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Gay San Francisco: Eyewitness Drummer                249
             sex characteristics of body-hair patterns, moustache, beard, bone mass,
             weight, musculature, and voice as well as ageing (on into andropause
             and seniority), in a vocabulary of in-corpor-ated identity markers psycho-
             logically antidotal to the ever-young androgyne as well as to effeminate
             conventions, stereotypes, and fears. Secondly, these words, fixed at the
             time of their coining, provided the muscular vocabulary gay men needed
             as they rejected society’s subjugation and dismissal that classified them
             as feminine, because as long as people think gays “want to be women,”
             people will, using that key phrase, bash and abuse gays the way they
             victimize women, which is why gays’ and women’s causes are so similar,
             and can be linked to such mutual benefit.
                In 1978, at age thirty-nine, I looked at the futurity of gay men in a
             feature interview with the thirty-seven-year-old pornstar legend Richard
             Locke in Drummer 24 (September 1978), and I wrote, conscious of our
             future history, “Years from now when you read this and you will read this,
             remember the way we were in 1978.” The need for homomasculinity arose
             because Peter Pan cannot stop growing thicker, hairier, and older. So I
             thought to make a virtue of necessity — literally, virtue, from the Latin,
             vir, meaning male. Inspired by the then new Spanish film, In Praise of
             Older Women (1978), I introduced the nouvelle but reader-friendly phrase
             “In Praise of Older Men” into “Upcoming at Drummer” which became
             the special unnumbered issue Drummer Daddies, “In Search of Older
             Men.” In that same Drummer 24, with its famous Mapplethorpe cover
             deconstructing the cliche of kveeny male beauty, my editorial, “Let Us
             Praise Fucking with Authentic Men,” amplified the text and photos of
             grown men doing their dad’s act not their mum’s.
                In 1969, my friend Al Shapiro (the artist A. Jay) had become art
             director of the self-defining Queen’s Quarterly; by the mid-70s, he turned
             180 degrees of separation from QQ and we began creating Drummer as a
             pro-active lifestyle magazine for masculine-identified guys. Thus ignited
             by my original coinages and high concepts in these early issues, Drum-
             mer then built — for the next twenty years of its existence — entire issues
             on homomasculine fetishes and themes of “dads” and “sons/boys” and
             “bears” and finally on “mountainmen.” That word I introduced from my
             own twelve-years’ buck-skinning re-enactment experience as a new fetish
             category in the huge “Bear Issue” of Drummer 119 (August 1988). I make
             a tiny nod to Richard Amory’s pastoral Song of the Loon (book 1966; film
             1970), his Fenimore Cooper leatherman, and his Native-American named
             “Bear-Who-Dreams.” “Dick Amory,” however, who spent too much time
             making a pseudo-sexy pen-name, blew the coming tide because he did
             bother to fetishize the word bear. So bear lay ignored, mostly because gay
             consciousness was too young and too skinny to need bear’s  interpretive

           ©Jack Fritscher, Ph.D., All Rights Reserved—posted 05-05-2017
                HOW TO LEGALLY QUOTE FROM THIS BOOK
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