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Gay San Francisco: Eyewitness Drummer                 321
                dismissal of sexual art is that the critic was totally unmoved [word
                is underscored by Camille’s hand in ink] in any sensual way.
                    Art is the forum where men can transcend many limita-
                tions, one of them being the area of “good” and “evil”: many
                physically uncommitted crimes have been transfigured by art-
                ists into great moments to be recognized and experienced by oth-
                ers. The critic’s function is to determine whether that moment
                occurs — not whether he is physically repelled by it or not.
                Sincerely,
                Camille O’Grady [signed in black ink from a fountain pen]
                ©1979 Camille O’Grady
                Tom Hinde’s drawings were so controversial in the Titanic 70s that
             they made critic Beau Riley foam at the mouth like a right-wing Repub-
             lican — in fact, like a 1979 prototype of the new wave of the politically
             correct. Riley reviewed two shows: William McNeill’s “Seven Deadly
             Virtues,” seven large mixed-media drawings at the Ambush bar, and Tom
             Hinde’s “Thomas G. Hinde,” forty-one small drawings at Fey-Way Gal-
             lery. The two South of Market venues were about two blocks apart.
                Beau Riley was writing about not just Tom Hinde. He was also
             flaming  on  about  sex,  drugs,  and  rock-n-roll  South  of  Market  in  the
             same fundamentalist way as had Richard Goldstein in his shock feature
             article “S&M: The Dark Side of Gay Liberation,” Village Voice, July 7,
             1975 — two weeks after the first issue of Drummer was published, June
             20, 1975.
                In truth, in that time in that place in the politically correct Sentinel,
             Riley was really writing about Drummer and the culture of Drummer.
                Odd, the way he perceived it, because at the same time he was writing
             his point of view for the Sentinel, I was writing my point of view about
             art, politics, gay leather culture, and the fashioning of homomasculine
             identity in Drummer.
                I find it absolutely necessary to quote fundamentalist Beau Riley
             because he voices precisely the politically-correct bigotry that I was fight-
             ing against in the pages of Drummer. In the fair play of fair use, I quote
             the vanished Riley nearly in full because his militant article in smear-
             ing the leather culture South of Market as an “explicit hell” and “forum
             of depravity” is historical “Exhibit A” of swanning gay puritanism. He
             requires inserted line-item rebuttals and scholar-like comments. And, to
             be fair to him and readers who may want to judge if I have “bent the
             bent” of his primary text in then publisher Charles Morris’ The Sentinel,
             I quote him for textual examination because his article seems otherwise
             irretrievable.

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