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Gay San Francisco: Eyewitness Drummer                 21
                The whole process of Vanguard leadership (the Drummer creators)
             and independent critical thinking about that avant garde (of Drummer
             creators) is constantly in flux. It is interesting to note how totally Drum-
             mer was accepted by its readers into their lives for the last quarter of the
             twentieth century, but that Drummer Vanguard and all it represents of
             male-identified homosexuality has yet to be accepted into the canon of
             almost-pan-sexual and “official” GLBT history that, ironically, prides
             itself on every other kind of diversity and inclusion.
                The culture war over the right to self-fashion gender identity, which
             once was intermural between heterosexuals and homosexuals, has become
             intramural among gay people. This is precisely when “history can be a
             bitch,” because some thought collectives operate within specific “thought
             styles” (denkstils), and the “thought styles” tend to “ethnically cleanse”
             what they don’t like about the thought collectives of the Vanguard.
                It appears that correct “thought styles,” which come after the edgy
             Vanguard, are much slower to change than are the thought collectives of
             the Vanguard that created the history that must be analyzed.
                Group “thought styles” are much broader in reach than is an indi-
             vidual avant garde artist or entity, and the “thought style” can encompass
             whole cultures, such as Euro-cultures, Afro-cultures, Native American
             cultures, and, one could argue, modern and postmodern gay cultures. The
             twenty-first-century  record of  twentieth-century  masculine-identified
             men must not be diminished. Its authentic twentieth-century Vanguard
             roots must not be excluded from the “thought styles” of GLBT history.
                Jack Fritscher and the creative cadre of homomasculine-identified
             men he brought together under the Drummer salon are that Vanguard in
             twentieth-century gay history. It is a Vanguard whose analysis could help
             educate the denkkollektiv of GLBT history to look beyond what is cur-
             rently considered politically correct to a broader view of what the “people’s
             gay history,” in fact, encompasses.
                The embarrassing separatist habit — the bad intellectual and aca-
             demic habit — of excluding masculine-identified gay men or the art and
             literature of homomasculinity from the canon of gay history is analogous
             to expunging field slaves from a history of slavery, or lesbians from a his-
             tory of women. Fritscher, not just in Gay San Francisco: Eyewitness Drum-
             mer, but in his entire oeuvre of books and articles and photographs and
             videos, invites everyone into the tent even while he tries to tell the hidden
             history of the homomasculine Vanguard of Drummer that was read by
             thousands of people per month. He writes in Gay San Francisco that “the
             history of leather should be open to all analysts the way the pages of 1970s
             Drummer were open to all.” The Drummer Salon, Fritscher continues, was
             “inclusive” not “exclusive.”

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