Friday, May 17, 2013




Antidotes to Ignorance Features

In the Reign 
of the 
Gay Magical Elves

[NOTE: The rush to embrace and console every gay man who comes out is infantilizing and condescending—but it's a script written and promoted by GLAAD and reinforced by a sanctimonious establishment of gay men that rewards those who play by the rules—and punishes those who don't. The following was written by out gay novelist Bret Easton Ellis on why he refuses to take the politically correct criticisms of his compatriots lying down.]



"Divine," the old, untrue,
nightmare gay stereotype



The new, idealized, PC gay stereotype



5/13/2013

by Brett Easton Ellis [truncated, edited and partially cleared of obnoxious trendy jargon by FT]


Was I the only gay man of a certain demo who experienced a flicker of annoyance in the way the media treated Jason Collins as some kind of baby panda who needed to be honored and praised and consoled and—yes—infantilized by his coming out on the cover of Sports Illustrated?  Within the tyrannical homophobia of the sports world, that any man would come out as gay (let alone a black man) is not only an LGBT triumph but also a triumph for pranksters everywhere who thrilled to the idea that what should be considered just another neutral fact that is nobody’s business was instead a shock heard around the world, one that added another jolt of transparency to an increasingly transparent planet. It was an undeniable moment and also extremely cool. Jason Collins is the future. But the subsequent fawning over Collins simply stating he is gay still seemed to me, as another gay man, like a new kind of victimization. (George Stephanopoulos interviewed him so tenderly, it was as if he was talking to a six-year-old boy.) 

In another five years hopefully this won’t matter, but for now we’re trapped in the times we live in. The reign of The Gay Man as Magical Elf, who whenever he comes out appears before us as some kind of saintly E.T. whose sole purpose is to be put in the position of reminding usonly about Tolerance and Our Own Prejudices and To Feel Good About Ourselves and to be a symbol instead of just being a gay dude, is—lamentably—still in media play.

The Gay Man as Magical Elf has been such a tricky part of gay self-patronization in the media that you would by now expect the chill members of the LGBT community to respond with cool indifference. 

The Sweet and Sexually Unthreatening and Super-Successful Gay is supposed to be destined to transform The Hets into noble gay-loving protectors—as long as the gay in question isn’t messy or sexual or difficult. The straight and gay sanctimoniousness that says everyone gay needs to be canonized when coming out still makes some of us who are already out feel like we’re on the sidelines. I’m all for coming out on one’s own terms, but heralding it as the most important news story of the week feels to me, as a gay man, well, kind of alienating. 

We are apart because of what we supposedly represent because of… our… boring… sexuality—oh man, do we have to go through this again? And it’s all about the upbeat press release, the kind of smiling mask assuring us everything is awesome. 

God help the gay man who comes out and doesn’t want to represent, who doesn’t want to teach, who doesn’t feel like part of the homogenized gay culture and rejects it. Where’s the gay dude who makes crude jokes about other gays in the media (as straight dudes do of each other constantly) or express their hopelessness in seeing Modern Family being rewarded for its depiction of gays, a show where a heterosexual plays the most simpering ka-ween on TV and Wins. Emmys for it? 

Why isn’t the gay dude I have always known and the gay dude I have always wanted to be not front and center in the media culture now? But being “real” and “human” (i.e. flawed) is not necessarily what The Gay Gatekeepers want straight culture to see.

***

I was invited to the GLAAD media awards last April ... The night was going to honor Bill Clinton — bizarre since Clinton had signed DOMA and 'don’t ask, don’t tell,' but GLAAD has also honored Brett Ratner this year after he had innocuously said,  “Rehearsals are for fags.” and was forced to repent. ... I accepted and started to worry about what I was going to wear. At the time I really had no idea that GLAAD harbored any resentment against a gay man who sometimes expresses his distaste with the stereotypical way Hollywood represents gays in transgressive language on my Twitter account.  ...

[E]ver since I realized I was gay I have always supported gay rights ... I have not, however, supported the way gay people have been portrayed in the media, ... but since I know so many gay men who feel like I do—that they are represented in some kind of unending gay minstrel show in movies and on TV often created by gay writers and producers, or just conveniently ignored—I assumed that the community I was supposedly a part of was as inclusive as I. ... Certainly I hadn’t fucked-up as many gay lives as Bill Clinton had. So: I was going to the GLAAD awards. ...

The day before the event my agent texted me and told me that GLAAD was “furious” with [me] and that I had been disinvited.  ... The agent had sent me part of GLAAD’s email along with their “instructions,” saying that they hoped I wasn’t disappointed by the news ... They also said they hoped that I would not go public... about this decision. They suggested, like they are prone to do (especially with dudes who have somehow “transgressed” the GLAAD Rules of Humorless Social Etiquette), that they have a “sit down” with me. As a gay man, I could only think: Where in the hell are we? Gay Elementary School? I apologized to the agent for any embarrassment this might have caused her and tweeted about the news. ...

GLAAD was at the red-hot center of creating The Gay Man as Magical Elf in the culture and often awarded the stereotypes parading around in embarrassing queer movies and degrading retro sitcoms as simply “gay positive” because they were, um, gay, and conveniently disregarded the fact that there is a silent majority of gay men who actively loathe and resist the caricatures on display. And, no ... these men don’t hate themselves.

Gay activists dive-bombing other gays who express an opinion that doesn’t lean toward their agenda means that within the gay world we are living in a very simplistic place. ... 

When a community prides itself on its differences and uniqueness and bans the gay man because of the way the gay man expresses himself—then a corporate PC fascism has been put into play that needs to be seriously reconsidered by the LGBT community. This is a problem: If you are a gay man who is not The Gay Man as Magical Elf, then you run the risk of being ostracized by the elite gay community. ...

***

An openly gay director ... said that he agreed with much of what I had [written], especially how aggravating it was to see gay people still portrayed in entertainment as basically bitchy clowns or the [effeminate] best friend or now, on Scandal, “The Evil Republican.” 

What exactly drew the ire of GLAAD and threw them into a hissy-fit? 

[B]ecause of something I tweeted they assumed that I believe that gay actors can’t play straight roles. Wrong. I never said [that]. ...

***

I’ve been accused by a few vocal sections of the gay community of being a “self-loathing” gay man. I might be a little self-loathing at times ... but it’s not because I’m gay. I might come off that way because I think life is essentially hard and that scalding humor and rallying against its absurdities is the path on which to move through the world—and sometimes that means making fun of myself or lashing out at media targets ... That a gay man can’t make a joke [about] AIDS ... without getting punished [and labeled as] “self-loathing” is indicative of the new gay fascism. 

The real shame isn’t the jokey observation, [it’s] the PC gay reaction to the jokey observation. 

The real shame is that most gay men—who are every bit as hilariously filthy, raunchy and un-PC as their straight male counterparts—have to somehow tow the GLAAD party line in public or else be criticized. A lot of gay men probably feel they can’t be provocative, raunchy or politically incorrect in the mainstream media because it doesn’t represent The Cause. 

This is where we’re at now, I guess. Within the clenched world of the gay PC police there has been a tightening of the reigns. It’s as if in this historic moment for gay men we somehow still need to be babied and coddled and used as shining examples of humanity and objects of fascination—the gay baby panda—and this is a new kind of gay victimization. The fact that it is often being extolled by other gays in the Name of the Good Cause is doubly stifling. ...

***

Jason Collins ... is, in this moment a legitimate hero if not just an OK basketball player at the end of his career, but the over-protectiveness and the avalanche of acceptance is also for some gay men a kind of condescension. It says that if you are gay in this moment you automatically represent something, and you are expected to play this role just because of your sexuality. 

What this notion leaves out is that: We are not all well-adjusted ... We’re not all happy queers ... some of us are cranky, depressed wrecks. ... Some of us feel the need to express our “gay” selves any way we want to, even if that doesn’t conform to “gay positive” stereotypes. ...

Where’s the not-famous, sloppy, somewhat lazy gay dude who doesn’t mind being gay but just doesn’t care about being PC or being an example of “moral uplift?” the guy who just wants to get on with his life ... without becoming a label? The gay man who feels he doesn’t have to march in the parade while smiling? 

The inclusion and promotion of this common gay man by the Gatekeepers of Politically Correct Gayness would be ... shattering. It would be a massive move toward eliminating The Gay Man as Magical Elf.
Someone like Jason Collins may have moved us much closer to acceptance, but the fact ... remains that if you aren’t a happy homosexual totally at ease with yourself, promoting healthy mainstream values mirroring The Culturally Correct Gay Elite, then you’re considered a self-hating homo. This is still the ... heart of The Gay Lie.



Antidote Week Honors


Can you name this attractive young couple?

If so, what do you know about them?

FORMAL NOTICE:

Comments unrelated to the material presented in each daily post will be summarily deleted, UNLESS I, myself, find them of potential value to others and particular interest to me, personally.

~ FreeThinke


Thursday, May 16, 2013

Antidotes to Ignorance Continued

Thanks to FJ for this link


Wednesday, May 15, 2013


MOST RECENT

ANTI-OBAMA HEADLINES 


The red meat you've been longing for
complete with links to the juiciest parts

•  

...and more on the way.

•  

Press corps flips into full bore pout and keens,
"He's just not that into ME."

•  

Are Americans about to make a top-to-bottom reassessment
of what they thought they knew about their president?

•  

Dr. Franksteins turn on the monster they created.

•  

Unfinished business to take care of.

•  

Jonathan Karl and Jake Tapper play toss-the-hot-potato with Benghazi tale.

•  

Worth a revisit now that the MSM is awake.

Antidote Week Persists

The Dog in the Manger 


A dog looking out for its afternoon nap jumped into the Manger of an Ox and lay there cosily upon the straw. But soon the Ox, returning from its afternoon work, came up to the Manger and wanted to eat some of the straw. The dog in a rage, being awakened from its slumber, stood up and barked at the Ox, and whenever it came near attempted to bite it. At last the Ox had to give up the hope of getting at the straw, and went away muttering ...
Moral: People often begrudge others what they cannot enjoy, themselves.

~ Aesop


Tuesday, May 14, 2013


ANTIDOTE WEEK SCALES NEW HEIGHTS
Joseph Rudyard Kipling, English poet, novelist, short story writer

IF

If you can keep your head when all about you
Are losing theirs and blaming it on you;
If you can trust yourself when all men doubt you,
But make allowance for their doubting too:
If you can wait and not be tired by waiting,
Or, being lied about, don't deal in lies,
Or being hated don't give way to hating,
And yet don't look too good, nor talk too wise;

If you can dream –– and not make dreams your master;
If you can think –– and not make thoughts your aim,
If you can meet with Triumph and Disaster
And treat those two impostors just the same:.
If you can bear to hear the truth you've spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to, broken,
And stoop and build'em up with worn-out tools;

If you can make one heap of all your winnings
And risk it on one turn of pitch-and-toss,
And lose, and start again at your beginnings,
And never breathe a word about your loss:
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: "Hold on!"

If you can talk with crowds and keep your virtue,
Or walk with Kings –– nor lose the common touch ––
If neither foes nor loving friends can hurt you,
If all men count with you, but none too much:
If you can fill the unforgiving minute
With sixty seconds' worth of distance run,
Yours is the Earth and everything that's in it,
And –– which is more –– you'll be a Man, my son! 

~ Rudyard Kipling (1865-1936)

Monday, May 13, 2013


A Stronger Antidote to the Bile 
that May be Dominating Your System

The Habit of Keeping a Clear Conscience
5/13/13

. . . strive to have a conscience without offense toward God and men —Acts 24:16

God’s commands to us are actually given to the life of His Son in us. Consequently, to our human nature in which God’s Son has been formed (see Galatians 4:19), His commands are difficult. But they become divinely easy once we obey.

Conscience is that ability within me that attaches itself to the highest standard I know, and then continually reminds me of what that standard demands that I do. It is the eye of the soul which looks out either toward God or toward what we regard as the highest standard. This explains why conscience is different in different people. If I am in the habit of continually holding God’s standard in front of me, my conscience will always direct me to God’s perfect law and indicate what I should do. The question is, will I obey? I have to make an effort to keep my conscience so sensitive that I can live without any offense toward anyone. I should be living in such perfect harmony with God’s Son that the spirit of my mind is being renewed through every circumstance of life, and that I may be able to quickly “prove what is that good and acceptable and perfect will of God” (Romans 12:2 ; also see Ephesians 4:23).

God always instructs us down to the last detail. Is my ear sensitive enough to hear even the softest whisper of the Spirit, so that I know what I should do? “Do not grieve the Holy Spirit of God . . .” (Ephesians 4:30). He does not speak with a voice like thunder— His voice is so gentle that it is easy for us to ignore. And the only thing that keeps our conscience sensitive to Him is the habit of being open to God on the inside. When you begin to debate, stop immediately. Don’t ask, “Why can’t I do this?” You are on the wrong track. There is no debating possible once your conscience speaks. Whatever it is— drop it, and see that you keep your inner vision clear.

~ Oswald Chambers - My Utmost for His Highest

CELEBRATING ANTIDOTE WEEK 
Kristen Chenoweth and Nathan Gunn
in the studio recording 
"It Feels Like Home."

If this doesn't charm you, and cheer you up, 
I can't imagine what would.
 
ENJOY!

Sunday, May 12, 2013


Antidote Week Continues 
with this 
MOTHER'S DAY TRIBUTE 
to a Most Extraordinary 
Young American Family


Nathan Gunn and Julie Jordan Gunn,
an All-American story of love and success


Love Song

By Melissa Mitchell

http://www.uiaa.org/illinois/news/illinoisalumni/0701_b.html

[Editor’s note: Is there anything more romantic than being sung to? On this Mother’s Day, Illinois Alumni looks at an internationally acclaimed couple who’ve managed to stay in love – and in the Midwest – despite the demands of their high-level, high-profile musical careers.]


Critics and audience members are still drooling over the performance – and the pecs – of buff, bare-chested baritone Nathan Gunn ’94 FAA in last season’s premiere of “An American Tragedy” at the Metropolitan Opera in New York.

Yet the young star who played the heartless Clyde Griffiths in the production is neither a cad nor conceited nor concerned about his sex appeal. Instead, the 36-year-old Gunn lives a life quite different from what one might imagine an international opera singer would have.

For one thing, he’s been happily married for more than twenty years. His wife, Julie Jordan Gunn, shrugs off any possible insecurity as regards her hunky husband’s fans, saying, “If it gets people to the opera, I’m not going to worry about it.” The couple is thrilled to have five – yes, that’s right,  five – children. And rather than live in New York or London or Rome, where his singing career could be more easily nurtured, the Gunns have made a conscious decision to raise their children as “normally” as possible, locating the family home in Champaign, Illinois.

“I don’t know whether it’s luck or just following the lead that’s out there for us,” said Nathan, who estimates that he’s on the road three-quarters of the time. “It’s a lot easier than it used to be because of cell phones and e-mail and technology. Also, you just have to spend the money. 

You’ve got to fly back and forth. That’s a huge part of the budget. You sacrifice dollars and sleep.”

The family also makes a point to schedule quality time together during the summer and holiday breaks – “either at home or wherever,” Julie said. This winter, the entire family planned to be together in New York, where the children (ranging from 4-year-old twins to an 11-year-old) were to attend the abbreviated, kid-friendly English version of “The Magic Flute” at the Met. 

Last summer, the family joined Nathan in a “heartbreakingly lovely” cottage near the London movie set where he was filming a new opera created expressly for television – “Buzz on the Moon,” based on the Apollo XI space mission. Next summer, the family will spend two months in Aix-en-Provence in France.




Mrs. and Mr. Gunn in recital


And even when they’re performing together, Nathan and Julie are making beautiful music together in more ways than one.


“[Music] adds a lot to knowing each other as well as we do, [in that we share] every part of our lives together,” Nathan said. “It comes across when you’re performing music. And what’s wonderful about it is … it’s another language that we have. I don’t even think about it, but … we never talk in the middle of a recital, but when we’re done an hour-and-a-half later, we have a shared experience.”


“It’s very, very rare in the performing arts to find a husband-wife team that is working so beautifully well on both the family and professional fronts as Nathan and Julie,” said Michael Ross, director of the Krannert Center for the Performing Arts on the University of Illinois campus. “Can there be any doubt as to how exhausting their lives must be? Yet, they not only make it look easy, they make it look fun.

“In my book, they’re the darlings of their generation, and a model for young artists everywhere to look for inspiration.

But long before they became role models, both Gunns were not so sure that music was the way to go.

Julie became seriously interested in piano at the rather late age of 16, “where I saw myself as more of a piano player than a long jumper or anything else,” she said. After attending a master class at Dartmouth College, where she earned an undergraduate degree in economics, she began to entertain the idea of making a career in music.

That master class was run by UI professor John Wustman, known in some circles as the “dean of accompanists” for his work with well-known singers Luciano Pavarotti and Robert Shaw, among others.

“He and I saw things the same way,” Julie said of Wustman. “When I decided to go over to music, I didn’t know how to proceed. He said, ‘Well, I think you should come to the University of Illinois.’”

Nathan also struck up a later interest in music following “a pretty basic upbringing” in South Bend, Indiana.

“I played a lot of sports, was a pretty good student and always was involved in church choir,” he said. “In school, they always wanted me to sing in the choirs and musicals because I was ‘the boy with the pretty voice.’”

Still, he didn’t actually plan to pursue music as a career.
“My mom’s idea was that I should take voice lessons,” Nathan said. “Since I liked to sing, she thought I could make money singing at weddings or whatever. She set me up with a teacher at Indiana University. He didn’t really teach me how to sing, but he did introduce me to classical music.

“Mozart’s ‘The Magic Flute’ was the first thing I heard, and I thought it was incredible. It grabbed me.”

Nathan eventually ended up at Illinois, where his father, Walter T. Gunn ’59 FAA, and grandfather, the late Horace E. Gunn LLB ’27 LAW, had also attended. Nathan met Julie in the opera division of the UI School of Music, where she worked as music director and vocal coach.



World-class performers,
yet corny as Kansas in August
and normal as blueberry pie

“They put graduate students in charge of operas, so the undergraduates worked for us,” she said. “I was Nathan’s boss.”

Though at age 21 Julie was a couple of years older than Nathan – who was 19 at the time – they were both new to the campus and quickly hit it off. A dinner date at the Great Impasta restaurant in downtown Champaign launched the romance.

Nathan realized when he was 20 that he wanted to ask Julie to marry him. She was about to finish her graduate degree, and he suspected that she’d likely leave town if he didn’t give her a reason to stick around. Before proposing, however, he ran the idea past his voice teacher, the late William Miller.

“He said, ‘Well … what are you waiting for?’” Nathan recalled. “And I said, ‘Aren’t I a little too young to be doing this? ‘He said, ‘Well … do you love her?’ Yeah. ‘Well … then MARRY her.’” The couple did in 1992.

Together, Wustman said, the Gunns are one dynamic duo. The secret to their success, he believes, is their genuine devotion to what they do.

“Unlike some in the music business who are committed to ‘the career,’ being famous or making money, I think they are truly committed to the music,” Wustman said. “And it’s provided them with a great life and careers.”

Though it’s always hard to tell which students will be the ones to break out of the box and “make it big,” Wustman said he did have great expectations for Nathan because “he has it all. His voice is beautiful, he’s intelligent, and he works hard.” And Julie has developed into a talented pianist, arranger and vocal coach.

“Nathan is just a super-nice guy … friendly, polite,” said Wustman. “And Julie plays so well … it’s remarkable. They’re both very successful, gifted, attractive people.”
After graduation, Nathan was accepted into the Metropolitan Opera’s Lindemann Young Artist Development Program, where Julie worked as a pianist. After finishing the program, during which their first child was born, Nathan made his professional debut at the Met in 1995 in John Corigliano’s “The Ghosts of Versailles.”

Since then, Nathan has performed in some 70 Met productions, most recently as the affable, plume-festooned birdcatcher Papa-geno in Julie Taymor’s whimsical production of “The Magic Flute,” featuring her signature, larger-than-life puppets. In that role, Nathan was described by New York Post critic Clive Barnes as “suave but commandingly comic,” while the New York Sun’s Jay Nordlinger compared Nathan to comedian Jim Carrey and said that Nathan nearly stole the show.

The in-demand baritone has performed in countless productions on the stages of the world’s finest opera houses, from Chicago to Paris. On the concert stage, he has appeared with the New York Philharmonic, Boston, Chicago and London symphony orchestras, to name just a few, and worked with such noted conductors as James Levine, Robert Shaw and Michael Tilson Thomas.

Nathan’s recording of “Peter Grimes” with Sir Colin Davis and the London Symphony Orchestra received a Grammy Award nomination in 1995. Among his many honors, Nathan’s latest good fortune was winning the Met’s inaugural Beverly Sills Artist Award last year, given to singers between the ages of 25 and 40 to enhance their careers. The distinction comes with a $50,000 prize.

Julie, who returned to the UI School of Music for her doctorate following the birth of their first child, orchestrates works for many of Nathan’s concerts, including performances in which she accompanies him on piano. She also occasionally plays professional recitals, does vocal coaching for students to prepare them for auditions, serves as the volunteer choir director at their children’s school, teaches Sunday school and supports charities benefiting the arts or children.

As their children have grown older, Julie and Nathan are carving out more time between Nathan’s other professional commitments to work collaboratively. Their next dual recital is booked at Drake University in March. They also recently completed a recording for Sony Records. And music continues to be a bond in their private music life – the couple share a love for crooner Tony Bennett and for all things Elvis (Presley for Nathan, Costello for Julie).

The Gunns’ ability to juggle family life with musical projects seems unimaginable, even to them. However, they think that part of their success lies in keeping the personal relationship between the two of them strong.

“We believe that the kids’ security comes out of our relationship being strong, so we don’t hesitate to go off by ourselves,” Julie said. “We really enjoy working and touring together as well. I think that makes us know each other in an extra way that is very rewarding.

“When Nathan is doing something important to him, I try to go see it, which is most productions,” she said. “The kids mostly stay home on those occasions.”

When schedules keep them apart, Julie said, Nathan is “very quick with flowers, generally. I think he has [local florist] Rick Orr, on speed dial, not only for me, but for our [three] daughters as well.

“The two of us are not big anniversary or date rememberers,” she added, “but we do have lots of chances to do romantic things when we travel. … We … have favorite, out-of-the-way restaurants around the world that we love to visit.”

But the setting doesn’t have to be exotic. Back in Illinois, the Gunns enjoy playing tennis, attending performances at the Krannert Center or just taking long walks.

“When we’re together, it’s the walk in the morning that helps us organize our day,” Nathan added. “If we have a date when I’m home, we make the most of it.

“I find having a large family kind of romantic in and of itself because Julie and I have a lot to celebrate,” he said. “Isn’t that, after all what romance is – a celebration?”





Saturday, May 11, 2013



ANTIDOTE WEEK BEGINS



  
The Nursing Home

This is the place where no one wants to go.
Here life pauses, then awaits return
Eerily to infancy with no
New prospects save the grassy plot or urn.
Unless one cannot think or ambulate,
Resorting to this dreariest retreat
Smacks of cowardice. It’s second rate –
Insipid – all too eager for defeat.
Not only brave souls love, despite the hurt.
Genuinely curious ones too
Hold on until the second spade of dirt
Obscures their last remains from public view.
Make each moment count. Be someone’s friend.
Eschew complaint. It pays no dividend.

~ FreeThinke (8/31/11)


NOTICE:

HATE WEEK IS OVER

Only comments directly related to the item posted will be accepted until further notice. All others, even from friends, will be scrapped by a blog administrator.