Page 559 - Gay San Francisco: Eyewitness Drummer - Vol. 1

Gay San Francisco: Eyewitness Drummer 539
I want to alarm the reader and frighten the horses and stick needles
into modern and post-modern homosexuality till it bleeds.
I want to whip the politically correct. I want to pinch the nipples of
straight people who hang lasciviously around the edges of our homosexual
shrines.
I want to drive the pretenders from the temple so that men can be
with men again, and women can be with women again, without the poli-
tics of separatism or the religion of matriarchy using the playrooms of
homosexuality to try to kill off patriarchy which is a heresy as bad as
matriarchy.
I am not a masculinist.
I am not a feminist.
I am not a separatist.
I am a humanist, because I think that the quintessence of homosexu-
ality is to make one more human.
Politics usually makes people less human.
These are dangerous words, maybe, but if writing isn’t a thrill, then
it’s just jerking off.
History buffs may note that my Drummer of the 1970s was very
“West Coast” going “international.” After I exited Drummer on Decem-
ber 31, 1979, Drummer, like S&M itself in the 1980s experienced the
pressure of East Coast sexual politics which changed face and direction.
Gay Liberation, for instance, became Gay Politics.
And those are two different ways of being.
Sports ain’t just about jock straps, locker rooms, and sucking off the
coach.
This kind of civil war, between the Left Coast and the Right Coast,
was as bad as the civil war between Drummer and The Advocate, and
between the gay Marxist left and the gay Log Cabin right. All these gay-
civil-war battles of liberation hurt many artists and writers as much as
the McCarthy Communist witch hunts in the 1950s hurt Hollywood
writers. This is one of the reasons that the gay-civil-wars are one of the
main themes in Some Dance to Remember, Reel 2, Scene Fifteen.
In 1990, Brian Pronger, aware of how for years I continued creating
Drummer images for my erotic-athletic Palm Drive Video company, con-
tacted me for some of my sports photographs. He had liked the pioneering
“Gay Sports” idea of Drummer 20. His nonfiction book then in progress
was The Arena of Masculinity: Sports, Homosexuality, and the Meaning of
Sex. He published one of my quintessential Drummer photographs fea-
turing the two “Gay Sports” boxers, Dan Dufort and Gino Deddino,
from my video Gut Punchers which, shot July 26, 1987, was the first
gut-punching video. It was reviewed in Drummer 115 (April 1988). I kept

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