Page 372 - Gay Pioneers: How Drummer Shaped Gay Popular Culture 1965-1999
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354      Gay Pioneers: How Drummer Shaped Gay Popular Culture 1965-1999

               his energy was not really familiar with the publishing business.
               So, it’s hard to say which issues would be the first I actually edited
               since that was a creeping reality. But, starting with  Drummer
               132 [August 1989] (where I am not yet credited), I was working
               on everything in the magazine. I began to be officially credited
               as editor with  Drummer  133 [Fritscher’s “Mapplethorpe” issue,
               September 1989] as “Assistant Editor” along with Paul. Then as
               “Managing Editor” in Drummer 134, October 1989. At Drummer
               50, September 1991, the credit changed from “Managing Editor”
               to “Editor,” but nothing in my job description changed. Then,
               with  Drummer  159, December 1992, was the last in which I
               was credited as editor. [Martijn Bakker purchased Drummer in
               September 1992 and changed its name to International Drummer.]
               For the next several months, contracts, contacts and even editing
               from my tenure [as editor] were used in the [Bakker version of the]
               magazine (along with my writing), but I was outta there. Issues
               #159 through #161 were a mixture of things I prepared before I left
               and things that were done after I was gone. So, my tenure was very
               short, starting in reality around March 1989 and ending officially
               in December 1992....

               Eyewitness Jeanne Barney, the founding Los Angeles editor-in-chief of
            Drummer for one year (1975-1976), said the same hybrid mix and flow
            happened to her editorial work when she left Embry after Drummer 11,
            December 1976. She also testified that John Rowberry, Embry’s default
            puppet, twisted the hybrid issues and militated to trash her in Drummer.
               Facts are facts, and even if history turns out to be all Rashomon, the
            clock and calendar are absolute.
               For literary detectives and historians, all the internal evidence necessary
            to substantiate these points of fact and opinion about who drove Drummer
            lie in the pages of Drummer itself.
               Embry’s high-handed autocracy was why so many independent artists
            and writers broke off with him. Even while owing money to the Drummer
            talent, Embry made working conditions worse. He stood foursquare against
            the moral and legal issues of us workers asking that our intellectual property
            of writing and illustrations and photographs needed to be branded with the
            copyright symbol for each of us creators. None of us was under contract.
            We were all freelance. We all owned our individual pieces of Drummer
            content. When he did pay, Embry never bought rights beyond one-time
            publication while he liked to think that he owned everything ever published

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