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How Drummer Shaped Gay Popular Culture 1965-1999
Jack Fritscher Chapter 18 433 CHAPTER 18 VENOM NEVER DIES The Drummer Blacklist Summary Evidence Suitable for a Cross Examination • Unknown to GLBT Readers, Wicked Grudges Poison the Well of Gay Culture with Publishers of Books, Magazines, Newspapers, Archives, and Websites • Feuding, Fussing, and Fighting: Robert Mapplethorpe, Larry Townsend, John Rowberry, John Preston, Mr. Benson, Frank Hatfield, Rick Leathers, Jim French, Colt Studio • Embry vs. the LAPD, David Goodstein, The Advocate, LA Publishing Peers, Other Gay Magazines, His Own Talent Pool of Writers and Artists, as Well as Drummer Publisher #2, Anthony F. DeBlase, and Drummer Publisher #3, Martijn Bakker • Embry’s Final Grudge: Against Drummer Itself “Don’t throw your past away. You might need it some rainy day.” —Peter Allen, The Boy from Oz In the twentieth century, few people took time to take notes on the gay past while it was the speeding present they paid scant attention to from the 1960s to 1999. Recalling that Rashomon past which I chronicled beginning in my mid-century journals, I am no innocent naif amazed at the politics, skullduggery, and dirty laundry in gay publishing, literature, or any other gay or straight pecking group. I am an academically trained arts and popular culture analyst who, having climbed up from my father’s traveling-salesman household, has had several careers inside groups way more dynamic, power- ful, and byzantine than gay publishing. Starting out at seventeen as an editorial assistant in the snake pit of the Catholic press, I survived religion (eleven years in the Catholic Seminary), ©Jack Fritscher, Ph.D., All Rights Reserved—posted 03-14-2017 HOW TO LEGALLY QUOTE FROM THIS BOOK 434 Gay Pioneers: How Drummer Shaped Gay Popular Culture 1965-1999 academia (graduate school plus ten years of tenured university-level teaching of literature, writing, and film), corporate business (eight years writing and managing writers for Kaiser Engineers, Inc.), and government (two years of working as a writer with the San Francisco Municipal Railway). -
Archaeologies of Sexuality
1 2 3 4 5 6 7 8 9 10 1 2 3 4 Archaeologies 5 6 7 of Sexuality 8 9 20 1 Status, age, and gender have long been accepted aspects of archaeological enquiry, yet it 2 is only recently that archaeologists have started to consider seriously the role of sex and 3 sexuality in their studies. 4 Archaeologies of Sexuality is the first volume to explore this original archaeological research 5 and meet the challenges of integrating the study of sex and sexuality within archaeology. 6 It presents a strong, diverse body of scholarship, investigating locations as varied as medieval 7 England, the ancient Mayan civilizations, New Kingdom Egypt, prehistoric Europe, prehis- 8 toric as well as colonial and Victorian North America, and convict-era Australia. Above 9 all, this work demonstrates that variability in sexual expression is not solely a modern 30 phenomenon. Sexuality has been an important and changing ingredient of human social 1 life for thousands of years. 2 This pioneering volume will serve both as a valuable reference text for archaeologists 3 pursuing similar studies, and as the essential introduction to sexuality studies for archae- 4 ologists who have not explored the topic before. 5 6 Robert A. Schmidt and Barbara L. Voss are doctoral candidates at the University of 7 California at Berkeley. 8 9 401 1 2 3 4 5 6 7 118 • ii • Barbara L. Voss and Robert A. Schmidt 1 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 7 8 9 20 1 2 3 4 5 6 7 8 9 3011 1 2 3 4 5 6 7 8 9 4011 1 2 3 4 5 6 7 118 Introduction • iii • 1 2 3 4 5 6 7 8 9 10 1 2 3 4 Archaeologies 5 6 7 of Sexuality 8 9 20 1 2 3 4 5 6 Edited by 7 8 Robert A. -
A Private Underworld: the Naked Body in Law and Society
A Private Underworld: The Naked Body in Law and Society LAWRENCE M. FRIEDMAN † JOANNA L. GROSSMAN †† INTRODUCTION Like millions of United States travelers, John Brennan was fed up with the indignity and hassle of airport security screening procedures. After being patted down, the security officer referred him for further screening; the officer detected nitrates on Brennan’s clothes. Something inside Brennan snapped; and he stripped off every stitch of clothing, to prove he was harboring no explosives. As he stood naked in the Portland airport, police arrived and hauled him off in handcuffs. Brennan, a veteran of an annual naked bike ride, insisted he had done nothing wrong. Nudity was an act of protest, he claimed, protected by the First Amendment. After a brief trial in July 2012, a judge agreed with Brennan and dismissed the charge of public indecency. 1 There was precedent for his argument about nudity as a form of protest; and, in any event, the local law on public indecency only prohibited the exposure of genitalia if done “with the intent of arousing the sexual desire of the person or another person.” 2 Arousing †. Marion Rice Kirkwood Professor of Law, Stanford Law School †† . Sidney and Walter Siben Distinguished Professor of Family Law, Maurice A. Deane School of Law at Hofstra University. 1. Aimee Green, Northeast Portland Man Who Stripped Naked at Airport is Acquitted of Indecent Exposure Charge , O REGONIAN (July 18, 2012, 6:42 PM), http://www.oregonlive.com/portland/index.ssf/2012/07/northeast_portland_man_ who_str.html; Kate Mather, Naked Man Arrested at Portland International Airport After Disrobing at Security Checkpoint , O REGONIAN (Apr. -
The Bardic Utterance in Situation Comedy Theme Songs, 1960-2000
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 The ab rdic utterance in situation comedy theme songs, 1960-2000 Joni Melissa Butcher Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Speech and Rhetorical Studies Commons Recommended Citation Butcher, Joni Melissa, "The ab rdic utterance in situation comedy theme songs, 1960-2000" (2003). LSU Doctoral Dissertations. 3403. https://digitalcommons.lsu.edu/gradschool_dissertations/3403 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE BARDIC UTTERANCE IN SITUATION COMEDY THEME SONGS, 1960-2000 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agriculture and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Department of Communication Studies by Joni M. Butcher B.A., Louisiana State University, 1990 M.A., Louisiana State University, 1994 December 2003 © Copyright 2003 Joni M. Butcher All rights reserved ii ACKNOWLEDGEMENTS First and foremost, I would like to thank Dr. Ruth Laurion Bowman for her enthusiasm for my study and for her tremendous sacrifice of time and energy to make this study possible. I am greatly indebted to her for helping me bring this study to fruition. I would also like to thank my committee members Dr. Michael Bowman, F. -
General Editors' Introduction
General Editors’ Introduction SUSAN STRYKER and PAISLEY CURRAH ince the 1990s, many academic disciplines and areas of interdisciplinary S scholarship have experienced what’s come to be known as the “archival turn.” As visual resources documentarian Cheryl Simon noted as early as 2002, this turn represents, in part, “the emergence of an evidentiary aesthetic in the information age” (Simon 2002: 101), a period within which, she contends, vastly expanded digital data storage and communication networks have seemingly flattened time and collapsed space in the direction of an eternal here and now. Under such conditions, archive can become a fetish for the perhaps nostalgic notion of a specific and locatable past. As Martin Heidegger had remarked decades earlier, in surveying the immediate post–World War II technocultural landscape of Europe: All distances in time and space are shrinking. Man . now receives instant information, by radio, of events which he formerly learned about only years later, if at all. Distant sites of the most ancient cultures are shown on film as if they stood this very moment amidst today’s street traffic. Man puts the longest distances behind him in the shortest time. He puts the greatest distances behind himself and thus puts everything before himself at the shortest range.” (Heidegger 1971: 165) Now more than half a century later, smartphone in hand, all the world becomes for “Man,” that privileged subject of Eurocentric modernity, an ever-expanding and increasingly accessible archive of all that has come before or happens now. In theory, at least, and in fantasy. Within cultural theory, the “archival turn” has drawn on the expansive, critically powerful conceptualizations of “archive” in the works of such canonical thinkers as Michel Foucault (1977) and Jacques Derrida (1996) that gained pur- chase within the academy as part of a broader uptake of poststructuralist thought in many different fields over the last few decades of the twentieth century. -
Carter Asking Advice of Private Citizens
Approximate Skylab Orbit for July 11,1979 riii mt mm Skylab: Crash countdown 90 WASHINGTON (AP) - Skylab'. "countdown to "If the middle time-frame holds good, we are in an cnih" It ticking away as the filtering hulk dipt deeper excellent set of orbits," said Richard G. Smith, head of into the Earth's thickening atmoipkere and heads toward a NASA's Skylab task force. "That turns out to be the set of blaxing re-entry tomorrow. orbits with the least population under it." If present, impreciae forecaits bold, the ipace itation All the orbital paths in that middle time-frame pass will begin to break up shortly after noon EOT Wednesday over various sections of the United States. All also trav- and acatter iU huodreds of pieces of molten debris harm erse large stretches of ocean leuly Into the Indian Ocean and over West Central Austral- NASA continued to emphasize that the chances are slim ia, a sparsely populated area. any pieces of Skylab will cause injury or damage. But the Trackers early today predicted Skylab would start its " agency advised that people who hear news reports Skylab re-entry Wednesday during a 15-hour period between 4 49 is coming their way head for the lower floors of a house or a.m. EDT and 7:41 p.m., with the midpoint at 12:1* p.m. building. They said the station was 113 miles high, a drop of five Smith cautioned that the predictions, made by the miles since Monday morning. At 100 miles, it will begin to North American Air Defense Command, are not precise glow from the heat of re-entry. -
Gay Pioneers: How Drummer Shaped Gay Popular Culture 1965-1999
Jack Fritscher Chapter 8 193 CHAPTER 8 THE MAFIA: STRAIGHT AND GAY AND MAYBE NOT • Editor-in-Chief Tunes Up Drummer Issues 19-33, 1977-1980 • From “Old Guard Leather” to the “New Gender of Homomasculinity” • Sashes to Ashes: The Mr. Drummer Contest and HIV • Verite Style: Making Drummer Reflect Self-Identifying Homomasculine Readers • Embry’s Grudges Become His Blacklist That Poisons the Lineage of Leather Descent • Eyewitnesses Robert Davolt, Rick Leathers, Steven Saylor • The Mafia: “Guido Lust,” Tony Tavarossi, and the Invention of the Leather Bar TV-Gay Thumbnail. The Ritz: The Mafia gets tangled up with Manhattan denizens of a gay bathhouse (Think: “Continental Baths plus Bette Midler”) in Terrence McNally’s hit Broadway sex farce (1975) and cult movie (1977). Embry never “got” me. I never “got” him. He was petulant. I was impetuous. We were totally unrequited. We were destined for each other. Drummer editor Joseph Bean wrote in his Drummer history essay “Nobody Did It Better,” published first by the Leather Archives & Museum in its Leather Times #1 (2007), that in 1977 I had pulled Embry’s fat out of the fire in the drama that was Drummer, and to Embry’s chagrin, everyone knew it. In a decade where everybody was balling everybody, particularly in the leather culture around Drummer at venues on Folsom Street, between ©Jack Fritscher, Ph.D., All Rights Reserved—posted 03-14-2017 HOW TO LEGALLY QUOTE FROM THIS BOOK 194 Gay Pioneers: How Drummer Shaped Gay Popular Culture 1965-1999 Embry and me there was “minus zero degrees of fuck.” In fact, I never sighted Embry in any louche leather lair lower than a bar.