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Gay San Francisco: Eyewitness Drummer                 103
                drag; and their performances quivered with a fresh sexuality
                and humanity in the cold mountain air. There is a camp infinity
                between Brokeback Mountain (2005) and City Slickers (1991),
                the other gay cowboy movie in which Jake Gyllenhaal appeared.
                    That element of the “human male force” is missing in most
                every historical narrative of gay rebellion. In truth, that archetypal
                force has rarely been dramatized in gay literature because of poli-
                tics and because of the perceived inherent difficulty in dramatiz-
                ing two men in love. Long before Brokeback Mountain, there was
                its predecessor, that other edgy homomasculine film, Midnight
                Cowboy (1969.)
                    I have  argued  this  same  gender  point  regarding polarity
                witchcraft that some wiccan traditionalists mistakenly demand
                requires  a  man  and  a  woman. My  research,  best  exemplified
                by Aleister  Crowley, is that  polarity magic can be  practiced  by
                two people of the same gender who discover subtler polarities
                between their physical and spiritual selves.
                    A case in point is the drag-free Some Dance to Remember.
                Both leading men are masculine, which means that each charac-
                ter had to be defined by subtleties of characterization other than
                the easy deus-ex-machina polarities of male-female and butch-
                sissy gender differences that dramatize most love stories.
                      Some  reviewers,  victims  of  speed-reading too  many  gay
                books, wanted one of the pair of men in  Some Dance  to be
                draggy, or camp, or, at the very least, gayer, because that kind of
                comic relief and dramatic shorthand is the norm that plays to the
                groundlings where camp is easily pitched.
                    One reason that the reporting about the riots at Compton’s
                Cafeteria and of Stonewall are drag-intense is that when a journal-
                ist or scholar goes trolling for post-factum interviews, drag queens
                are as willing to be interviewed as the eager Lady Chablis in Mid-
                night in the Garden of Good and Evil.
                    In the same way, hustlers who sell sex for cash are extremely
                willing to “tell you what you want to hear” for cash.
                    Masculine men, on the whole, are more taciturn, more invis-
                ible and harder to find, and once found, tend to a human-male
                reticence that is not “for sale” and does not lead to a particularly
                colorful interview.
                    This hardly helps the heat-seeking journalist or the queer
                historian such as Martin Duberman or the queer theorist such as
                Eve Kosofsky Sedgwick.
                    For instance, regarding the masculine-identified Drummer
                “Slave Auction” busted in LA in 1976, no journalist created any
                instant legend. No one rioted. Defense funds were quietly raised.
                As there  were  no drag queens  to spin for  color,  The Advocate
                retreated to the opposite sensationalism quoting the lurid LAPD
                police report about “slaves and nipples” because The Advocate
           ©Jack Fritscher, Ph.D., All Rights Reserved—posted 05-05-2017
                HOW TO LEGALLY QUOTE FROM THIS BOOK
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