Page 147 - Gay Pioneers: How Drummer Shaped Gay Popular Culture 1965-1999
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Jack Fritscher              Chapter 5                        129

             original The Producers. At 1970s film nights at the Ramrod on Folsom Street,
             the clip repeatedly screened precisely for Nazi “camp” was “Springtime for
             Hitler.” The myopic Evans, born minus a humor gene, obviously missed
             other pop-culture entertainments such as the camp exploitation film, Ilsa:
             She-Wolf of the SS (1974), or the sexual seductiveness of Oscar-nominated
             director Lina Wertmueller’s Seven Beauties (1975), or Liliana Cavani’s sexu-
             ally transgressive BDSM classic The Night Porter (1974).
                All of these very popular, controversial, and libido-lifting films, two
             directed  by  famous  women, mirror  exactly  the  Drummer  fetish  for and
             obsession with forbidden Nazis, no more and no less, because nearly all
             the men in 1970s bars had been young American boys traumatized and
             fascinated by Nazi terror during the Second World War in the same way
             that the young Tom of Finland, in clutched erotic anxiety, in the 1930s and
             1940s had feared and fetishized Nazis in his glamorous uniform drawings.
                Regarding the erotic temper of the mid-1970s, these smartly reviewed
             Nazi-lust films all debuted at the same moment that the first issue of
             Drummer  hit the stands in 1975. In the Christmas issue, Drummer 25
             (December 1978), to peg the shrill Evans, I had published one of his typi-
             cal flaming tirades, “Afraid You’re Not Butch Enough?,” written under his
             pseudonym, the “Red Queen.” During that same year, Evans interested
             me because following my 1972 book on women and gays and the occult,
             Popular Witchcraft, he published in 1978 his anti-male book Witchcraft and
             the Gay Counterculture.
                  Earlier in Drummer 20 (January 1978), I wrote a feature about Pier
             Paolo Pasolini’s film Salo, explaining to pitchfork-and-torch villagers like
             Evans the erotic appeal of the forbidden, as well as the social good that
             esthetic analysis can do with art about Fascists and Nazis, especially when
             erotic desire itself is stridently politically incorrect. Evans committed the
             very social sins he complained about. He was trapped in binaries. He used
             the historic persecution of women and gays by straight men, including the
             Inquisition and Nazis, to justify his politically correct attacks on sadomas-
             ochism and innocent masculine-identified gay men he and the Effeminists
             mistook for the enemy. Everything is of a piece in the puzzlement of this
             universe. Later writing about “The Cult of Masculinity” in the White Crane
             Journal #58, he remained not unlike Richard Goldstein who wrote a semi-
             nal attack screed, “S&M: The Dark Side of Gay Liberation,” in The Village
             Voice, July 7, 1975, seventeen days after the publication of the first issue of
                In 1973, The Effeminist Manifesto, published in Double-F: A Magazine
             of Effeminism, was written by self-described “gynarchists” Steven Dansky,

               ©Jack Fritscher, Ph.D., All Rights Reserved—posted 03-14-2017
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