Page 307 - Gay Pioneers: How Drummer Shaped Gay Popular Culture 1965-1999
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Jack Fritscher              Chapter 11                       289


                  frequently jobless, and acting in my stead even the few times I
                  made him shoot alone; and, for that service, I expected Embry to
                  pay me back by paying Sparrow who put it in our marital house-
                  hold account.] The “Sparrow” credit line was another invention
                  of that time when I was writing nearly everything in Drummer
                  to front some of it with Sparrow’s name to satisfy Embry who
                  thought my name was in too many bylines in each issue. [In our
                  longtime marriage, David and I drew up our own binding agree-
                  ments about our money and our mutual businesses, including his
                  permission for me to write about him from inside our intimacy
                  and privacy. After our divorce, he stopped shooting and was never
                  published again.]
               Bean: I don’t know what’s there at Drummer now, of course—what
                  Sparrow photographs. I’ve been gone six years.
               Fritscher: Has it been that long? I’ve always thought of you as the
                  soldier-editor. In the leather  world, you moved from front to
                  front, fighting battle after battle, war after war, and have never
                  yet yourself became a casualty.
               Bean:[Laughs] Last night, Gayle Rubin asked me, what’s next, and
                  I told her that I thought my next move would be to Chicago to
                  work on the Leather Archives & Museum, because it really needs
                  to get legitimized, to get professionalized....


             PARVENU DAVOLT TWICE DECEIVED

             I don’t want to blame the parvenu Davolt, a holy innocent who should have
             known better, but his caving into Embry and the Dutch “pirates” was no
             noble way to end Drummer. There was no respect in it for the thousands
             of working writers, photographers, and artists who created Drummer. In
             his “Outline,” Davolt revealed the debris in the Drummer office when he
             arrived:

                    The physical condition of the office was another story: piles
                of paper...mice in the filing cabinets. A splendid little patio in the
                back was overgrown with weeds that were encroaching on the office
                windows. The greatest photo and art collection in SM/leather his-
                tory, or at least everything that had survived 25 years of looting
                by former owners and employees, was sitting in boxes—unsorted,
                unusable, and decaying rapidly.




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