Jesus, Freddie Mercury and Gay Marriage
This provocative masterpiece by Mr. Fish, found via The Cagle Post, where reactions have been widely varied…
This provocative masterpiece by Mr. Fish, found via The Cagle Post, where reactions have been widely varied…
Mitt Romney, who added “teenage gay basher” to his distinguished resume of fucking people over yesterday, unwisely decided to speak out about President Obama’s support for marriage equality.
Via Andrew Sullivan.
“[Below], Romney says that we should not discard 3,000 years of history of one-man-one-woman marriage. Ahem. His own family were ardent polygamists only a century ago - and went to Mexican colonies to escape US federal oppression of their version of marriage (which also goes back a long, long way and still exists across the world). Romney’s great-grandparents were polygamists; one of his his great-great-grandfathers had twelve wives and was murdered by the husband of the twelfth.
For Romney to say that the definition of marriage has remained the same for 3,000 years is disproved by his own family. It’s untrue. False. A lie.
Big love, Mr. Sullivan. This hits it right squarely on the bulls-eye, doesn’t it?
Memo to Mittens: This isn’t going to be an argument that you—you IN PARTICULAR—are going to win.
What’s that epigram from Wittgenstein that’s appropriate here? Ah yes:
“Whereof one cannot speak, thereof one must be silent.”
In other words, zip it, dumbass, before you make a fucking fool of yourself.
Again.
(Are the Republicans deliberately trying to throw the election? If so, WHY?)
I can only imagine that it was complete pandemonium in the hallways of CNN, Fox News, MSNBC and CNBC yesterday as the word filtered out through well-connected Washington media-types that President Obama was coming out of the closet in favor of gay marriage.
If you were a booker at CNN, what’s the first thing you’d do on the occasion of a sitting American President forcefully (if only rhetorically) endorsing marriage equality? Why, of course, you’d scramble to invite a small-minded Christianist bigot like Tony Perkins to offer HIS opinions, wouldn’t you?
And that’s just what CNN did… THREE TIMES.
I can’t think of a more important and relevant voice on the whole matter than Tony fucking Perkins, can you? It’s logical: The President of the United States says something important, lets get a non-entity who runs and is the figurehead/mouthpiece of what the Southern Poverty Law Center has designated as an anti-gay hate group to puke his opinions into viewer’s homes.
Point, counter point, CNN style. No wonder no one watches anymore.
At least, though, when Piers Morgan drew the Tony Perkins card that day (imagine his reaction!) he had some fun with it. At a certain point during this interview, Morgan deftly sank his teeth into Perkins’ ass (metaphorically speaking of course) and did not let go.
It gets really good when Morgan asks Perkins how he’d react if one of his own five children announced to him that they were gay and you see Perkins bridle uncomfortably at the suggestion, pursing his lips and getting very terse with Morgan. Perkins claims that his children would not be gay because he and his wife have been “teaching them the right ways.” (Five kids? What are the odds that one might be gay? Good luck with that Tony!)
Why the hell was this clown on CNN three times in less than 36 hours? What a failure on every level for CNN, even if their anchors DID give him shit. The CNN bookers really need to enter this century and tell this reedonkulous asshat to shove off.
But anyways, I really hate this guy. It was good fun to watch him squirm here.
(And if you enjoyed this, too, here’s MSNBC’s Martin Bashir making mincemeat of religious conservative Rep. Joe Barton of Texas (the fucking idiot who apologized to BP) and his reference to a non-existent Bible verse to bolster his threadbare “moral” arguments for an austere Republican budget that would end Meals on Wheels and free school lunches for poor children.)
“North Carolina allows first cousins to marry but not double first cousins (the offspring of two siblings who marry two siblings)”
Via Buzzfeed
No need to say much more.
Via redditor n8quick in /r/politics
Sometimes Republicans get it right. Clint Eastwood on gay marriage:
These people who are making a big deal about gay marriage?” Eastwood tells the magazine. “I don’t give a fuck about who wants to get married to anybody else! Why not?! We’re making a big deal out of things we shouldn’t be making a deal out of ... Just give everybody the chance to have the life they want.”
Nikolai Alekseev, a Russian gay rights activist arrested during a 2010 Moscow protest (picture above) has been convicted of spreading “gay propaganda” by a court in St Petersburg, making him the first to be convicted under the city’s new anti-homosexuality laws. From Pink News:
Mr Alekseev was said to have been fined 5,000 roubles, just over £100, by a court in Russia’s second city for the promotion of homosexuality among minors, AP reports.
The law was approved in February; this is the first time a citizen has been successfully prosecuted under it.
Mr Alekseev had held up a sign reading “Homosexuality is not a perversion” outside the Smolny Institute in April in public view.
A former journalist, Mr Alekseev turned his attention to full-time gay rights campaigning in 2005, setting up the gay rights advocacy group GayRussia.ru.
He has appeared regularly on Russian television and has been honoured for his work by LGBT organisations worldwide.
He has been arrested on numerous occasions for holding illegal Pride marches and gay rights demonstrations and launched lawsuits against Moscow authorities for banning the events and had announced his intention to retire last year.
Opening Scene:
Curtain up on a starry night. Comets fire across the sky. Center stage, one star shines more brightly than the rest, its spotlight points towards a globe of the earth as it spins from a thread. Glitter falls, as a white screen rises, the lights glow brighter filling the stage.
Blackout.
Single spot tight on a woman’s face
We are unsure if she is in pain or ecstasy. No movement until, at last, she exhales, then pants quickly, rhythmically. Her face glistens. The spot widens, revealing two nurses, dressed in starched whites, symmetrically dabbing her face.
The woman is Mrs. Kemp, and she is about to give birth. Three mid-wives are guided by house lights through the audience to her bedside. Each carries a different gift: towels, a basin of hot water, and swaddling.
It’s May 3rd 1938, and Lindsay Kemp is about to be born.
Blackout.
Though this maybe a fiction, it is all too believable, for nothing is unbelievable when it comes to Lindsay Kemp.
Lindsay Kemp has agreed to give a telephone interview. He is to be called at his home in Italy, by Paul Gallagher from Dangerous Minds, who is based in Scotland. We never hear the interviewer’s questions, only Kemp’s answers and see his facial expressions as he listens to questions.
Photographs of Kemp’s career appear on screens. We hear a recording of his voice.
Lindsay Kemp:
I began dancing the same as everybody does, at birth. The only difference was, unlike many other people, I never stopped. In other words, you know, I love movement. Movement gave me such a great pleasure, such a great joy.
Dance is really my life. I’ve always said for me ‘Dance is Life, Dance is Living, Dance is Life and Life is Dance’. I’ve never really differentiated between the two of them. It’s always been a way of life, a kind of celebration of living.
Kemp is an exquisite dancer, a fantastic artist, and a brilliant visual poet. No hyperbole can truly capture the scale of his talents.
In the 1960s and 1970s, his dance group revolutionized theater with its productions of Jean Genet’s The Maids, Flowers and Oscar Wilde’s Salome.
He shocked critics by working with non-dancers. At the Traverse Theater in Edinburgh, he often cast his productions by picking-up good-looking, young men he had spotted in the city’s Princes Street Gardens - good looks, an open mind and passion for life were more important than learned techniques, or a classical training. His most famous collaborator was the blind dancer, Jack Birkett, aka The Great Orlando – perhaps now best known for his role as Borgia Ginz in Derek Jarman’s Jubilee.
Kemp was the catalyst who inspired David Bowie towards cabaret and Ziggy Stardust. He taught him mime, and directed and performed in Bowie’s Ziggy Stardust and the Spiders from Mars, and was his lover. He also taught Kate Bush, and choreographed for her shows.
As an actor, he gave outrageous and scene-stealing performances in Jarman’s Sebastiane, Ken Russell’s Savage Messiah and Robin Hardy’s The Wicker Man.
“I’ve never really differentiated between dance and mime and acting and singing. I’ve always loved all aspects of performing, though I still can’t play the trumpet, but I’d like too. Well, it’s never too late to learn.”
He has performed across the world, from department stores in Bradford, through the Edinburgh Festival, the streets and cafes of Italy, to London’s West End and Broadway.
Kemp is a poetic story-teller, and his performances engage and seduce as much as the words that spill from tell such incredible tales. His voice moves from Dame Edith Evans (“A handbag!”) to a lover sharing intimacies under the covers.
A house in Livorno. A desk with a telephone. A chaise longue. A deck chair and assorted items close at hand. Posters and photographs of Kemp in various productions are back-projected onto gauze screens.
Kemp makes his entrance via a trap door.
The phone rings once. Kemp looks at it.
Rings twice. Kemp considers it.
Rings three times. He answers it.
Lindsay Kemp is on the ‘phone.
Lindsay Kemp:
Hello. (Pause.) Where are you in Scotland?
(Longer Pause.)
My grandparents are from Glasgow. I always pretend to be Scottish because I was born accidentally in Liverpool when my Mother was saying bye-bye to my Father, who was a sailor, and he was off to sea from Liverpool’s port, you see.
(Longer Pause.)
Well, I don’t quite know where that came from, unless I said it one drunken night, maybe when I chose to be more romantic than Birkenhead, where I was in fact born. I was born in Birkenhead on May the 3rd, 1938, but my family hailed form Scotland, between Glasgow and Edinburgh, and for many years I lived in Edinburgh, when I returned there for the first performance of Flowers, that show that put me on the map, you know.
I did so many of my productions, including the first version of Flowers and Salome, and Genet’s The Maids . I did many, many things in Edinburgh, I only left when I was doing a production of The Maids, incidentally with Tim Curry, this was just before Ziggy Stardust, late ’71. And that production we were doing at the Close, was scheduled to open at the Bush Theater, and at the very last, we were all there rehearsing, ready to go on, and we got a call from Jean Genet’s agent, who said.
Spotlight on Jean Genet’s Agent, stage right
Jean Genet’s Agent:
No, no. Non.
Light out.
Lindsay Kemp
And we were refused permission to do the London version.
(Kemp examines some photographs on his desk, they appear projected on the screens behind him.)
Lindsay Kemp
I’ve got some pictures here of David Bowie at that performance, we gave just one performance, you see, which was a silver collection, we sold tickets for a collection. I don’t think David put anything in the hat. (Laughs.) Probably not, and I have some pictures here of David with his video camera, and he videoed that show, he videoed it, and sent his scouts out himself to find Genet, who he hoped might give us his permission. I’ve no idea what happened to the video, or if Genet got it, anyway, that was the end of that.
I played in The Maids myself at the Traverse for quite some time, playing Madame. But going back to Flowers, I’ll tell you how I began dancing in a minute, because we weren’t permitted to do The Maids that evening, we did Flowers instead, which was a production I’d recently done at the Traverse. So that production came to the Bush Theater, and it was there that it was seen by Larry Parnes, the pop music promoter, and he kind of restored an old cinema, which became the Regent’s Theater in Upper Regent’s Street, where Flowers began its West End run. From there it went to Broadway, and from there, you know, it went around the world.
I was…eh…I’d just rented a little cottage, a country retreat, in Hungerford in Berkshire, and my next door neighbor - it was one Sunday morning and we were listening to Round the Horne, we all did on those Sunday mornings - and my neighbor across the fence leaned over and said.
(Neighbor leans over a garden fence, Kemp is now sitting in a deckchair, still on the ‘phone.)
Spotlight up on Neighbor.
Neighbor:
Oh hi, I think this book might interest you.
(Neighbor passes Kemp a book. Spotlight down on Neighbor.)
Lindsay Kemp:
Holding up book.
And it was Genet’s Our Lady of the Flowers. And I began to read it, and as soon as I began to read it I could already see it on the stage, and I could see myself as Divine, the central character. And two weeks later, we opened.
Dim lights, then back up to reveal gauze removed and a young Lindsay Kemp performing ‘Flowers’.
Lindsay Kemp
As the performance continues behind him.
I remember so vividly. I went back up to Edinburgh, and an aunt of mine had left me five hundred pounds and with that money, we put the show on. I collected the actors in those days from Princes Street Gardens, young guys who looked right. And we did this first, semi-improvised performance, not at the Traverse, but in the old Edinburgh Rock Factory, under the Castle, on very much the Fringe of the Festival. And from there it transferred to the Traverse, and then to the Citizens, and then into universities, then onto the Bush and the regions, and Broadway and around the world.
Blackout.
Lights up. Kemp stands center stage, he addresses the audience directly.
Lindsay Kemp:
To begin with, I began dancing the same as everybody does, at birth. The only difference was, unlike many other people, I never stopped. In other words, you know, I love movement. Movement gave me such a great pleasure, such a great joy. Dance is really my life. I’ve always said for me Dance is Life, Dance is Living, Dance is Life and Life is Dance. I’ve never really differentiated between the two of them. It’s always been a way of life, a kind of celebration of living.
Well, being born dancing, in Birkenhead, my Father was killed at sea, I mean drowned when, at the beginning of the war, his ship was hit by a German submarine, my Mother took me back to her home town of South Shields, and she enrolled me, at the age of two-and-a-half, in dancing classes because I couldn’t stop dancing.
I just loved it so much, and of course, all the little girls in our street, at that time, all had dancing lessons and all would do this little dance in doorways, and so on, and I began tap-dancing as young as two-and-a-half. I continued dancing and dancing classes and entertaining the neighbor’s children, and during the war years when the bombs were dropping entertaining the neighbors in our air raid shelter.
Straight after the war, going straight up to the local hospital, where I entertained the recovering wounded soldiers, whether they liked it or not, they got my repertoire – all my little dances that had been inspired by movies I’d seen, Carmen Miranda and Marlene Deitrich, and I would sing “Lili Marlene”, I was always an entertainer.
When I reached the age of 10, my Mother thought well, you know, I’ve had enough of this, you know the dancing and theater had become such an incredible passion, I mean I couldn’t think about anything else. This passion fueled by trips to the theater and my Mother taking me to the Christmas pantomimes, where I was totally infatuated with the magic of the theater and its transformations and the theater is a way of life, a very different world form life in South Shields, and I wanted to be in that world.
I always knew what I wanted, you see, really from birth. However, come the age of ten, my Mother thought well he needs is education and I was sent to a boarding school near Reading, the Royal Merchant Navy School, where my mother had hopes for me following in my father’s footsteps and going to sea. But, of course, I didn’t.
Blackout.
Lights up.
Lindsay Kemp is on the telephone. Behind him and to the side, is a school dormitory. Large b&w photographic back projection with about six beds. Lying in the beds are school boys. They have pocket torches with which they use to light a young Kemp’s dance performance.
The young Kemp makes his appearance during Lindsay Kemp’s speech. The young Kemp is dressed in toilet paper, wrapped around his body.
Lindsay Kemp:
At school I survived. It was a very tough school. I survived the bullying and the bullies’ blows by entertaining. You know, with my singing and my dancing, and so on, and putting on little plays.
And that’s when I gave my first performance of Salome.
Young Kemp begins to dance to the lights of the school boys’ torches.
Lindsay Kemp:
For which I was going to be expelled. Not for the sinuousness of the dance, but for the waste of toilet paper, which I’d wrapped around myself.
Spotlight on the young Kemp. He freezes. Lights down. Lights still on Lindsay Kemp.
Lindsay Kemp:
All through school I continued dancing, I danced every day, I danced to entertain, I had my own dancers. Incidentally, that first Salome was very influenced by Rita Hayworth’s Salome, which I’d seen, and also from reading Oscar Wilde, a lot of his fairy stories were an influence on me, but particularly Salome by Oscar Wilde. Years later it was put on the stage.
Blackout.
Lights up. Lindsay Kemp speaks directly to the audience.
Lindsay Kemp:
I always wanted to be an entertainer, you see, I love all forms of theater. I loved variety and circus, and musicals and operetta. I loved it all. And of course now, I have become involved in all aspects of the theater, my dreams, my desires and my intentions, in fact all came true.
Linday Kemp goes back onto the ‘phone, talking to his interviewer.
But I was particularly attracted to the ballet, and at the age of sixteen, before leaving school, I auditioned at the Sadler’s Wells School, which is now the Royal Ballet School. And of course at the age of fifteen, sixteen, I thought I was God’s gift to dance. Of course, I was devastated when I received a letter from the principal saying:
(The words of the letter appear behind Lindsay Kemp, high on a screen. They are typed out word-by-word, as he reads the letter.)
‘Dear Master Kemp, Thank you very much for coming to the audition on September 14th, unfortunately we have to tell you that both I and my board find you both temperamentally and physically unsuited to a career as a dancer. Yours faithfully, Ursula Morton.’
I can see it as clearly now as on that day that I got that letter.
But what if I’d taken any notice? Think what the world would have lost? I’d could have given up and become a coalman…
(Blackout. The ‘phone cuts off. Lights up. Lindsay Kemp talks to the audience. Lights slowly fade during his speech.)
Lindsay Kemp:
I was so determined to become a dancer there was nothing else for me. I did auditions for a load of other dance schools, and drama schools, as I wanted to be an actor as much as being a dancer, and so a painter, come to that, all of those things. I did get a scholarship with the Ballet Rambert School. That was great, but that scholarship didn’t take effect until after I’d had my National Service, you see, because in those days you couldn’t get into university or further education or any jobs until you had done your service for two years.
So, I had to hang around. My Mother moved to Bradford, and worked in a shop, very high class, and that’s where a young David Hockney met me, and David encouraged me to go back to London and try again, and to pursue my dream at all cost.
(Lights out. Lights up.
The telephone rings. Kemp answers it.)
Lindsay Kemp:
Hello, I don’t know what’s the matter. (Pause.) Anyway, we better keep going before it happens again.
I walked into a recruiting office and signed-up for the Air Force on my seventeenth birthday. I couldn’t bear hanging around in Bradford anymore. I met a lot interesting people, the like of which I’ve never met before, very conservative, very right wing, kind of boarding school, very repressed, and I certainly didn’t allow myself to be repressed.
So, I began to do classes at the Rambert during weeks from the Air Force, they gave me special leave so I could train at the Rambert.
Going to the Rambert School was absolute heaven, I was in heaven there. And to meet such wonderful people dancing, other dancers I’d never met before, people with similar dreams and desires as myself, notably Jack Birkett, who later became the Incredible Orlando.
(Lindsay Kemp on Jack Birkett;)
”Jack was Judy to my Mr. Punch, Harlequin to my Pierrot, Titania to my Puck, Herodias to my Salomé, Queen of Hearts to my Lewis Carroll. We shared flats, dressing rooms, boyfriends, bills, good times and bad times, success and failure; a couple of extravagant young dreamers, a couple of aching elders, always entertainers.
Lindsay Kemp:
And Jack said:
Jack Birkett, the Incredible Orlando, appears as an angel and is lowered on a wire from the wings. He is dressed as Eros, with bow and arrow.
Jack Birkett, the Incredible Orlando:
Look.
Lindsay Kemp:
I had another year to do in the forces. Aside No more, because I’d signed on at seventeen for three years. Anyway, Jack said:
Jack Birkett, the Incredible Orlando:
Tell them you’re gay.
Lindsay Kemp:
And I said, To Orlando ‘What’s gay?’
Jack Birkett, the Incredible Orlando:
Tell them you’re gay, dear.
Orlando flies upwards, firing an arrow.
Lindsay Kemp:
Anyway, so, I went to the medical officer and said, ‘I’m gay.’ I had no experience at that time, but I’ve made up for it.
Anyway I was out, there and then, I mean discharged., suffering from what the medical report said was ‘temperamentally ….’
And from there straight back to the Rambert School.
(Kemp addresses the audience.)
I had always put on my own little shows since the age of five years old, and then at boarding school, cajoling other boys to join me and we would put on plays and shows together. And in the forces, during that one year also putting on a lot of plays and performances and so on. And we continued to perform in garages, in fields, in parks, in gardens, wherever we could get a gig in those days, myself and my friends. And bit by bit, that company took on a professional shape so by 1968 or ’69 or something like that, the company as such, the Lindsay Kemp Company made its debut at the Lyric Hammersmith.
(Lights down, then up. On stage the Lindsay Kemp Company performs.)
In the late 1960s, Lindsay Kemp met a young musician called David Bowie.
Bowie was on the verge of giving up his pop career, and becoming a Buddhist monk, when he met Kemp. The meeting would change Bowie’s life and career.
David Bowie on Lindsay Kemp:
”It was everything I thought Bohemia probably was. I joined the circus.”
Blackout.
More from Lindsay Kemp, after the jump…
Antony Hegarty of Antony and the Johnsons is joining past Meltdown Festival curators like David Bowie, Morrissey. Nick Cave, Jarvis Cocker and Patti Smith, as he announces the line-up for this year’s prestigious event to be held in London, August 1-12.
Antony discussed the predominantly female performer selection, his ideas about “future feminism” and how these artists are pushing towards something completely new for society, with Pitchfork:
Hegarty: Kembra Pfahler is like my leader, basically. She’s such a seminal or feminal influence on so much of us in New York City. Just because she’s so fierce, ferocious and her creativity is so pure, and her vision of the world is so unrelenting. And she’s so unrelenting in her willingness to deliver a sense of truth. That has political ramifications.
Laurie Anderson is the same way: she’s named and framed her sense of apocalyptic culture for 25 years. Ferociously named it. Joey Arias is so hardcore. He’s a very hardcore queen. Marc Almond is also a super hardcore pioneer. There’s David Tibet from Current 93 and Cyclobe. They are on the frontier of English, queer, hallucinogenic paganism. And they sort of sit on the spiritual frontier in terms of trying to articulate or embody in their work a vision that they have of the world that’s very different from a typical patriarchal, sky god, Christian crap that even a lot of indie musicians in America are turning out. Christian chud. They’re pretending they’re alternative artists, but they are just confirming this patriarchal chud that we desperately need to rid ourselves of.
CocoRosie has been very controversial, especially in America, just because they take so many risks, and most guys in the boys club don’t take even them. In Europe they’re very embraced. Amongst artists, they are celebrated around the world, but there’s obviously been a lot of people that can’t take the frontier that they’re pushing. To me, they are amongst the most important young artists in American today. I think it’s intergenerational. There’s a lot going on in the festival.
Pitchfork: Every artist, in their own way, seems to have an uncompromising vision.
Hegarty: It’s not even just within art that they’re uncompromising. I think for me, it’s the next step that’s interesting. Since the early 2000s, a lot of straight boys created bands that are about, like, nurturing this pastoral inner life—these colorful psychedelic lives and nurturing their sensitivity as straight boys. And that’s great and everything, but we need to start participating in the bigger picture because this whole ecology of our world is going to start collapsing in the next 50 years, and if there’s going to be a validity to anything, in 50 years’ time just like the way they were, people are going to be asking what the kids of today are thinking, what the artists of today were thinking. Were they just checking out? Were they just, like, hugging a couple of cuddly bears or feel-good pillows? What is the point of music at this point? Is it just a beer swill at Coachella? Is it a few sensitive guys getting up there having a circle jerk while all the girls and all the other people have to sit around and try and find their experience within their opaque song styling? We could be participating, and that’s what I aspire to do, and so I wanted to create a vivid festival that had some teeth to it.
Hear, hear!
Antony’s Meltdown line-up:
Elizabeth Fraser of the Cocteau Twins in her first live performances (she’s doing two shows) since 1998
Laurie Anderson
William Basinki: “Disintegration Loops”
Marina Abramovic doing a rare lecture.
CocoRosie
Hal Willner’s"Freedom Riders”
Charles Atlas’ Antony and the Johnsons tour doc Turning.
Planningtorock + Light Asylum
Buffy Sainte-Marie
The Voluptuous Horror of Karen Black + Tenderloin
Kembra Pfahler + Claywoman
Diamanda Galás
Joey Arias channeling Billie Holiday in his “Strange Fruit” review
Marc Almond performing his classic Torment and Toreros album in it’s entirety
Selda
Myrninerest + Cyclobe + Derek Jarman Films
As someone who has seen most of the acts on this year’s Meltdown bill, I have to say that this is one of the very best curated music festivals I’ve ever heard of. There’s a real vision here and I think it’ll be an amazing experience for attendees.
Meltdown Festival tickets will go on sale next Tuesday, May 8th at noon for Southbank Centre members only, and then on Thursday 10th at noon for the general public.
Below, a stunning performance of “Cripple and the Starfish” at Amsterdam’s Theater Carré Amsterdam, June 21, 2009:
Thank you, Lenora Claire!
AS IF they needed any encouragement, Mitt Romney’s cynical hiring of openly gay Richard Grenell to sharpen his foreign policy message (and provide some cover for all of the anti-gay stuff Mittens has pledged to support) has “let the dogs out” of the Christian Right.
With Grenell stepping down before he even got started, now anti-gay rights activists like the Family Research Council’s Tony Perkins, Gary Bauer and hateful jackass Bryan Fischer of the American Family Association are crowing about their success in pressuring Romney to get rid of him.
You can, of course, easily make the argument that Republicans, on the whole, are hardly a bunch you could describe as “gay-friendly,” so there becomes the secondary side-issue of why tin-earred pol Romney felt that stirring up a hornet’s nest like this—the prominent hiring of an openly gay man—would benefit him politically with the mouth-breathing GOP base. It’s fucking ridiculous on the face of it, but in doing so, Romney has inadvertently exposed the men behind the curtain who are REALLY pulling his strings: Some of the most extreme Christianist bigots in America!
Last week Bryan Fischer declared that if Mitt Romney wants to win in November, he’d “better start listening to me.” Most of the rest of the week, Fischer discussed firing Grenell and lashed Romney repeatedly for having the audacity to hire an openly gay man as his foreign policy and national security spokesman. Coincidence that Grenell stepped down? I should think not.
Andrew Sullivan writes at The Daily Beast
“It’s sometimes hard to explain to outsiders what level of principle is required to withstand the personal cost of being an out gay Republican. I’ve only ever been a gay conservative (never a Republican), and back in the 1990s, it was brutal living in the gay world and challenging liberal assumptions. I cannot imagine the social isolation of Grenell in Los Angeles today, doing what he did. And his reward for such loyalty, sincerity and pugnacity? Vilification. I mean: what do Republicans call a gay man with neoconservative passion, a committed relationship and personal courage? A faggot.”
The Stonewall Democrats had this to say:
Mitt Romney sat silently and let the bigoted wing of his party control his personnel choices. Either Mitt Romney is a coward who is afraid to stand up to the anti-LGBT bullies in his party, or he is fine with an America where LGBT people can have a career only if they’re willing to work quietly from the confines of the closet. Gay Republicans should be outraged and must demand that the organizations that represent them refuse to support Mitt Romney’s presidential aspirations in any way.”
The Human Rights Campaign’s statement:
From the moment Richard Grennell signed on as Mitt Romney’s Foreign Policy and National Security Spokesman, he faced a torrent of unfounded criticism from the far right. Not once did the Romney campaign condemn these attacks and support Grennell. Mitt Romney capitulating to the demands of extremist anti-gay groups is nothing new. He has donated to the rabidly anti-gay National Organization for Marriage and the Massachusetts Family Institute. He has even signed a NOM vow that binds him to appoint only anti-gay judges and establish a McCarthy-era commission to investigate the activities of those who support LGBT equality. The fact that Grennell is gone so quickly after a right-wing uproar is a troubling harbinger of the kind of power that anti-gay forces would have in a Romney White House.
Michelangelo Signorile makes an important point on Huffington Post:
Actually, I believe this is a big win for progressives and for gay journalists and commentators as well. We drew out the conservative leaders in addition to Fischer, like Family Research Council’s Tony Perkins, Gary Bauer and other commentators on National Review and Daily Caller, by bringing forth and continually highlighting the true facts about Grenell, which, to most Americans, are completely acceptable, but which, in the eyes of the evangelical right, make him a radical homosexual. As I wrote in a post last week, Grenell isn’t just gay, like some other gay Republicans who stay quiet about their homosexuality. He’s a gay man who very publicly expressed that he wants to get married to another man and who believes President Obama isn’t adequate on LGBT rights.
Why is it this a win? Because Grenell was being used for cover by a candidate with abhorrently anti-gay positions, a man who has promised to “propose and promote” a federal marriage amendment if elected president. I don’t buy the argument made by some that it was a measure of progress that Romney hired a gay man as his foreign policy spokesperson when he’s using that gay man to make himself appear moderate to independents while he’s promising the GOP base that he’ll make gay people into second class citizens. Actual progress in the GOP will come when their presidential candidates stop bowing to bigots and refuse to sign their extremist pledges. Otherwise, it’s all window dressing.
He’s 100% correct on this matter. During the second hour of Fischer’s radio show yesterday, the news broke about Grenell’s resignation from the Romney campaign. Watch as a gleeful Fischer declares it a “huge win” for Christian conservatives because A) they forced Romney’s hand to get rid of Grenell and B) they taught him what his boundaries are!
Elect Mitt Romney and get THIS GUY, too:
