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Gay San Francisco: Eyewitness Drummer                601





                    Toward an Understanding of

                                      Salo


                 Written October 14, 1977, this feature essay was pub-
                 lished in Drummer 20, January 1978.
                 I.  Author’s Eyewitness Historical-Context Introduction
                    written February 15, 2007
                 II.  The feature essay as published in Drummer 20,
                    January 1978
                 III. Eyewitness Illustrations


             I.  Author’s Eyewitness Historical-Context Introduction written
                February 15, 2004

               Fighting American Fascism: The American Civil War (1860-1865)
                    Continues as the 21 -Century American Culture War
                                    st
             On October 14, 1977, I wrote this review-essay which was published in
             Drummer 20 (January 1978), pages 66-67, with six photographs from
             the Italian film Salo (1975). Based on the book, The 120 Days of Sodom,
             by Marquis de Sade, Salo was directed by international filmmaker Pier
             Paolo Pasolini who, shortly after the release of Salo, was murdered, age
             fifty-three, on the beach at Ostia, near Rome, by the rough-trade hustler
             Pino Pelosi. In this world, there are the dreamers and the predators who
             follow them. Then come the legends and the acolytes.
                On a brilliant spring day, March 22, 2006, Mark Hemry and I,
             having taken rooms at the Hotel Quirinale in Rome, set out from Pyra-
             mide Station on the Roma-Lido railway for a day trip to Ostia, making
             pilgrimage to lay roses near the beach where Pasolini was killed thirty
             years before on November 2, 1975. In our camera bag we carried from
             home in San Francisco a copy of Pasolini’s Roman Poems translated by
             Lawrence Ferlinghetti at City Lights Books. Outside the train window,
             huge quadrangles of apartments gave way to tenement slums, and at EUR
             Magliana Station to the large white cube of Mussolini’s Pallazzo della
             Civita del Lavoro, and then to the suburbs of trackside country villages
             Pasolini had satirized with Terence Stamp in Teorema (1968). We exited
             the graffiti-covered train at the seaside village of Ostia Antica. Pasolini

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