Page 304 - Gay Pioneers: How Drummer Shaped Gay Popular Culture 1965-1999
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286      Gay Pioneers: How Drummer Shaped Gay Popular Culture 1965-1999

            buying artifacts smuggled out of a lost civilization by a dying grave-robber
            who had tucked the loot into his carry-on luggage? Is this situation akin to
            twenty-first-century dealers selling art confiscated during the Holocaust?
               Everything proven and alleged on this subject can be corrected if these
            phantom intellectual property deals claimed by Embry and Davolt are ever
            made transparent by a paper trail. Even so, it cannot be emphasized enough
            in a digital world of piracy and plagiarism, that the photographs, drawings,
            and manuscripts are the intellectual property of their creators and their
               In Super MR #7 (2001), Embry made an astonishing claim on page 37:
            “When Super MR acquired the original Drummer archives, we really didn’t
            realize what a treasure house [italics added] we had.”
               I am really curious (leather)!
               Embry’s little braggadocio needs a paper trail.
               In Drummer 137 (February 1990), page 5, managing editor Joseph W.
            Bean addressed Drummer’s “enormous archive of erotic” treasures. He began
            the 1990s setting an ethical standard Davolt might have followed in the late-
            1990s, of pro-actively seeking to identify and return original material.

               Missing in Action: Over the years, Drummer has collected an enor-
               mous archive of erotic artwork and photography. Unfortunately,
               some of the best items...have no identification.....So from time to
               time, we will be running some of these unidentifiable masterpieces
               in this feature, “Missing in Action.” If the artwork is yours, we want
               to hear from you. Or, if you know who the artist is [in this age of

               In a June 1997 interview, Joseph Bean told me some information that
            contradicted Embry and Davolt’s smoke screen that former Drummer own-
            ers and staff had discarded all the artwork and photographs. For the most
            part, neither had destroyed originals, even though they were often too busy
            to systematically store them. While I was editor-in-chief, I chastised Embry
            for disrespecting and tossing original art work, photos, and manuscripts into
            a jammed closet to the left of art director Al Shapiro’s drafting table. Bean
            also confirmed Embry’s mercenary statement that after Drummer closed in
            1999, he bought its “treasure house” of art and photographs.


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