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316                                     Jack Fritscher, Ph.D.
            and Sam Steward). The cover and the 10 interior illustrations — one for
            each chapter — were drawn by Tom Clave (aka Tom Hinde). Hinde’s
            drawings in that book are original and distinctive, yet seem to share the
            nervous, speedy South-of-Market look similar to drawings by legendary
            drug-addict artist, Chuck Arnett. Tom gave me a copy of this limited
            edition novel in 1977, and I treasure it to this day.
               Tom Hinde’s personal story in a sense is the story of Drummer — out
            of many stories of Drummer. The 1970s were a Golden Age before HIV
            sucked out the gold and turned the light as fluorescent as an ICU.
               Tom Hinde, born in San Francisco, was the kind of artist Drummer
            needed to invent itself. His story is typical of how personal sex encounters
            led into the pages of Drummer at a time when everybody was fucking
            everybody else. Tom Hinde, a brilliant erotic artist of submission, was
            both my friend and playmate. He starred as “the martyr” in my two-reel
            Super-8 color film, The Imitation of Art (1973), two years before Drummer
            was invented. The film trans-substantiated Tom’s autobiographical S&M
            drawings onto his own flesh, which, of course, made him so much the
            more interesting as an artist whose lust included the performance art of
            his own erotic suffering. I filmed the movie at Allan Lowery’s playroom
            on Castro near 15  Street. David Sparrow did the lighting. My films and
            videos usually focus on one man on screen from the photographer’s point
            of view. If I walk into the frame, my camera is on my tripod.
               Over time, Tom Hinde introduced me to several other artists and
            bodybuilders who also wished to appear as martyrs on screen as if, I think,
            to be able to see themselves lit and angled and shot in ways even more
            intimate than in a mirror. This “suffering artist” phenomenon in the
            1970s in San Francisco was not new to me, even when “original-recipe
            martyr,” Michel Foucault, showed up to play among the Drummer salon
            on Folsom Street, because in the 1960s in New York I had shot a number
            of rather severe films of several artists and critics and writers (the names
            of the dead, the famous, and the still living are deleted). In San Francisco,
            one in my series of S&M films, Muscle Agonistes (1972), was shot in the
            same location as was Tom Hinde. The little epic starred Tom Hinde’s
            friend, the very handsome blond bodybuilder Robert Walker who was a
            painter famous as a muralist in Los Angeles interior design. He was also
            the personal chef for the very famous “name deleted,” the doyenne of the
            San Francisco social scene whom Armistead Maupin fictionalized in Tales
            of the City.
                (Many of my Super-8 films and 35mm transparencies — some shot
            with Tony Tavarossi at the Slot Hotel in the Stocks Room #226 — pre-
            miered during a number of performance-art “happenings” staged with
            the poet Ron Johnson at the No Name bar on Folsom Street during

          ©Jack Fritscher, Ph.D., All Rights Reserved—posted 05-05-2017
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