Page 313 - Gay Pioneers: How Drummer Shaped Gay Popular Culture 1965-1999
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Jack Fritscher              Chapter 11                       295


             missing photographs? The missing Mapplethorpe photographs? The miss-
             ing Etienne drawings? The missing Bill Ward cartoon panels? The missing
             Tom of Finland sketches? The missing work of countless others?
                That physical loss is similar to the missing credit lines in Davolt’s 1990s
             Drummer which regularly failed to credit by copyright or by name photog-
             raphers such as Lou Thomas of Target Studio whose work graced so many
             homomasculine covers and centerfolds of early Drummer. In its last fall-
             ing down days at the height of the AIDS epidemic, the last generation of
             Drummer editors and staff had the misguided chutzpah, without permission,
             to publish and republish living, dying, and dead artists’ photographs and
             drawings with the one lazy and dismissive credit line: “From the Drummer
             Archives.”
                Drummer was indeed a first draft of leather history.
                So Drummer had a duty.
                But the leather Rorschach that was Drummer lost its roar.
                Drummer was dying.
                How sublime and elegiac its twenty last issues could have been if edito-
             rial staff had only bothered to research the twenty-four years of purloined art
             to identify it with clear provenance, historic captions, or obituaries honor-
             ing the artists and photographers, living and dead, one last time before epic
             Drummer died with the century’s end.

































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