythology that never happened, such as, “The Victorian apart-
            ment building on upper Market Street where early [sic] Drummer editor
            John Rowberry put together several issues in his kitchen.” God is in the
            details, and as the tiniest “Exhibit A” of Davolt tampering with truths small
            and large, that phony “kitchen table” image is revisionist history lacking
            perspective because Rowberry was not an “early Drummer editor” insofar as
            he did not become even “associate editor” of Drummer until 1980, and only
            then after I exited which would have made me an early-early Drummer edi-
            tor, and Jeanne Barney an early-early-early editor. His bump to full-fledged
            “editor” occurred only with Drummer 40 in January 1981, one full year after
            my departure, and six years after the first issue of Drummer.
               And that kitchen table? That hands-on image is something either Embry
            or Davolt Googled and lifted, in their wishful confusion of attribution, from
            my website where since 1995 I was posting, among other history, local-color
            details about my own writing of early Drummer on my kitchen table in 1977
            when Drummer was not yet two years old. One truth about John Rowberry
            is that he was always a pisser marking his territory. No office worker nervous
            about his competition was ever more jealous of holding down his own desk
            in the Drummer office than Rowberry, or, later, when I worked with him,
            at his very big office with the giant desk provided him South of Market by
            the Mavety Corporation. A kitchen table? Not his grand Los Angeles style
            because he liked to be seen sitting like a media mogul enthroned behind
            a desk that helped counter the fact that during the 1970s he was referred
            to at Drummer as the “office boy” who could not even make more than
            a twelve-issue “go” of Embry’s pretentious passion project, The Alternate,
            which, pretending to be The Advocate, no matter what the two tried, was
            as disconcerting a flop as the disco career of Embry’s lover, Mario Simon.
               In the 1970s before computers and keyboards, we all wrote Drummer
            in long hand or on our own manual typewriters. My wordsmithing tool was
            my first typewriter, a gray 1956 Smith-Corona Portable with forest-green
            keys which, as a retired totem, has long sat atop a bureau in my bedroom
            because that non-electric typewriter was amazing: it was a keyboard that did
            not need a printer. So with strong fingers, we Drummer contributors gave
            our “medieval” copy to our unflappable typesetter, Marge Anderson, who,
            short, jolly and obese, with her Pall Mall cigarette always dangling from her
            lip, re-typed every word in Drummer. Marge herself could have written an
            extraordinary eyewitness testimony insofar as she had moved house from her
            13940 Oxnard Street apartment in Van Nuys to follow her job with Embry
            and Drummer to San Francisco.


              ©Jack Fritscher, Ph.D., All Rights Reserved—posted 03-16-2017
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