Page 391 - Gay Pioneers: How Drummer Shaped Gay Popular Culture 1965-1999
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Jack Fritscher              Chapter 15                       373


             like Woodstock which happened two months later with thousands of partic-
             ipants: every author who claimed to be in New York in June 1969, including
             the mandarin Edmund White, has written himself into the narrative of that
             night that he “just happened to witness” like Woody Allen’s time-traveling
             protagonist in Zelig.
                Truth be told, “Stonewall” as a concept did not really penetrate the
             national gay culture—outside New York—as a popular metaphor until
             the early mid-1970s when Manhattan writers, in assumptions of artistic
             powers, alchemized their local event into a convenient watershed symbol
             of national gay resistance as if Stonewall were, indeed, “a shot heard round
             the world” like the one in Emerson’s “Concord Hymn” that started our
             Revolutionary War, or the shot that killed Archduke Ferdinand in 1914
             starting World War I. Having just returned that June, 1969, from Europe
             on Pan Am, I was not in New York during the Stonewall rebellion. Visiting
             that week in Chicago, I remember only one bit of news exactly: the radio
             said Judy Garland was dead. Joining those New York writers, my own ges-
             ture to enhancing this archetribe symbol was my story, “Stonewall: June
             27, 1969, 11 PM,” published in Harrington Gay Men’s Fiction Quarterly
             (Volume 8, Issue 1, 2006) and in the anthology Stonewall Stories of Gay
             Liberation (2008).
                In defense of homomasculinity and Drummer, and the 1970s quest for
             defining new genders and old, I rest my case.



                1976, October 9: Wally Wallace begins managing the “Temple Bar
                of Masculinity,” the Mine Shaft [written as two words on his open-
                ing night invitation, but more commonly spelled Mineshaft] at 836
                Washington Street, New York, which I wrote about in Drummer 19
                (December 1977).

                1976: Alexander Shulgin stimulates leather culture when he unearths
                a lost 1912 chemistry formula to introduce one of 1970 leather cul-
                ture’s most popular drugs, MDMA, with its gentle psychedelic and
                stimulant effects; not to be confused with popular and speedy MDA
                (Mapplethorpe’s favorite drug), innocent little MDMA soon becomes
                famous as Ecstasy.



                                          * * * *





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