Page 343 - Gay San Francisco_Eyewitness Drummer
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Gay San Francisco: Eyewitness Drummer                323
                    Two scenes: Hinde in a gallery, free wine, everybody see-
                ing and being seen. McNeill in a scrufty [sic] bar, supply your
                own drugs and look out for reality . . . . Hinde’s work is a spectre,
                McNeill’s a prospect . . . . Hinde’s work is ILLUSTRATIVE, his
                technique MAGAZINE-LIKE [I added caps to emphasize the
                prejudice that the “proper gay establishment” has always had
                against gay magazines as a genre], his ideas are those which are
                comfortable in their perverse way, and the works themselves
                [are] as easily dismissed or obsessionally retained as any porno-
                graphic image . . . .
                    Clearly McNeill has bested our fractious times . . . to assert
                himself and to plea for goodness. Clearly Hinde has been bested
                by it all, been objectified and victimized like his subjects, has
                surrendered his own feelings to the crowd notion of what is real.
                Hinde has been specific, naked if you will; but McNeill has
                made art.
                     — ©Beau Riley, “The Naked and the Nude,”  The San
                Francisco Sentinel, January 26, 1979, page 9.

                Beau Riley makes me think of the German saying from the 1890s,
             “Just because you take it up the ass doesn’t mean you’re a critic.” Like so
             many under-educated and agenda-driven gay critics in The Sentinel and
             in the Bay Area Reporter, instead of reviewing the art, he uses the art as an
             opportunity to stand on his moralistic, fundamentalist, bi-polar soapbox.
                Of course, Tom Hinde was absolutely “illustrative” and “magazine-
             like.” That’s why Drummer published him. Of course, he had “perverse”
             ideas and had been “objectified and victimized.” That’s why we all had
             sex with him. And made movies of him. He suffered beautifully. He was
             like Christ in Gethsemane. He was a great bottom.
                As of this date, Thomas G. Hinde, who gave me several of his draw-
             ings, is listed by his alma mater, St. Mary’s College, San Francisco, among
             the “Lost Alumni” of 1964.
                Camille O’Grady — God bless her — is rumored to be alive and well
             and living at an undisclosed location.
                Tom Hinde was the kind of S&M player who, breathless over the
             poet, e e cummings, did not use upper-case capitalization he thought
             suitable only for masters and tops. He signed his drawings both as “T.
             Clave” and “Thomas G. Hinde” playing with S&M metaphor: that clave
             is a word for a hardwood stick used in a pair for percussion, and that hind
             can also mean rear-end and deer.




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