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But his 1975 photograph of her -- today considered a classic -- for the cover of her first album, "Horses," helped to spark both his career and hers.There were, of course, other factors in Mapplethorpe's advancement, not least his ability to hustle."Inner City Blues" kicks things off with great promise, as Coryell jams over a pre-programmed rhythm track with background vocalists.On "(Angel on Sunset) Bumpin' on Sunset," he improvises along with a sampled Wes Montgomery, then turns Erroll Garner's classic "Misty" into a mid-tempo reggae jaunt through which he and pianist Mulgrew Miller travel lightly.Morrisroe writes, "and they arrived with suitcases, and sometimes doctor's bags, filled with catheters, scalpels, syringes, needles, laxatives, hot water bottles, rope, handcuffs and pills.They dressed up as women, SS troopers and pigs." Growing up in a blue-collar precinct of Floral Park and steeped in Catholicism, Mapplethorpe developed -- to his alarm -- an adolescent interest in gay pornographic magazines. Morrisroe, "were the rowdiest, most right-wing students on campus." He also tried, unsuccessfully, to relieve his heterosexual virginity. HIS fancy surname notwithstanding, the photographer Robert Mapplethorpe was a lower-middle-class Roman Catholic boy from Queens, the third of six children, whose father, Harry, spent his working life at Underwriters Laboratories and whose mother, Joan, belonged to the Rosary Society and a bowling league.The brouhaha, however, helped draw record crowds and brought a big surge in the sale of Mapplethorpe's photographs.

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A racist (who also seemed to dislike Jews), he called them "nigger" in love play and exacted from them servitude as photographic models.

Famous, rich, worldly, a heavy drug user and a homosexual satyr, he had proved adept at promoting a derivative talent into a big career.

But by the time he died of AIDS in 1989 at the age of 42, Mapplethorpe had put such a distance between himself and his childhood milieu that his parents barely knew him.

During their relationship, Wagstaff served as lover, mentor, parent, curator and sugar daddy to Mapplethorpe -- at one time buying him a 0,000 loft -- and actively furthered his photographic career.

A keen "eye" and a voracious collector, Wagstaff assembled in the 70's a world-class photography holding, which exposed Mapplethorpe to the seductive imagery of such disparate greats as Nadar and George Platt Lynes, Roger Fenton and Baron de Meyer.

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