Out-lesbian columnist Deb Price makes
the case for not giving unquestioning support to the
taking-us-for-granted Democrats. If I had written this, the
lock-step party stalwarts would be all over me. Maybe they'll
listen to a liberal like Price (but don't bet on it).
What’s Driving Ford?
Ford Motor Co. has upped its advertising in gay publications-and its donations to gay groups-and is again the target of a boycott by the Christian right's American Family Association.
Right Side of the Rainbow cheers Ford, as I do regarding non-biased ad strategy. If Ford thinks advertising in gay publications will sell more cars and trucks, that's all that should matter.
But should corporations donate to groups advocating a political agenda? I guess if it fits into an overall strategy to increase shareholder value via the gay market. But The Truth About Cars website argues that "Surely the company should take a politically neutral line in ALL its charitable contributions, restricting their largesse to apolitical organizations" rather than weighing into contentious political struggles.
Ford, the above website reports, has made large cash contributions to groups including the National Gay and Lesbian Task Force. If I were a straight Republican, I don't know that I'd want my car-buying dollars to support groups that almost exclusively support very left-liberal Democrats and take political positions I don't agree with. Heck, I'm gay and NGLTF's political positions on non-gay issues (and some gay issues!) deeply offend me.
So in general, I don't see the rationale for corporations to get
involved in social-issue politics. And yes, I'm aware that
corporate money also goes to Republican candidates and causes. But
usually this is more directly connected with business aims (i.e.,
perpetuating corporate subsidies). I think that's wrong, too,
although congressional politics today seems largely driven by who
stuffs the most dollars into which politicians deep
pockets.
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Insecurity.
The White House
tweaks regulations about security clearances for gays. As the
AP story reports:
The Bush administration said security clearances cannot be denied "solely on the basis of the sexual orientation of the individual." But it removed language saying sexual orientation "may not be used as a basis for or a disqualifying factor in determining a person's eligibility for a security clearance."
So apparently, under the old language sexual orientation wasn't to be taken into account; now it can be a factor (i.e., if it might make someone more susceptible to blackmail). Gay groups and leftwing blogs are up in arms. But others say this was always the case anyway, in practice. Yet, why then make the change (the left says to placate the religious right, which may or may not have anything to do with it). I'd want to know more about this-from an objective source.
More. Apparently, none of the anti-gay groups
and sites are making any hay over this. Make of that what you
will.
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The Dutch Touch.
The Netherlands' plan to test would-be Middle Eastern immigrants about that country's nondiscrimination and same-sex marriage laws, along with showing them pictures of two men kissing, is no doubt provocative but most likely will be ineffectual-as with most overly idealistic approaches to solving social problems. I somehow doubt it will keep out the hardcore Islamists who see themselves as the frontwave of a beachhead leading to a Europe under Sharia law, and will quite likely serve to spur their already immense sense of victimhood (i.e., at being forced to endure still more of the insults of the infidels).
More. From a
commentary in Britain's The Telegraph, about the situation in
the U.K.: "The next step will be pushing the Government to
recognise sharia law for Muslim communities. ... The more
fundamentalist clerics think that it is only a matter of time
before they will persuade the Government to concede on the issue of
sharia law. Given the Government's record of capitulating, you can
see why they believe that."
--Stephen H. Miller
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Not the Same Thing.
I saw TransAmerica last night and must report that the only thing I liked about the film was Dolly Parton's Oscar-nominated (but losing, natch) song.
It did drive home, however, just how different transgendered people are from gay people. Sorry, but the desire to obliterate your born-gender identity (and, specifically, your detested sexual equipment) in order to live, usually, as a heterosexual has little to do with the gay experience-or simply with same-sex attraction. But "LGBT" activism thrives on obscuring this difference as if it were merely one of degree, further confusing the public regarding the nature of homosexuality.
More. Some impassioned debate in the comments,
as in this excerpt:
Bobby: I'm sick of transsexuals saying "we fight for the same cause." No we don't. You people fight for transgendered bathrooms, birth certificates that say "male, female, other," and the elimination of sexist terms like "him" or "her." Your problems are not my problems, your issues are not my issues.
Anonymous: We're not all Kate Bornstein any more than all gays are Harry Hay or all blacks are Malcom X. We're not trying to destroy the notion of sex any more than gays are trying to destroy the notion of marriage--some radicals certain want each of these things, but most of us do not, in both cases.
Still more. Interestingly, queer theorists and many LGBT activists push for the "T" because, for them, it represents the "transgressive" edge of gender rebellion. Yet for many actual transgendered people outside the hothouse of academic-inspired activism, aligning their gender identity with physically reconstructed bodies allows them to better conform to normative gender assumptions.
There is a huge disconnect here between radical fantasia and
reality (what a shock!).
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Muslim Riots? Blame the West!
In "A Queer Taste for Muslim Rioters" at Frontpage Mag, Rick Rosendall criticizes the response to the Danish cartoons by Al-Fatiha, a group which, according to its mission statement, is "dedicated to Muslims who are lesbian, gay, bisexual, transgender, intersex, questioning, those exploring their sexual orientation or gender identity, and their allies, families and friends."
Writes Rick:
[I]n response to an appeal by gay blogger Michael Petrelis to "Buy Danish," Al-Fatiha founder Faisal Alam wrote, "Instead of going out so quickly and 'buying' Danish products, maybe we should reflect on why the Muslim world is so angry at the depiction of its most revered religious figure.... how [the West's] domination of the Muslim world for centuries is now leading to this mass uprising...."
Comments Rick, "If we fail to appreciate and defend our
cherished and hard-won Western liberties, we will lose them-and
Muslims who dream of those same liberties will lose all hope of
them."
More Recent Postings
03/05/06 - 03/12/06
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A Bad Character, All Round.
Gay-baiting, and mendacity about one's gay-baiting, are a pretty
good signal of overall moral laxity, as demonstrated in this
story of a former top Bush domestic aide accused of a series of
petty thefts:
Claude A. Allen, who resigned last month as President Bush's top domestic policy adviser, was arrested this week in Montgomery County for allegedly swindling Target and Hecht's stores out of more than $5,000 in a refund scheme, police said.... [Allen's lawyer] said he feels confident that Allen will be able to prove that the incidents were "a series of misunderstandings."
Allen stirred controversy as Helms's campaign spokesman in 1984 by telling a reporter that then-Gov. James B. Hunt Jr.-Helms's opponent-was politically vulnerable because of his links to the "queers." He later explained that he used the word not to denigrate anyone but as a synonym for "odd and unusual."
Sounds like one queer bird.
-- Stephen H. Miler
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Soulful Encounters.
I applaud the gay spiritual group "Soulforce" for its efforts at
creating a dialogue with students and faculity and conservative
religious colleges. And it's heartening that some (though not all)
of these religious institutions are welcoming that dialogue, as
reports the Washington Post in "A
Drive for Understanding":
At least eight of the 19 schools...not only have agreed to let the [Soulforce] activists on campus but have planned open forums for them, including talks in classrooms, visits with student leaders and the school president, panel discussions and, in one case, a coffee klatch titled "The Message of Brokeback Mountain." ...
Officials at the schools hosting the Equality Riders said...they saw an opportunity to replace the stereotype of the intolerant conservative Christian with a more compassionate "Christ-centered" response-albeit a response that still views homosexuality as a sin.
At how many liberal-left schools would dialogue with
conservative religious activists be welcomed, rather than shouted
down?
--Stephen H. Miller
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Why ‘Brokeback’ Lost, and What It Means.
Gregory King has penned
in Bay Windows an excellent analysis of Brokeback Mountain's
defeat (we hope to post a fuller version soon). King explains the
significance of a Best Picture win, which can "generate tens of
millions in additional revenue...while also serving as a
green-light for films with similar themes in the future." And he
explains:
The defeat of Brokeback Mountain was a serious blow, one that suggests that Hollywood feels unable to endorse a gay love story with its highest honor, even if it means overturning years of Oscar precedent to do so.
What precedent, you ask? King relates (and I didn't know
this):
No film in history that has won the best picture award from both the Los Angeles and New York Film Critics Association has ever lost the best picture Oscar, until Brokeback Mountain. No film that has won the producers', directors' and writers' guild awards has ever lost the best picture Oscar, until Brokeback Mountain. No film that has won the Golden Globe, the directors' guild award and led in Oscar nominations, has ever lost the best picture Oscar, until Brokeback Mountain.
And he adds, "Make no mistake, the motion picture academy used a tire iron on Brokeback Mountain Sunday night.
And there's this sad fact:
Others report widespread distaste for Brokeback among the academy's older members, a distaste expressed by Tony Curtis, who told Fox News that he would not even see the film before voting against it. The New York Times on Monday quoted an attendee at an Oscar party who noted, without irony, that older academy voters opposed Brokeback Mountain because it "diminished" cowboys as iconic figures in movies.
King quotes LA Times film critic Kenneth Turan, who
wrote:
In the privacy of the voting booth, as many political candidates who've led in polls only to lose elections have found out, people are free to act out the unspoken fears and unconscious prejudices that they would never breathe to another soul, or, likely, acknowledge to themselves. And at least this year, that acting out doomed Brokeback Mountain.
We still have a very long way to go, and Hollywood hypocrites, smugly congratulating themselves for being so very, very special, aren't helping.
More. The Washington Blade's Nevin Naff shows why Crash-derivative, recycled, contrived and overstated-wasn't the year's best.
Still more!!! Brokeback author Annie Proulx,
writing
in the Guardian: "Rumour has it that Lions Gate inundated the
Academy voters with DVD copies of 'Trash'-excuse me-'Crash' a few
weeks before the ballot deadline."
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The Shameful ‘Brokeback’ Snub
What do the Oscars tell us about life? Nothing, of course. "Winning the Academy Award," as Paddy Chayefsky once famously told Vanessa Redgrave, "is not a pivotal moment in history." Yet there is no denying that the Oscars generate a great deal of interest, catching the attention of tens of millions of Americans, including many gay Americans, if only for a few hours. The results are studied by film buffs and trivia lovers for years to come, and become a part of the Zeitgeist.
While unimportant in the great scheme of things, the Oscars are a national institution. They highlight trends in the culture, serve as a milepost in mainstream American film, and provide a glimpse of what the top professionals in one of our countries' most significant industries perceive as the best they and their colleagues have produced in the prior year. As a result, the Oscars serve as a seal of approval for many infrequent film-goers, who are more likely to watch a film on DVD or video, or will watch it when it later on television, if the film has earned the Academy Award.
The Oscar reflects and bolsters Hollywood's bottom-line: an Oscar win in a major category can produce millions of additional dollars for a film, and the best picture Oscar can generate tens of millions in additional revenue-Million Dollar Baby took in an additional $35 million after taking home the Oscar last year-while also serving as a green-light for films with similar themes in the future. For example, the best picture Oscar for Dancing With Wolves revitalized the Western genre, while the award for Chicago did the same for musicals.
It is for that reason that Sunday night's Oscars have some importance to the gay community. The Academy's decision to award the Best Picture Oscar to Crash rather than Brokeback Mountain says that we have a way to go before films with gay characters at their core will receive Hollywood's highest honor. How far, it is difficult to say. The defeat of Brokeback Mountain was a serious blow, one that suggests that Hollywood feels unable to endorse a gay love story with its highest honor, even if it means overturning years of Oscar precedent to do so. Make no mistake, the motion picture academy used a tire iron on Brokeback Mountain Sunday night, a fact that seems to be lost on a few leaders in the gay community, including Neil G. Giuliano, the clueless head of GLAAD, who sent out an e-mail on Monday morning highlighting Brokeback and Capote's four wins and stating that "our community has cause to celebrate" (a sentiment echoed in this subsequent press release).
A positive spin is often appropriate, but not after a setback such as this. Surely the academy members who told the press they would not even see Brokeback Mountain, yet alone vote for it, deserved some criticism from GLAAD. Instead, the organization put the Oscar-produced gay cowboy montage from Sunday's broadcast on their website. Given the end results of the evening, there was little humor to be found in a second viewing of the clips.
None of the press coverage I have seen reflects how much precedent has been broken. It is substantial. No film in history that has won the best picture award from both the Los Angeles and New York Film Critics Association has ever lost the best picture Oscar, until Brokeback Mountain. No film that has won the producers', directors' and writers' guild awards has ever lost the best picture Oscar, until Brokeback Mountain. No film that has won the Golden Globe, the directors' guild award and led in Oscar nominations, has ever lost the best picture Oscar, until Brokeback Mountain. I am at a loss to explain why GLAAD thinks this is something worth celebrating.
To its credit, Crash overcame significant obstacles to win best picture. It is only the second film in history to win without having been nominated for the Golden Globe. It is the lowest grossing film to win since The Last Emperor in 1987. It is the first film since Rocky in 1976, 30 years ago, to win best picture with only two other Oscars to its credit. It is the first ensemble drama to win since Grand Hotel in 1931. And it broke more than 75 years of non-parochial voting by Academy members to become the first film set entirely in Los Angeles to take home the golden statue.
Some of us thought that this was the year that a gay-themed film could break through in the top category. And, clearly, it almost did. Ang Lee became the first non-white director to be honored as best director. (I'm sure he earned the respect of every director in Hollywood when he pointedly forgot to individually thank his cast.) Oscar voters may have thought that by giving Lee his Oscar, and rewarding Phillip Seymour Hoffman with the best actor award for his lisping, negative portrayal of Truman Capote, they had insulated themselves from charges of homophobia. They were wrong. The decision to honor Crash with the best picture award, coming after a long, unprecedented season of wins for Brokeback Mountain in critics' and guild polls, leaves a bitter taste, reflected in most of the entertainment industry press.
The shock is perhaps most notably expressed by the LA Times film critic Kenneth Turan who berated Academy voters in a major article in Monday's paper. "In the privacy of the voting booth, as many political candidates who've led in polls only to lose elections have found out, people are free to act out the unspoken fears and unconscious prejudices that they would never breathe to another soul, or, likely, acknowledge to themselves," he wrote. "And at least this year, that acting out doomed Brokeback Mountain."
Others report widespread distaste for Brokeback among the academy's older members, a distaste expressed by Tony Curtis, who told Fox News that he would not even see the film before voting against it. The New York Times on Monday quoted an attendee at an Oscar party who noted, without irony, that older academy voters opposed Brokeback Mountain because it "diminished" cowboys as iconic figures in movies. (Remarks like that suggest that the branding of Brokeback Mountain as a "gay cowboy" film, and the attendant jokes from late-night comics, defined the movie as something other than a serious cry from the heart.)
Turan's opinion, that anti-gay prejudice led to the defeat of Brokeback Mountain, has clearly hit a nerve. Roger Ebert, one of the few public voices of support for Crash in the pre-Oscar campaign, has already responded with a defense of the winner, arguing that the film was superior. That judgment seems to have lost in the initial press reports, where the defeat of Brokeback Mountain is being reported as one of the biggest upsets in Oscar history, and a decision that is being seen as a stain on Hollywood's liberal conscience. To be fair, support for Crash among the actors in the academy appears to be widespread. It won the Screen Actors Guild award for best ensemble (an award given to The Birdcage 10 years ago), and actors make up over 20 percent of the academy's voters. And its appears to have been the choice of the Scientologists in the industry, who provided funding for the film-which also explains why the ensemble story set in contemporary Los Angeles contained not a single gay character.
Of course, this is only about Oscars and the movies. Despite George Clooney's absurd assertion in his acceptance speech on Sunday night that Hollywood is a leader in the social arena-an assertion later endorsed by the Oscar producers with another ridiculous montage of films on social issues, a montage that inexplicably included films such as Something's Gotta Give-Hollywood has never been a leader in social causes. It never leads; rather, it reflects. Clooney's claim that the movie industry was out front on AIDS issues was perhaps his most far-fetched notion. Despite its loss of the best picture Oscar, Brokeback Mountain has already become a cultural phenomenon, and it has earned more than $130 million world-wide at the box office, making it one of the most financially successful westerns or gay dramas in history.
It is too early to know what impact the defeat of Brokeback Mountain will have on other films that have recently been green-lighted as a result of its box office appeal. It will be a shame if projects such as The Mayor of Castro Street and The Dreyfuss Affair are now shelved. One certain result will be the loss of many gay supporters at Oscar parties next year. Rather than a time for escapist fun, Oscar-time for several years in the future will bring back memories of the night Brokeback Mountain was denied the top prize to a vastly inferior film. As one who has viewed the annual program with enthusiasm for decades, I know I will not be tuning in next year.