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612                                     Jack Fritscher, Ph.D.
               Finally, I should make an eyewitness note that Mario Simon, the
            lover and business partner of publisher John Embry, was a singer born and
            raised in Franco’s Fascist Spain. He immigrated to America as an adult,
            met Embry in LA, and was arrested with Embry by the LAPD which
            made him two-times a Fascist victim when he fled LA for the open city
            of San Francisco in 1977. In the 1980s he was type-cast in local stagings
            of Evita as Magaldi, the over-the-top tango singer who gives Evita her first
            leg up singing “On This Night of a Thousand Stars.” Long after I exited
            Drummer, Embry listed “Mario Simone” on the masthead of Drummer 57
            (October 1982) as “General Manager” which was flattering — and, one
            opines, tax-deductible, which made legitimate sense for benefits because
            he was not unknown as “Mrs. Drummer,” the owner’s “wife.” The tem-
            pestuous “Mario Simone” was more often “Mario Simon” as spelled in his
            obituary; he lived from March 5, 1942 to December 12, 1993.

            II.  The feature essay as published in Drummer 20, January 1978

            DRUMMER Views the Flicks . . .
            The last and best review of
            the controversial Salo you’ll ever need.
            What’s an S&M man to think of leather and Fascism?

                   Toward an Understanding of

                                     Salo
              (Drummer’s Farewell to Pasolini’s Last Picture Show)

            Let’s cut through all the queenly bullshit about Salo, the last and most
            controversial vision of Italian filmmaker Pier Paolo Pasolini. If you’re
            alive and gay, you waited two years for the U.S. release of this film. Now
            that you’ve seen Salo, how do you handle its scenes in your own head and
            explain them to unkinky gays? Especially since Salo’s explicit scenes, at
            first viewing, seem so directly tied to the S&M lifestyle. You can’t laugh
            Salo off like Pink Flamingo’s outrageous Divine eating shit. Salo is no joke.

            TWO KINDS OF CINEMA

            Make a distinction: movies and films. You go to a movie to escape life’s
            tension. You go to a film to intensify life. You go to a movie for entertain-
            ment. You go to a film for intensified input. Some guys short-circuit when


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