I was reminded of this incident by two different events recently. First, after a few weeks of working on my Halloween playlist, I took a dip into a couple of music streaming services to see what they were serving up on various Halloween channels. The other was a series of disturbing dreams I had in the wee small hours of a recent morning.
Quick digression: the psychological definition of a nightmare is an unpleasant dream evoking an emotional response which disturbs the sleep cycle. It doesn’t necessarily have to be scary to be a nightmare as far as psychologists are concerned, but it does have to actually make you wake up to qualify as a nightmare. So while colloquially we usually think of nightmares as bad dreams, usually invoking fear or despair, other kinds of emotions can be involved.
So, I’ve more than once had a nightmare where I woke up extremely angry. And that was very disturbing, especially during those initial moments of waking up where you don’t quite realize it was only a dream. I had a new one, this time, I woke up extremely annoyed. Three times in one night. The first two didn’t really have any element most people would think of a spooky: I was trying to set up some sound equipment for some kind of party or concert, and someone kept moving my toolbox full of patch cables. There were a number of people in the dream, most of whom I haven’t seen in person in many years. And they were all being uncharacteristically unhelpful. The second one involved someone I didn’t recognize who kept trying to make me go to this place I also didn’t recognize and pack up things that had been left behind by someone. Oddly, once I gave in, I recognized all of the blankets and towels (which were only a subset of the items) as ones that had belonged to my family when I was a child and a teen-ager. The third one was like a combination: I was walking somewhere intending to retrieve something I needed, and I noticed an open door of an apartment, I think, and inside I saw scattered around clothes that belong to me. When I was checking out the place and gathering things, people kept wandering in to try to take stuff from me—and they people each had these weird glowing eyes and I was absolutely convinced that they were undead or something similar.
Even then, when I woke up, I wasn’t feeling fear, but extreme annoyance that I had to deal with weird creatures and someone stealing my clothes when I really just wanted to go get the thing—whatever it was—that I had started out looking for. (And no, I don’t need any dream analysis. My subconscious is never subtle. I know what I’m feeling anxiety about right now.)
The thing was, even though my feeling at each awakening was annoyance—neither anger nor fear—there were still moments while I was waking up where I felt that disturbing confusion about what was real and what wasn’t. Which is its own kind of spooky.
Many Halloween playlists I see on various streaming services or that people post often contain songs that I don’t think are spooky at all. Many seem to be chosen because the title of the song has a tenuous connection to some spooky concepts, while the lyrics of the song are often just standard pop fare.
I happen to believe that a Halloween playlist should consist of tracks where the content of the track has some connection to ideas, moods, et cetera, that people associate with Halloween, trick or treating, monsters, and so forth. I make exceptions for instrumental tracks from movies and such that I personally find spooky. I realize that most of those don’t seem spooky if you don’t recognize where they are from (but some are very eery and really set a spooky mood even when you don’t recognize their source). Anyway, here is my 2018 Halloween playlist:
1. “It’s alive!” From the Young Frankenstein soundtrack. This isn’t a song, it’s the dialog for one of the funniest scenes in the movie, when Dr Frahnk-in-steen finds out that he put an abnormal brain in the body of his creation.
2. “Monster Mash” A blue grass cover of the classic Halloween song by a band called Hayseed Dixie. It’s quite fun.
3. “Science Fiction Double Feature” From the Rocky Horror Picture Show, the campy lyrics describe several classic sci fi thriller movies.
4. “The Homecoming Queen’s Got a Gun” by Julie Brown. “Everybody run! The Homecoming Queen’s got a gun!” and “…it’s like the whole school was totally coked or something!”
5. “Anything Can Happen On Halloween” by Tim Curry from the movie The Worse Witch. A fun song.
6. “Thriller” by Michael Jackson (with narration in the middle by Vincent Price). A classic for Halloween. And you can dance to it!
7. “GhostBusters (I’m Not Afraid” by Fallout Boy. An interesting cover/re-imagining of the original Ghostbusters them recorded for the new GhostBusters movie.
8. “Rest in Peace” from Once More, With Feeling, the Buffy the Vampire Slayer musical episode. “Whisper in a dead man’s ear doesn’t make it real.”
9. “Bad Moon Rising” by Mourning Ritual. A very creepy re-imagining of the old Creedence Clearwater Revival hit that I first heard in one of the spookiest, creepiest episodes of the Teen Wolf TV series. I can’t hear this song without reliving the scenes where Void Stiles was doing various horrific things.
10. “Monster Mash (featuring Black Magic” by Halloween FX Productions. A cute cover of the Halloween classic.
11. “Mean Green Mother from Outer Space” from Little Shop of Horrors just fun!
12. “Haunted Honeymoon Main Title” by John Morris. A spooky instrumental from one of my favorite comedies ever. Gene Wilder, Gilda Radner, and Dom DeLuis in a hilarious send-up of 30s mystery radio shows and spooky forties movies.
13. “Teen Wolf Main Theme” by Dino Meneghin & Bloody Beetroots. The theme for the Teen Wolf series is just some really dramatic music.
14. “Theme from the Ghost and Mr. Chicken” – if you aren’t familiar with this comedy send up of various Hitchcock-esque movie tropes starring Don Knotts, you really need to Netflix it or something. And the organ music is suitably spooky and silly, at the same time.
15. “”Scooby Doo, Where Are You?” Yes, the theme song from the original cartoon series.
16. “Dark Shadows” the original eerie, spooky, haunting theme song from the ’60s gothic horror soap opera.
17. “Funeral March of a Marionette” an orchestral piece which was used as the theme for the old Alfred Hitchcock show.
18. “The Munster’s Theme” by Jack Marshall. A tiki-fied cover of the them song for the 1960s horror comedy series.
19. “Mamushka” by Raul Julia and Marc Shaiman. The silly show-stopper song from the theatrical Addams Family movie.
20. “Monster Mash” by Bobby “Boris” Pickett & the Crypt-Kickers. The original, classic Halloween Novelty song.
The Nazis wanted an ethnically and culturally “pure” society, and were willing to use violence to make it happen. That means they advocated for what would now be called “self-deportation” of anyone who did match their mythical Aryan ideal. In other words: everyone who wasn’t white, who wasn’t culturally Christian, who wasn’t heterosexual (Berlin in the 1930s had a thriving and public homosexual community), and who didn’t agree with them were out. In the early stages the government arrested undesirables under pretexts of other crimes while they turned a blind eye to the actions of their supporters who terrorized people in various ways. The message was clear to people of color, to Jewish people, and queer people: disappear or else.
Both of my grandfathers fought in World War II. Even though both of them were from the south and their accents would make anyone think they were “good old boys” they had no patience for racism or sectarian prejudice. And while the image most people have of white guys who were their age in the 1980s, they both despised Reagan. My paternal grandfather said for years that he was going to move to North Carolina (we had relatives there, so he visited a lot) and establish residency just so he would have the pleasure to vote against the notorious racist senator, Jesse Helms.
My dad, on the other hand, was a blatant racist. He regularly used the n-word and other racial slurs. And every time he did within earshot of his own father, Grandpa would tell him not to use that kind of language around him. My maternal grandfather also told Dad not to talk like that.
But it wasn’t just about coarse language. When Dad would say things (about Black people or Jewish people or queer people) like: they should go back where they came form, or they were all lazy/greedy/dishonest/immoral, or they deserved it when bad things happened to them—my grandfathers called him on it.
I can’t tell you how many times I heard my paternal grandfather admonish my dad sternly along the lines of: “I didn’t spend four years of my life fighting in a war just so people could do the same racist hateful stuff here! All people deserve respect and a chance to live their lives, no matter where they were born or what religion they believe or the color of their skin!”
Each time he argued with my dad on those subjects, he mentioned his service in WWII and compared Dad’s beliefs to those of the Nazis.
My maternal grandfather wasn’t around Dad and me at the same time as often as my paternal grandfather was (and after the divorce when more details of how bad Dad’s physical abuse had been, Grandpa absolutely refused to be around him), so I only heard him lecture Dad like that once, but it was a doozy. As I recall, it went something like this: “I spent years fighting Nazis and fascists. I watched a lot of good men die. I saw people who had been starved and beaten and imprisoned just because their skin was the wrong color or they attended the wrong kind of church. And all of that bloodshed happened because people said that kind of B.S. you just said and other people believed it. You have a right to your opinion, but if you try to put THAT opinion into action… well, I for one am not afraid to fight again!”
Both of my grandfathers knew what Nazis and fascists were. They literally fought them. And when Dad spouted off his racist, anti-semetic, and otherwise bigoted opinions, they all but called him a Nazi.
They set the bar, for me. When I hear someone saying that people of color should “go back where they came from” or that every member of a particular religious background is a terrorist, or that the poor or disabled or mentally ill people are burdens on society that need to be “dealt with,” or that whole categories of people should be locked up, or that the economy isn’t working right because of “those people” taking “our jobs” and someone should do something about it, or lump refugees and immigrants together and call them all disparaging names, et cetera, then I’m going to say you’re talking like a Nazi. And you are advocating the policies of Nazis.
I do not call everyone who disagrees with me about some things a Nazi. There are people I disagree with on really important things that I don’t think are talking like Nazis. I have a couple of relatives I could name who are opposed to gay rights in general and marriage equality in particular. They are civil when they talk to me or my husband, and they don’t think they have a bigoted bone in their bodies. They’re wrong on that point. And obviously as an out proud queer man we disagree about a bunch of important things because of their feelings about gay rights. But they don’t believe that we should be herded into “quarantine camps” and they are outraged that border agents have seperated familes and put children in cages and so forth. We disagree on some pretty important things, but they don’t advocate the policies of Nazis. So I don’t call them that.
If you don’t like being called a Nazi, maybe, just maybe, you should take a closer look at the kind of things you’re saying, the people you are supporting or defending, and the policies you’re reporting. Because if you take an honest look, you may finally see a Nazi looking back at you from the mirror.
And like my grandfathers said, those policies aren’t welcome here.
Neil Simon is probably most famous for writing The Odd Couple in 1965. The original production won 5 Tony awards (including one for Simon). It was adapted into a very successful movie (Simon was nominated for an Oscar for his screenplay), three different television series (one of which was nominated three times for an Emmy and won three Emmys and one Golden Globe for the leads), and a cartoon. Simon reworked the play twice over the next several decades: once with gender bent characters, and one just to update the dialogue and situations which had become a bit dated.But he wrote a lot of other plays and movies. A few were autobigraphical (The trio of Bright Beach Memoirs, Biloxi Blues, and Broadway Bound, for instance, which were all later turned into movies). Most of his plays and movies were comedies, yes, but many dealt with serious interpersonal issues, sometimes in heart-wrenching ways. On the other hand, he could write incredibly zany comedy. For example, the 1965 movie After the Fox was an over-the-top parody of every caper/heist film ever. While 1976’s Murder By Death is an equally mad parody of every murder mystery movie and novel ever.
As Playbill noted:
‘Simon also made his mark as a creator of original screenplays, writing the scripts for the 1972 critical hit The Heartbreak Kid, which was directed by Elaine May; The Out-of-Towners, starring Jack Lemmon and Sandy Dennis as hapless visitors comically victimized by New York City; Murder By Death, a spoof of the detective genre; and the 1977 romantic comedy The Goodbye Girl, which starred his then-wife Marsha Mason and helped to make Richard Dreyfuss a star. He was nominated for an Oscar for the latter, as well as for the films of California Suite, The Sunshine Boys, and The Odd Couple. He won a Golden Globe for The Goodbye Girl, and was nominated for The Sunshine Boys and The Heartbreak Kid.’
I’ve only gotten to see stage versions of two of Simon’s plays (The Odd Couple and Barefoot in the Park, both by community theatre companies), but because he wrote many original film screenplays and adapted a lot of his plays to movies, I’ve seen a lot of his work. And one thing that I have always envied about his writing is how much he could convey with just dialog. The dialog is always witty and sharp. When it’s funny, it is hilariously so. But he also had a knack for placing a dagger of human frailty into the dialog, so that you are laughing, and then brought up short as a character’s pain or fear is laid bare.
For a few decades, Simon really ruled the American theatre stage in comedy. Don’t believe me? The promotional campaigns of most movies focus on the lead actors or the director, right? When movies were made from Simon’s plays and screenplays, the promo’s led with the author. It was “Neil Simon’s California Suite” or “Neil Simon’s The Sunshine Boys” or “Neil Simon’s The Out-of-Towners” and so on.
His plays worked because the characters in them, no matter what circumstances we met them under, felt real. Their fears, their hopes, their drems, their foibles, and most importantly their relationships always rang true. He was a master at dialog, but his dialog worked because he made us believe in the characters speaking his lines.
It’s an accomplishment every writer longs to achieve. Simon honed his craft during years of writing for radio and television. It took him years of hard work, careful observation, and then fighting to make each line count. When he hit his stride, he made it look easy.
So join me in raising a glass to Neil Simon, the playwright who taught us that life is weird, and that’s why we love it.
This article gives a nice overview: Why Sweet Tea Is the South’s Quintessential Drink.
In the movie version of Steel Magnolias Dolly Parton’s character observes that “sweet tea is the house wine of the south.” Which is true, though there can be weird nuances. For one thing, there are people who disagree about which parts of the country constitute the south. Seriously! I once had a temporary co-worker from Georgia sniff very disdainfully at I and another co-worker after we mentioned that our families came mostly from Oklahoma and Texas, that “those aren’t part of the south, those are in the West.” I have also heard people from North or South Carolina insist the Florida is not part of the south. I’ve been told by one acquaintance who grew up in New Orleans that “N’Orleans doesn’t really do sweet tea!” Whereas a friend whose family comes from other parts of Louisianna once commented after sampling my sweet tea, that I didn’t have nearly enough sugar in it. Some people insist that Sweet Tea states should get their own designation, with arguments about whether the “tea line” encompasses all of Texas, or only East Texas, for instance.
I grew up on sweet tea, and I learned how to make it from my mom and various grandmothers and one grandfather, and each of them had a slightly different recipe. They were all good in their own ways, but they were also very different. Many families guard their sweet tea recipes, sometimes referring to them by names like, “Great Aunt Pearl’s Sweet Tea.” So, before we get any further, I’m going to warn you right now that no, I absolutely will not tell you my Great-grandma S.J.’s Sweet Tea recipe, nor Great-grandma I’s, nor my Nice Grandma’s Sweet Tea recipe nor her Sun Tea recipe (which is a different beast altogether).
What I will do is tell you my Evil Grandmother’s Sweet Tea recipe. One reason why is because she frequently told it to other people outside the family. Another reason is because I don’t think hers was the best, but it will give you an idea of how these go.
My Evil Grandma insisted that Sweet Tea was best made in an aluminum pitcher. She had a 2-quart aluminum pitcher for just that purpose. To make her tea, you fill a whistling tea pot with water and set it to boil. While it is going, you measure out four and a half cups of sugar into the bottom of the aluminum pitcher, then you add a half teaspoon of baking soda. You let the kettle get to a loud whistling, then pour the still boiling water into the aluminum pitcher. Stir furiously until the sugar dissolved, then count out fourteen Lipton flow-through tea bags, put them in the pitcher, stick a lid on it, and put it into the fridge for one hour. Then, take the pitcher out, pull out the tea bags, but make sure you squeeze them so all the dark tea gets into the pitcher. Top off the pitcher with however much tap water is needed to fill, and stir some more (because some of the sugar probably precipitated out). Put it back in the fridge for at least another hour. Now, you can serve it over ice.
Now that you’ve read the one recipe that I am willing to disclose, we can analyze it a bit. Most of the sweet tea recipes I have acquired over the years use tea bags, not loose tea. And very often people have strong feelings about which ones to use. I have seen, for instance, recipes that call for specific brands and varieties of tea bags–specifying X bags of specific brand of black tea plus Y bags of a specific brand of mint tea plus Z bags of a specific brand of orange pekoe, for instance.
I will neither confirm nor deny having witnessed two relatives almost come to blows over an argument about whether an Earl Grey tea is ever suitable for sweet tea (with a third relative opining that Earl Grey is all right in a sun tea as long as you have a few other kinds with it, but really should only go in to sweet tea if you have nothing else).
Why do some recipes include baking soda, you may ask? Tea leaves contain tannic acid which is very bitter. When you steep most teas for more than, say, 2 minutes, you can get a lot of tannic acid in the tea. Some people swear that a small amount of baking soda (which is an alkaline compound and will neutralize an equal amount of acid) mellows out the tannic acid flavor. I’ve also heard people claim that the baking soda helps with dissolving more sugar into the water.
Many recipes specify how to boil the water. There are people who insist the sugar must be in the pitcher that the hot water or hot tea is poured into. Others say that most of the sugar should be mixed with the water as it is brought to a boil.
My Evil Grandma’s sweet tea was very dark, nearly the color of coffee. A lot of people say that is two strong, the tea should have more of a rich reddish color than a deep brown.
Because most of my life has been lived outside of the sweet tea states, I got used to drinking the rather weak and completely unsweetened tea served here. Also, in my late twenties when I realized just how rampantly adult-onset diabetes stampedes through my dad’s family, I made the decision to mostly stop sweetening my tea or coffee. And now that I am diabetic, I don’t make sweet tea ever.
And while we’re on the subject of diabetes, I want to point out that all of the sweet tea recipes from my mother’s side of the family called for way more sugar than any that I learned from Dad’s side, yet Dad’s family is where almost all the diabetes is. So don’t come at me on that.
While I don’t make sweet tea, I still make and drink a lot of tea and have many fond memories of sitting down with friends and family, everyone with a frosty glass of tea, on hot summer days. So the last few weeks, after my husband brought home a one gallon glass jug, I’ve been experimenting with sun tea recipes, based only loosely on my Nice Grandma’s. Put the collection of specific tea bags in the water, set it out in the sun for an hour, then remove the bags and let the jug chill in the fridge. The one thing to remember about sun tea is that since the water is never brought to a boil, it is more susceptible to bacterial contamination, so you want to finish off the whole batch in no more than two days.
It’s not quite the same, but drinking the cold, unsweetened tea that I’ve made this way, brings all those fond memories back. As Fred Thompson observed in his book, Cornbread Nation,
“Sweet tea—your mother’s sweet tea—means you are home.”
It’s National Coming Out Day! And just for the record, in case it isn’t clear: I’m queer! Specifically I am a gay man married to a bisexual man. For many years I lived in the closet, and am ever so happy that those days are far, far behind me. So, if you’re a person living in the closet, I urge you to consider coming out. Being in the closet is scary—you live in a constant state of high anxiety about people finding out and what they might do when it happens. Studies show that this affects us the same as extended trauma, inducing the same sorts of stress changes to the central nervous system as PTSD.
The problem is that coming out is also scary. 40% of homeless teen-agers are living on the streets because their parents either kicked them out because the teens were gay (or suspected of being gay), or drove them away through the constant abuse intended to beat the gay out of their kids. This statistic is the main reason I advise kids not to come out until they are no longer financially dependent on their parents. Yeah, there are many stories of kids who came out to their parents and those parents became supportive allies. But not all, by any means.Even if you are a self-supporting adult, coming out is often accompanied by drama. Some of your family and friends will not take it well. You will be surprised at some of the ones who you thought would be okay with it being exactly the opposite. On the other hand, some people will surprise you with how fiercely supportive they become.
In the long run, being out is better than living in the closet. You will finally know who loves you for who you are, rather than those who love the idea of who they think you ought to be. You will also find out that you were expending far more energy than you realized constantly being on the look out for signs your secret is discovered. There will be a moment when you feel the burden lifted. But you will also discover the coming out isn’t a one-and-done deal.
But the freedom of no longer living a lie is incredible. So when you’re ready, come out, come out, where ever you are!
Don’t just take my word for it:
Not every person who identifies as bisexual is experimenting. Nor are they in denial of their real orientation. Because a certain number of gay people who are struggling with accepting themselves take shelter in a lie (a lie we were trying to sell to ourselves even harder than to anyone else), we give other people anecdotes that get weaponized and used against people who actually are bisexual. So, for my contribution to that misperception, I must apologize. I’m sorry.
So, to be clear:
- A bisexual person who settles into a long term committed relationships with a member of the opposite sex is still bisexual. They just happened to fall in love with this person.
- Also, a bisexual person who enters a long term committed relationship with a member of the same sex is still bisexual. They just happened to fall in love with that person.
- A bisexual person who isn’t dating anyone at all is still bisexual. They’re just not seeing anyone right now (or ever). A person’s sexuality isn’t determined by their current relationship status.
- A bisexual person who has never been (or you have never seen) in relationships with members of both sexes is still bisexual. Again, relationship status is different than sexual orientation.
Bi erasure is a real problem. Bisexual people often don’t feel welcome in queer spaces. They also often don’t feel welcome in non-queer spaces. People assume that they are straight of gay based on their current relationship. Other people dismiss them as confused or in denial. Sometimes they don’t just feel unwelcome, but unsafe.
Studies have shown that the stress of enduring homophobia affects the health and nervous system exactly the same as PTSD. It’s traumatic and physically damaging. That’s true whether you are gay, lesbian, bisexual, or any other orientation outside the heteronormative. And its true in all the forms it takes, including biphobic attitudes of other queer people.
Don’t contribute to someone’s trauma. Don’t be an asshole about bisexual people—all the time, not just when you think you’re in the presence of a bisexual person. Because if those National Institutes of Health studies about covert sexual activity are correct, about 46% of the population is bi (and about 6% is exclusively gay). So if you’re sitting around with a half-dozen people, the odds are more than one of them is bi. You just don’t know it.
When the NIH published those studies in the mid-90s, the summary included this little gem: Americans would rather admit to being heroin addicts than tell someone they were bisexual. And that’s because of homophobia in general, but also biphobia among both the straight and queer communities.
So, if someone tells you they are bisexual, don’t argue with them, don’t doubt them or try to convince them that they’re just confused or curious or uncertain. Believe them. Accept them. They were brave enough to open up to you. The least you can do in the face of that is refrain from being a jerk. You know, don’t be a “contemptible, stupid, or inconsiderate person.”
Instead, be an ally. Their sexuality is valid. Period.
That is not histrionics. When they talk about “saving the white race” and so-called “self deportation” and the like, they are saying “go away and die!” When they say that queer people are a threat to the future of the planet, they are saying we deserve to be killed. When they say that brown and black people are destroying “white culture” they are saying brown and black people deserve to be killed. When Richard Spencer said, literally moments before he was punched in the face on camera last summer, “we have to ask ourselves whether humanity needs the black man, and having confronted that question, then ask how to most efficiently dispose of them” he is saying that black people aren’t human and that they must be killed.
And if you don’t believe that saying that deserves a punch in the mouth, then I question more than just your morals.
In the case of the angry man who was punched in downtown Seattle this weekend: he wasn’t punched just for wearing the swastika. He was punched for yelling at every dark-skinned person he passed on the street, specifically calling them an ape. He was explicitly saying that they aren’t human. He brought a frickin’ banana with him that he eventually threw at someone after screaming that that person was an ape—underlining and emphasizing the claim that the person thus targeted isn’t human (and implying that said people don’t deserve rights, dignity, respect at the least, and that killing would not be murder). That wasn’t just expressing an opinion, that his verbal assault and a declaration of intent. And under the law, throwing the banana is physical assault.
Wearing a rainbow and chanting “we’re here, we’re queer, get used to it” is none of those things.
Freedom of speech doesn’t mean you can say mean, hateful, threatening things to other people and that those other people have no rights to speak up and defend themselves. Calling other humans animals, and saying or implying those humans should he rounded up and executed is not merely stating an opinion, it is revealing their hateful and murderous character. So if other people don’t want to be friends with a hateful person advocating genocide, that’s just making the decision not to associate with horrible people.When we wear rainbows, we’re saying “my sexuality is valid, and your sexuality is valid, and bi, gay, pansexual, transexual, asexual, and straight people are all equally valid and have a right to be who they are.” Yes, we’re saying the straight people are valid, too. We aren’t calling for straight people to self-deport. We aren’t calling for straight people to be killed. We aren’t calling for straight people to be converted. Rightwing anti-gay people do call for queer people to be fired from their jobs, denied the right to rent or own homes, denied the right to put their spouses and children on their medical insurance, denied the right to marry their significant others, denied the right to adopt, denied the right to protection from assault and harassment, denied health care, and so forth. They advocate rounding us up and putting us in prison, or camps, or so-called hospitals (depending on how blatant they are in their bigotry). They advocate the widely debunked conversion therapy. They advocate bullying queer kids in school (when you insist that religiously conservative kids can’t be punished for bullying queer kids or the children of queer parents, you are advocating bullying).
When the anti-gay people (including the neo-Nazis) do that, it isn’t a difference of opinion, it is oppression and assault.
When queer people say we don’t want to be bullied, we shouldn’t be discriminated against, we deserve to have our families and jobs and homes just like anyone else, we aren’t calling for the oppression of anyone else. Because not being allowed to discriminate isn’t oppression. Not being allowed to bully, terrorize, or assault queer people isn’t oppression.
Sexuality isn’t an opinion or a choice. Sexual identity isn’t an opinion or a choice. Sorry, the medical science has been clear on that for a long time.
Hate, however, is a choice. Violence against others because of the color of their skin, their sexual orientation, and so forth is a choice.
All races are valid. All sexualities are valid.
Not all choices are valid.
There are only a couple reasons that you can’t see that distinction. There are only a few reasons you would defend the hate by attacking its opposite. Either you aren’t very bright, you’re deeply misinformed, or you are blinded by hatred.
Please, step out of the darkness and join us in a more glittery, sunny world of the rainbow.
When people find a person in their midst who does not conform to their expectations, their reaction is to try to find a behavioral cause of that non-conformity. Because admitting that different kinds of people exist naturally challenges the simplest notion of normality. So when confronted with a smart, slightly gender-non-conforming kid who seems to know about things people don’t expect kids to understand, they go looking for an easy explanation of why I’m different. And it really was both of those differences that confused people. More than one relative on different sides of the family commented that as a young child I seemed like an adult trapped in a kid’s body.
When you are clinging to the notion that there is a limited number of ways to be normal with someone who doesn’t fit any of your notions, the easiest thing is to look at which of the non-conforming person’s interests seem least like theirs. So in the 1960s and ’70s, people focused on my interest in science, science fiction, fantasy and related topics. Because before the era of the personal computer and the cultural behemoth that was the original Star Wars, those things were completely beyond the kin of normal humans. Some of the cover art of magazines and paperback books raised a few eyebrows. At least one relative asserted the belief that reading superhero comics, with all of those skin tight costumes on the male heroes, would turn a boy into a sissy.
In retrospect I find it hilarious, because of all the media/fiction I can recall from my childhood, the only place where gender fluidity and related topics occurred regularly was not in science fiction, fantasy, or science fact books, but in one of the most popular forms of pop culture of many decades: Looney Tunes cartoons, specifically Bugs Bunny cartoons.
Even before Bugs Bunny had the name “Bugs,” he was dressing up as a woman to seduce a male character. Long before he ever dressed as a woman to distract Elmer Fudd or Yosemite Sam, the character then referred to informally as “Happy Rabbit” disguised himself as a female version of the unnamed hunter’s dog to distract the dog from his trail. So if everyone’s theory that somehow what made me non-conforming was the shows I watched, clearly it should have been Bugs Bunny they focused on, right? Contrariwise, Bugs is a great argument against the whole media-causes-queerness argument: as I pointed out in a post last week, for a number of years the Looney Tunes cartoons weren’t just ubiquitious, they were almost universally adored by a couple of generations of folks. If media exposure causes queerness, then just about every single person aged 40-something through 60-something alive in North America right now should be an out queer, because Bugs taught us all that to be a drag queen was to be triumphant.
This meaning of drag: “Women’s clothes as worn by a man; (less commonly) men’s clothes as worn by a woman; a party at which such clothes are worn” as rendered in the Oxford English Dictionary has been around since the late 19th Century. The first written citation coming in 1870 as a reference to male actors portraying female characters on the stage. At various times in the history of the theatre, it had been common to cast young men in the feminine roles, because it was considered inappropriate for women to perform on stage. So there is a certain tradition in the theatre (which cropped up later in movies, though usually for comedic effect) of men dressing as women on stage. There is also a tradition of characters of either sex on stage and in movies dressing in disguises—sometimes disguises that shouldn’t fool anyone—and carrying on for scene after scene completely pulling the wool of the eyes of other characters.
The disguises that Bugs donned in the various cartoons weren’t always drag. The point of the gag was how gullible Bugs’ adversary could be in light of the disguise, no matter how ridiculous. Which is why I don’t think it ever occurred to anyone back then that how easily the hero of the story could adopt the persona of a woman and seductively entrance the villain might be just a little bit queer. Maybe it was the fact that the audience was in on the joke—Bugs was dressing as a woman to fool his antagonist and make the audience laugh, not because he enjoyed it, and certainly not because he was actually trying to seduce the other character. Maybe it was simply the fact that they understood the jokes in a Bugs Bunny cartoon, but sf/f didn’t appeal to them, and a lot of that cover art looked erotic, demonic, and sometimes both.
To me, the ease with which Bugs transformed himself in his various disguises is a manifestation of a much, much older narrative tradition: The Trickster God. One of the oldest examples of which is the Old Norse story of the time that Loki is tasked by Odin with getting the gods of Asgard out of a particularly unwise bet. The gods had made a deal with a builder to create a magnificent fortification, but that if the builder couldn’t do it in a ridiculously short time with no help except that of his horse, the gods would never have to pay for the fortress. It quickly becomes clear that that both the builder and his horse are possessed of magical abilities and will succeed at the seemingly impossible task. Loki tries various things, but eventually is only able to succeed by transforming himself into a beautiful mare in heat, and thus lure the magical horse away. In the Norse story, Loki actually mates with the horse and later gives birth to another magical steed, Sleipnir, which becomes Odin’s horse and figures in a lot of other myths.
I’m just glad that I never pointed out that little similarity back then. It was one thing when I was sometimes forbidden to check out certain books from the library, or buy certain paperbacks at the used book store. It would have been infinitely crueler to forbid me from watching Bugs and Daffy!
In subsequent years I started hearing the word being used pejoratively on the playground (this would be late sixties and through the seventies), and clearly the word meant either “idiot” or “dork” or “jerk.” By middle school the insult began to be a bit more sexual, but still definitely an insult, sort of a combination of “c*cksucker” and “wanker.”
Many lexicographers express skepticism that Bugs Bunny is to blame for the shift in the meaning of nimrod, but then fail to offer a compelling alternative explanation. Several of them trot out a line of dialogue from the obscure 1933 play, The Great Magoo. The word nimrod is clearly used as an insult, but it is specifically a reference to a man who had fallen in love with the showgirl, and that he’s another in a long line of nimrods pursuing her. The problem is that while it is being used as an insult, clearly the insult is still a reference to Nimrod the Mighty Hunter—in this case someone who sees this woman as a prize to be captured.
And since all of the lexicographers agree that the “synonym of idiot” meaning became common in the early 60s, it’s a little difficult to believe a play that flopped 30 years earlier was the source.
Another example that is trotted out is a series of humorous stories published in a British periodical in the late 19th Century which ran under the pseudnym of Nimrod. Each story is told in the first person and recounts another humorous misadventure while attempting to participate in a fox hunt. But that’s even harder to believe that the 1933 play, first, because of the longer period of time but also because all the dictionaries agree that the “synonym of idiot” meaning is chiefly a U.S. usage.
I’ve seen at least one person simply express skepticism that a single line of dialogue from a single short film could have the effect. I have several responses to that. First, it is three different Bugs Bunny cartoons in which the insult occurs (amusingly enough, only one of them is it used to describe Elmer Fudd, the other two times are both used against Yosemite Sam). The other thing is that from the late fifties through the seventies, Bugs Bunny was everywhere.
In 1956 Warner Brothers licensed the rights to all of their Looney Tunes cartons made up until mid-July 1948 to Associated Artists Productions. A.A.P. began syndicating them to local stations, and by 1958 were able to claim that the highest rated local shows in every metropolitan market were those that included at least some cartoons. No one had cable, and people could only get three to five local stations over the air, so your choices for entertainment were limited. And the syndication deals weren’t exclusive, so I remember that at one point in my elementary school years, where there was one show on one channel that ran every weekday morning around the time we were getting ready for school that included several Looney Tunes cartoons, plus a half hour show that ran every weekday at 4:30 on another channel that was all Looney Tunes cartoons, and another half hour of Looney Tunes that ran on a third channel every weekday at 5:30.
In addition, in 1960 Warner Brothers started producing and selling to various networks a program that combined cartoons made from mid-July 1948 on. First as a primetime weekly Bugs Bunny Show, then it moved to Saturday mornings. As I said, for a while, Bugs Bunny was everywhere.
According to at least one dictionary specializing in slang, the “synonym of idiot” meaning of nimrod was used prevalently by U.S. teens and pre-teens in the 70s and 80s. All of us kids watching Bugs Bunny cartoons in the 60s and 70s could account for the new meaning of the word arising in our age group quite nicely at that time. Whereas the obscure 1933 play and the humorous 19th Century British magazine origins just don’t make any sense as an origin for American schoolyard slang in the 70s, do they?
Finally, another reason to believe the fault lies with misunderstanding a sarcastic usage of the word is because it has happened in English many times. For example, terrific used to mean terrifying (terrific is to terror as horrific is to horror, as a friend so eloquently put it). How did terrific come to mean the opposite? Simple, the sarcastic or ironic use became far more common than the original meaning. Sometimes language just takes a left turn at Albuquerque, eh, Doc?
Which is exactly what homophobes have been sniggering and making fag jokes about with Le Fou since Disney released the animated version of the movie. Gaston is a parody of hetero hypermasculinity, and Le Fou is is craven, clownish sidekick willing to do anything at all to get the slightest bit of attention from Gaston. Le Fou’s lack of manliness in the animated film could be rationalized as being there to throw Gaston’s exaggerated masculinity into sharp contrast. Okay. Except that is exactly what the Hollywood sissy/coded gay sidekick has always been: he’s the example of what a “real man” isn’t. His whole point it to prove that unmanly men are jokes, at best. Not real people, but punchlines.
So they are taking the implicit hateful characterization and making it an explicitly hateful characterization. Thanks, but no thanks.There will be people who insist that we shouldn’t judge it until we see it, but they’ve given me enough information that I already know they have messed this up. The fact that they decided to announce it, for one. Just as if a person begins a statement with, “I’m not a bigot, but…” we all know that pure bigotry is going to follow, if you feel the need to announce you’re enlightened and inclusive, you don’t know what those words mean. The director has described the classic negative stereotype (confused, obsessed with a straight man) is what they’re going for. Worse, they’ve referred to it more than once as a moment. Just a moment. You know why it’s a moment? Because they are already making plans to edit that moment out of the international release, because they knew as soon as word got out that countries would start threatening to ban the film. Heck, Alabama is already up in arms about it!
That means that it’s a tacked on joke. It’s not part of the plot. It’s not a meaningful part of Le Fou’s characterization.
Even if they do something with it. Let’s say that at the end of the film they have a moment that implies maybe Gaston is ready to return his feelings? What message does that send? It tells us that hating women (Gaston’s exaggerated masculinity includes a lot of misogyny in the animated feature, just sayin’) or being rejected by women is what makes men gay. And, oh, isn’t that great inclusion?I mentioned that the Beauty and the Beast revelation was the second time this has happened this year. Previously it was Snagglepuss. Yes, DC Comics/Warner Brothers announced that the Hanna-Barbera cartoon character, Snagglepuss, was going to be reimagined in a new comic book series as “a gay Southern Gothic playwright.” Literally my reaction on twitter a nanosecond after I saw the first person retweeting the headline was, “reimagined? But that’s what he already was!”
Snagglepuss was a version of the sassy gay friend from the beginning. He was protagonist of his cartoon series, which wasn’t typical for the sassy gay friend (who is more typically a sidekick to one of the lead characters), but Snagglepuss broke the fourth wall constantly, addressing the viewer with his arch asides and sardonic observations. He was the viewer’s sassy gay friend, in other words. And he was cheerful and optimistic and always trying (but usually failing) to improve his life in some way. Despite the many setbacks, he remained cheerful and upbeat.
So the DC Comic (besides being drawn by an artist who has apparently never seen an athropomorphic character before—seriously, go hit that link above and tell me if that isn’t the worst comic book artwork you’ve ever seen!) takes the happy, upbeat fey lion and turns him into a bitter old queen. Again, thanks but, no thanks!
Coded queer characters have been appearing in pop culture for decades. Their portrayal as comic relief or as villains (and sometimes both) sent a clear message that they were not normal people. They are never the heroes. They can be loathed as villains, or tolerated and laughed at as sidekicks, but they will be lonely and unloved in either case. Neither of these supposedly inclusive announcements changes that homophobic message. It’s not, contrary to what certain evangelical hatemongers are saying, indoctrinating kids to be accepting of gays. It’s instead reinforcing the same old bigotry: we don’t matter, we are jokes, we are never the heroes, we are never loved.
Just another means of erasing the truth of our existence. No thanks!