Saturday, February 8, 2014

The "stretchy-seat" paradox





There's this weird, oh, I don't know, thing. This paradox. We generally assume, most of us, that being gay in the 1950s was horribly stigmatized, even persecuted, something you had to scrupulously hide in case you were "found out".

You had to be "manly", meaning devoid of any sort of attraction to your own sex. The pressure was enormous. You had to line yourself up with movie stars like Rock Hudson (oops) and Raymond Burr (double-oops), who were then believed to be rampantly heterosexual.









































SO WHAT'S THIS SHIT ALL ABOUT?

These are men's underwear ads, presumably from the 1950s, in which men are in such blatantly homoerotic positions that it just makes you wonder. Is this just  "oh, surely not", or a "hey, they're just joshing around" kind of thing?

But think about it. Back then we had male comedy teams like Martin and Lewis, Bob Hope and Bing Crosby. (Crosby and Danny Kaye, later "outed" as gay, even appeared in drag in White Christmas.) We had singing duos who came on Ed Sullivan - what the hell was the name of that duo? I'll have to look it up AGAIN, even though I've looked it up 27 times before. (Sandler and Young.)

But none of them appeared in these kinds of poses, like the one below, with the guy on the left just waiting to be serviced by the other guy, who seems to be getting down on his knees. This ad must have been designed by somebody like Sal Romano from Mad Men, who had to sublimate his illicit passions into his artwork.




Maybe people were gay-blind then. Or they are now, when looking back. Surely it meant something else to bandy about terms like "stretchy-seat"? We just assume everybody was clean-cut and devoid of any non-Doris-Day-humping impulses back then. In fact, if these ads are any indication, it looks like there was lots of very public boy-on-boy action going on, and it was considered completely OK. Stuff that today would make people squirm.

Like this.






These are ads for a sort of one-piece spandex jumpsuit/panty-girdle for men, with legs in it. Presumably there was a fly in them somewhere (there's some mention of a horizontal fly, a bizarre concept if ever there was one, reminding me for some reason of a sideways vagina), or maybe you just wriggled them down like women did. They had a patented "stretchy-seat" in them (no kidding!) that presumably gave a little testicular support during spontaneous wrestling matches on the living room floor. This was strong enough to contain the most explosive fart, and could not (presumably) be penetrated from the outside. I don't know if the one-piece "union suit" design ever caught on - it's hard to believe that a man would render himself that inaccessible, unless dry humping was the preferred method.



(Transcript of dialogue)

"Old Flappy-Pants-Pappy Himself!"

Pete: Can the comedy, will you? These suit me, and I like 'em. . . get it? They're Munsingwear "BREEX". They're bias-cut, with as much room and comfort behind as anybody needs. . . and what about that stingy little number you got on?

Mac: Stingy, my eye! You mean streamlined, modern. . . what a getting-around guy needs. Munsingwear, too. . . these SKIT-Shorts, with the new, easy "Stretchy-Seat" that stretches up and down.




(Transcript of dialogue)

Fred:  Gladiator! Stick to your putting! Nothing could be more comfortable than these SKIT-Trunks! They're brief enough. . . without making you look as if you'd joined a nudist colony!

Pete: Oh, yeah? Well. . . next to my skin I like air. Look at the leg-room here! And these give mild support, too!

It's strange, because I can't imagine the gayest man in the world (Elton John?) discussing "leg-room" and "mild support" (not to mention "stretchy-seat") with ANYONE, even the cutest pool-boy in the world. It's just so. . . not even gay - it's something else - just. . . disturbing.

Yet it's obvious it isn't meant to be gay. I mean, they wouldn't. I mean. . . would they?




I swear, this guy's butt looks like something out of an old Playtex girdle ad from the 1960s. Unless he has a thigh problem, and men don't usually have cellulite, I just don't get the shorts-like design of these. In fact I don't see how ANYONE could wear one of these, except maybe Ed Wood in his Glen or Glenda phase. He might get in a car accident, after all, and the doctor pronouncing him dead would see it.




Falling in love again, never wanted to















Marlene Dietrich isn't my favorite (that would be Anthony Perkins), but these are nothing short of gorgeous. And they don't go on and on in baroque fashion, like the ones I make. The first and last ones are my favorites.

Friday, February 7, 2014

People you know very well



(From the Gospel According to Facebook, chapter 946, verse 22:)

Adding Friends/Friend Requests

Adding Friends

A quick way to add your friends is to import your contacts. You can also add friends from their Timelines:
  1. Search for the person you'd like to friend using the search bar at the top of any Facebook page.
  2. Click on their name to go to their Timeline.
  3. Click the Add Friend button next to their name. You might not see this button on some people's Timelines, depending on their privacy settings.
Once this person accepts your request, they'll show up in your Facebook friends list.
Note: If you've been temporarily blocked from adding new friends, you'll need to wait until the block is finished. Learn more.
You're reading the Desktop Help answer. Learn more in our other Help Centers.
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You should send friend requests to people you have a real-life connection to, like your friends, family, coworkers or classmates.
If you're interested in receiving updates from people you find interesting, but don't know personally (ex: journalists, celebrities, political figures), try following them instead of sending them friend requests.




(Emphasis mine.)

OK, so this is the official word.

Then why do I know so many people who have literally THOUSANDS of Facebook friends?

If I ask anyone about this, they quickly look away and change the subject. Myself, I've received stern warnings  about "friending" people I don't "have a real-life connection to", and have even been threatened I'll be cut off Facebook forever if I even think of approaching someone in my field whom I merely admire. The shaming and even mildly threatening tone of these warnings is really something else. 

So how do these people make over a thousand (or two, or three, up to FIVE thousand) close, personal friends without being cut off like I almost was?

Inquiring minds want to know.




But no one, NOT ONE person, not even Google will tell me what is going on here. I've tried and tried, but apparently it doesn't happen.  Did each of those, say, 3000 people receive a friend request from someone they have a real-life connection with? A close friend or at least a colleague? I've never met that many people in my entire life. Not only that, carefully friending people one by one would be a mighty slow process, unless you're so gol-dern popular that friend requests just come flooding in every day.

The message seems to be: OK, Margaret, once again, you have no friends because nobody likes you. If they liked you, thousands of friends would be magnetically attracted to you with no effort on your part at all. In fact, the entire world would decide in unison that it liked you. But no, Margaret. It's not like that. Not for you.




You DON'T have 3000 or 4000 Facebook "friends" and you never will. Even if you approach someone you DO know well, and for some reason they don't respond right away (i. e. they almost never check their Facebook page), it will appear on a list that will some day flash in your face: all those requests you sent that were "refused". This is seen as a security issue and leads to stern warnings that you are about to be thrown out of Facebook.

The real reason being, not that you have TOO MANY friends, but that you have NOT ENOUGH friends and aren't cool enough, not knowing enough to stay on-board. It's the bloody schoolyard all over again.

So most people just sit there while wave upon wave of closepersonalfriend requests billow in daily. That doesn't happen to me.

I am also on LinkedIn, and joined in an attempt to find a person I needed to talk to. This time, surprisingly, I wasn't punished, but I don't know WHY I wasn't. I get "link requests", or whatever they are called, at least every week, if not every day. In most cases I have never even heard of these people, and I have no idea where and how they found my name.

I've tried this myself, and it never works. I get another stern finger-shaking warning. To "link" with someone, you have to know them well and have their email address. That's the rule. In other words, to be in touch with them, you already have to be in touch with them. It's a security thing, see.




Is this hypocrisy, or what? Why am I the ONLY person I have ever known who even talks about all this? If I had someone's email, I would never bother to "link" with them because I AM ALREADY LINKED WITH THEM! It's kind of like Facebook, you see, a hopeless Catch-22 that nobody else ever mentions because they are comfortably "in", and don't want to do anything to threaten that position (i. e. consort with someone who is hopelessly "out").

I had the thought, once, upon seeing someone on my page with something like 3,120 "friends", that there must be a whole lotta cheatin' going on. Bribes, maybe? The person never strikes me as a celebrity, in fact many of them look like ordinary schlubs. Like me. So there must be a way around the stern, quasi-legal warnings about "security", the implication that you might only have "one more chance" to make good before you are drummed out of the club forever.

I am a hopeless dinosaur, I know it, and any attempt to join in will be seen as a pathetic effort to be "cool" when it is patently obvious I don't belong here and never will. The harder I try, the more pathetic I look.

And that's just the way it is.




Thursday, February 6, 2014

The unknown Harold Lloyd: Court House Crooks, 1915




I'd heard rumors, but I had never actually seen Harold Lloyd in a Mack Sennett comedy. He spent a year in the studio back in 1915, long before his heyday, taking minor roles while on strike from the Hal Roach studio, which refused to pay him $10 a week because they didn't feel his efforts were worth it. Seemed too good to be true at first, but the more you look at his character, the more you realize it couldn't be anyone else. It's a bit startling to see him without the glasses - he had wonderful eyes that were usually obscured, sexy eyes I always thought, a bit seductive - and to see him just so young, maybe 21 or 22. A boy. The extremely heavy white makeup is typical of the era when people's faces tended to disappear on film.

This wasn't all that easy to gif, and at first it wouldn't at all. He does appear in this picture a lot, but in snippets and little bursts of chase-scenes that last a couple of seconds. I'm having trouble setting up the Gifsforum with the bar, and you can't set exact coordinates or it doesn't work. My beloved old Y2GIF, the one I started on, doesn't work for me at all now.

So for now, this is the best I can do. Say good night, Harold.












Post-blog Notes. Yes, this is definitely Harold, though his face looks strange with no glasses and an inch of white makeup. The way he runs away is Harold-esque, the way he pulls the guy's hat down. . . His body language has that mercurial quality. Funny that he's buried in this, as he was in most of the Sennett comedies he made before ascending to greatness.

Got to start somewhere.


 

Dear Sir or Madam, will you read my book
    It took me years to write, will you take a look


Wednesday, February 5, 2014

Woody Allen: creepier and creepier




FEBRUARY 5, 2014: This post has been updated to include more examples from Woody Allen's films.


MICKEY: Why all of a sudden is the sketch dirty?
ED: Child molestation is a touchy subject, and the affiliates...
MICKEY: Read the papers, half the country's doing it!
ED:Yes, but you name names.

The above is from an early scene in Woody Allen's 1986 film, Hannah and Her Sisters. I've been thinking about it since reading Dylan Farrow's essay in The New York Times, accusing her adoptive father of molesting her when she was a child. The allegations are nothing new. Nobody except Dylan Farrow and Woody Allen knows what happened in that attic, and no one else ever will. But the sheer vividness with which Farrow recounts the experience, as well as the forum in which she does so, is enough to make even the most ardent fan reevaluate an artist's entire body of work, especially one as personal as Allen's.
So what happens when you go looking for evidence of sex crimes in Woody Allen movies? If you look, you find it, again, and again, and again.




Take this scene from Manhattan, when the Allen character, Isaac, introduces his new girlfriend to his friends.

YALE: Jesus, she's gorgeous.
ISAAC: But she's seventeen. I'm forty-two and she's seventeen. I'm older than her father. Do you believe that? I'm dating a girl wherein I can beat up her father. That's the first time that phenomenon ever occurred in my life.
EMILY: He's drunk.
YALE: You're drunk. You know you should never drink.
ISAAC: Did I tell you that my ex-wife—
EMILY: Who, Tina?
ISAAC: My second ex-wife is writing a book about our marriage and the breakup…It's really depressing. You know she's going to give all those details out, all my little idiosyncrasies and my quirks and mannerisms. Not that I have anything to hide because, you know...but there are a few disgusting little moments that I regret.




How are we supposed to read "a few disgusting little moments that I regret" when Isaac is dating a girl still in high school? And what are we to make of the scene in Love and Death (1975), in which the wise Father Andre tells the Allen character, "I have lived many years and, after many trials and tribulations, I have come to the conclusion that the best thing is…blond twelve-year-old girls. Two of them, whenever possible”? Or this exchange from Stardust Memories (1980), in which the Allen character, Sandy, hints at incest when talking with his lover Dorrie about her father?

SANDY: What about you? Did you have a little crush on him? You can admit this to me if you like.
DORRIE: Sure, we had a little flirting.
SANDY: A little small flirt? Mother away getting shock treatment, and the only beautiful daughter home. Long lingering breakfasts with Dad.
In a later scene, Sandy and Dorrie have the following argument, while in the background a large newspaper headline on a wall reads "Incest between father's..."
SANDY: I'm not attracted to her. What are you talking about?DORRIE: Staring at her all through dinner. Giving each other looks.
SANDY: Stop it. She's fourteen. She's not even fourteen. She's thirteen and a half.
DORRIE: I don't care. I used to play those games with my father, so I know. I've been through all that.
SANDY: What games? You think I'm flirting with your kid cousin?
DORRIE: You smile at her.
SANDY: Yeah, I smile at her. I'm a friendly person. What do you want? She's a kid. This is stupid. I don't want to have this conversation.
DORRIE: Don't tell me it's stupid. I used to do that with my father across the table. All those private jokes. I know.




Incestuous themes—stated or implicit—seethe throughout the whole of Allen's career. Here's a snippet of dialogue from Honeymoon Motel, a one-act play produced three years ago:

FAY: I was a little girl. I had an Uncle Shlomo…
NINA: Oh Mom!
FAY: Three fingers, he tried to molest me. Suddenly, three fingers I feel fondling me—
JUDY: What's the three fingers got to do with it?
FAY: It's hard to explain, but most people get groped by five.
SAM (to FAY): At least you were molested. I didn't have sex till I was twenty-five—you were the first one.


That idea: that sexual exploitation and education are conjoined also runs through the Allen canon. In Whatever Works (2009), the Allen character (played by Larry David) marries a childlike twenty-one-year-old, returning to the basic romantic situation that has motivated Allen's work from the beginning, and which you can see even in Annie Hall (1977): A man educates the women he sleeps with. He raises them. Once they're raised, he's no longer interested.



So what are we supposed to do? Every comedian alive, every writer alive, has been influenced by Woody Allen. In a way, the dilemma this poses is nothing new. Artists can be scum. Every grownup knows this. Roman Polanski was convicted of violating a thirteen-year-old girl, but he still made Chinatown. A recent biography of the German essayist Walter Benjamin, a personal intellectual hero of mine, revealed that when it came to his wife and child, he was, not to put too fine a point on it, an irresponsible asshole. The first compiler of the tales of King Arthur, Sir Thomas Malory, was a well-known rapist. Separating the quality of the art from the life of the artist is necessary for anyone who wants to enjoy anything.

But with Woody Allen, such a separation is impossible, because his movies are so thoroughly about himself, and about his own condition, and, as it turns out, the moral universe in which he exists—one in which there is no expectation of justice. Consider the final conversation in Crimes and Misdemeanors (1989), in which the main character, Judah, tells his story of getting away with a terrible crime, disguising it as a movie he's pitching:


JUDAH: People carry awful deeds around with them. What do you expect him to do, turn himself in? This is reality. In reality, we rationalize. We deny or we couldn't go on living.
CLIFF: Here's what I would do. I would have him turn himself in. 'Cause then you see your story assumes tragic proportions. Because in the absence of a God or something, he is forced to assume that responsibility himself. Then you have tragedy.
JUDAH: But that's fiction. That's movies. I mean, you've seen too many movies. I'm talking about reality. If you want a happy ending you should go see a Hollywood movie.


Only in Allen's case, Hollywood isn't the bringer of false light, but a willing accomplice to darkness. The end of Dylan Farrow's letter, not anything said by Sarah Palin or any other Fox News commentator, is the most stinging indictment of Hollywood I have ever read:
What if it had been your child, Cate Blanchett? Louis CK? Alec Baldwin? What if it had been you, Emma Stone? Or you, Scarlett Johansson? You knew me when I was a little girl, Diane Keaton. Have you forgotten me?
Are you imagining that? Now, what's your favorite Woody Allen movie?
But it's not just Hollywood. It's the rest of us, too. What about those of us who are Woody Allen's fans? What the hell have we been watching all this time?



 Esquire's Woody Allen Profile From 1994


Read more: Rewatching Woody Allen - Dylan Farrow Woody Allen Movies - Esquire
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Visit us at Esquire.com


Tuesday, February 4, 2014

The Woody Allen scandal: call me a victim, and I'll kick your ass!




Blogger's note: I didn't write the piece below, but it raises many interesting points. For one thing, it applies directly to my own family system and describes with hair-raising accuracy just what happens when one person finally stands up and cries 'Abuse!'. It amazes me how similar the reactions are, as if abusive families are all part of one big clan secretly trained to behave the same way. I DID go see Blue Jasmine, and I tried to push Woody Allen into the background. Though he still turns out a picture a year, I wonder how much of it is actually him, if he's doing the work, or if he's a sort of cardboard veneer. I have often heard that he doesn't really direct at all, just lets the actors figure it out for themselves. In my books, this is called "phoning it in".

His strenuous denial that he was ever a father-figure to "Mia's children" is violently contradicted by these photos, in which he snuggles a very unhappy little Dylan against himself. The fact is, and most of us know this, he was "around" as a quasi-Dad ( or at least willingly posing for publicity photos with them), for years and years. And then came the rape of Lucretia, bearing away Mia's daughter Soon Yi  (who may have been as young as 17), while being completely incapable of seeing anything wrong with it. "The heart wants what it wants," he famously said.




And then tonight on one of the entertainment shows, a woman comes forward claiming that she knows Allen, and is certain that he "would never" sexually abuse a child (the Great American "Would Never" defense, which seems to hold up well in a court of law). She just knows. Then it comes out that they dated years ago, back when he was 42 and she was 17. This precariously-teetering-on-the-verge-of-statutory relationship was supposedly the inspiration for one of his creepiest movies, Manhattan, in which middle-aged Woody "dates" a girl still in high school. No one sees the irony of the fact that this woman with her strident defense of Woody Allen was one of his victims and apparently didn't even know it.

My husband, generally an accepting soul who seldom judges a book by its cover, saw a picture of Allen on TV recently and said, "No wonder they're saying that about him. Look at him" (meaning his general air of squirm-inducing creepiness). Certainly it looks as if he has caved in on himself. There is a cost to this, not just to the "victim". And oh, how I wish Tanya Steele would stop using that term, which appears about 35 times in this piece! "Survivor" would be much more respectful and even accurate.




Remember a few years ago, the media always spoke of "cancer victims"? Why have we forgotten that? Because the anti-cancer lobby, especially the breast cancer lobby, arm-wrestled that term out of the public consciousness. And a good thing, too.

But why are the men and women who lived through this private holocaust still labelled "victims", a passive, wounded term that implies a slinking, ashamed, or at least damaged and incomplete life? The survivors I know, men and women alike, quite frankly kick ass. No matter what the obstacles, they all seem to move forward. As, gentle reader, I have had to do myself. But inevitably, these articles seem to imply that anyone who has been molested has either been completely demolished, gone irretrievably crazy or committed suicide.

As usual, the text is broken up with photos, mainly so you won't be left with an unmanageable block of often-repetitive, sometimes preachy text. But I still think this is worth a read.


When An Artist You Admire Is An Accused Predator

by Tanya Steele
February 3, 2014 4:53 PM








Recently, I read “An Open Letter From Dylan Farrow’ in the New York Times. Immediately, I posted it on my social networking accounts. I stopped paying to see Woody Allen movies when I learned of his marriage to Mia Farrow’s daughter, Soon-Yi. The fact that he married his lover’s child was enough to disgust me.

I was not aware of the other allegations until Ronan Farrow’s Tweet the night of the Golden Globes: “Missed the Woody Allen tribute - did they put the part where a woman publicly confirmed he molested her at age 7 before or after Annie Hall?” Honestly, I thought he was referring to Soon-Yi. However, when I discovered he was referring to his other sister, I was not surprised. Offenders have patterns.

I am a former counselor to victims and survivors of incest. I also counseled sex offenders. At a very young age, I was trained to understand the culture that is created around sexual violence, how sexual violence is enacted and how victims/survivors respond. I was also trained to understand how perpetrators respond. Because of this, I try not to become too involved in discussions about sexual violence. Who did what? Did he actually do it? Is it a rush to judgment? Usually, from looking at the patterns of someone’s life, professionals can identify a sexual predator. As a rule, I choose to believe the accuser.





I try not to become involved in discussions on these topics because the public is not trained to understand the dynamics of abuse, sexual violence or predatory behavior. And, people who are in denial about their own abuse, people who are predators or may be, unconsciously, acting in defense of a predator, in their own life, are also a part of the discussion. So, these discussions get stalled with word play, tempers, “you weren’t there” type accusations. For me, it’s best to avoid them.

Sexual violence happens in secret. It can happen to a child (includes teenagers); a girl or a boy. It also happens, primarily, to women and, yes, men. In this piece, I am not going to explain the dynamics of abuse. I will not explain why I believe Dylan Farrow and how I came to that decision. What I will do is try and help you find another way to approach the very complex terrain that surfaces when an Artist that you admire is labeled a perpetrator.

I was not aware that Marvin Gaye was involved with a 16 year old girl when he recorded the album ‘Let’s Get It On’. Mind you, I learned this, casually, as I sat with a friend who is a musician. She said, “did you know that he is singing to a 16 year old?”. Stunned. The first reaction was guttural. No. No. Just no. I did the research. Yes. Wow. Okay. Breathe. That is one of my favorite albums. 





What was I to do? Marvin Gaye had already entered the most intimate aspects of my life with that album. I had grown to love Marvin through that album (clearly, never knowing him). But, the gentle, tender way that he sang his love was arresting. Not to mention the genius with which it was constructed and delivered. As an Artist, I admired the craftsmanship. As a woman, I admired the sentiment. I have been listening to that album since I was a child. Marvin Gaye’s music was a part of me.

How was I to reconcile my beliefs with attachment to this music? Simply, I was not aware of his actions when I allowed the music into my spirit, into my soul. Marvin Gaye had firmly situated himself in my heart and mind long before I knew the transgressions in his life. This is not a question of my right and wrong, the issue is more complex. Marvin did not sing, “I am a 33 year old man molesting a 16 year old girl.” I had no knowledge of that. So, I won’t allow myself to feel like I am in any way complicit with his actions. I did not cause them. I did not give consent to them.

He reached that place in me, that Artists do, the crevices of my being. They come into your life and situate themselves in your interior, sometimes, more than friends can. Music, film, painting, literature, we form connections to these Artists. They sing our life. They help us to understand what love is. How to express it. They even assist us while loving our beloved. I am aware of that. And, I respect that my relationship with them was formed before my knowledge of their personal behavior. One cannot take these connections for granted. They are very deep and personal.





For the longest time, I couldn’t listen to the album. I couldn’t. One day, a song from the album came on my Spotify station. I sang along. At the end, I realized, holy crap, what did I just do? I stopped. I forgave myself. Look, I did not molest and form a relationship with someone under age, he did. I am not, in any way, complicit with his behavior. Although, it is easy to get caught up in the ‘right and wrong’ argument. I understand that Marvin Gaye was in my heart long before I knew what he did. I had to develop a way to reconcile these two worlds. So, what I do now is say, at this time, I choose to honor the 16 year old girl. So, I will not listen to the album. Slowly, this takes away my desire to engage with the Art. If I should listen, I make sure I’m consciously aware of the choice I’m making.





Similarly, as a filmmaker, I was influenced by Woody Allen long before I was aware of any of his behaviors. I stopped going to Woody Allen films when I learned that he married Soon-Yi. That was my choice. But, before this, he inspired me. There is one film of his that I love- “Broadway Danny Rose”. And, as a filmmaker, it is a reference source for me. “Broadway Danny Rose” made such an impression that I don’t have to revisit it. I fell in love with that film long before I knew about Soon-Yi or the molestation allegations. The imprint of that film is in me and influences me. I can’t feel guilty about that. I acknowledge it. And, I don’t let it interfere with my support for his accuser.

I have not listened to R. Kelly for over a decade. If I am in a club or environment where he is played, I go and stand or sit in silence. I choose to honor the victims. And, that is what I say when I no longer listen to Marvin or watch Woody or, or, or. I simply say, right now, I am honoring the victim. It is a way to bring compassion to the victim. It is a way to relax that muscle that wants to flex in resistance because someone tells you you’re wrong for listening to or admiring the work of an Artist you loved before their truth surfaced. It is a way for family members to not get caught in the web of deciding whether or not to continue a relationship with a family member who abused another relative.





As a child, I was best friends with my grandfather. He taught me many things. I loved sitting on the bathroom sink and watching him shave as I popped the peanut M&M’s that he gave me. I loved my grandfather. Later in life, I learned that he beat my grandmother and molested children in the family. How in the hell am I supposed to reconcile that? He never harmed me in any way. Immediately, a burden is placed at my feet that I did not create. 

I have fond my memories of my grandfather. I hold them a little less dear because I honor the victims in my family. I give space to understanding the wreckage that he caused. When I’m in the presence of someone he abused, I do not mention him. I allow the survivor to speak in any way they choose to and I respect that. Their pain trumps anything in that moment. My memories of him will be what they are. I have enough space in me to allow their to grief to take center stage. My love is expansive enough to honor their pain.





Predators create a vortex. When it’s a celebrity, we are invited into that vortex. They commit their violations in private and then create a web of confusion. They blame the victim, speak of being the victim and create smoke and mirrors to divert from the truth. Predators are cagey and tricky individuals. They only show their demon side to the child or adult that they violate. They make a conscious choice to enact their violence in private. And, on the most vulnerable among us- children. Silence protects them. If it comes to light, the rest of us are asked to side with or against them. The same choices we are presented with in the discussions around Farrow vs. Allen, are the same choices that are thrust upon us in our families. It is the other level of horror that the abuser creates. Choose. Choose your family or me. Choose my financial contribution to your life or lose it. Choose to believe a “fickle” child or me. Choose to engage with my Art or lose it.





Honor the victim. I understand the complex nature of abuse. The dynamics that are created. Most importantly, I understand the insurmountable pain it causes in the victim. I am the person who honors the victim. And, if I could erase the artistic contributions of the perpetrator to ease the pain of the victim- I would. The perpetrator has infected the life of the victim. The perpetrator, as Artist, infects, in a different way, our lives, too. I cannot erase the footprints that were laid long before the truth of an individual is revealed.

What can I do? Certainly, I can sacrifice a song or movie, in protest, as an offer of peace to another human being. I can stand with the victim. The culture has been terribly lacking in support of victims when it comes to celebrity. Why is this happening? I don’t know. I think people are defending against the guilt they may feel for appreciating an Artist’s work. I let go of that guilt. The artwork is not the act of molestation. But, it is created by the individual who did great harm to another human being. So, I close my senses and pocketbook to the Artist as a form of protest. And, I open my heart to the victim. It’s the least I can do.





I do not want this piece to devolve into the right and wrong. What is true or not. I want this to promote understanding and healing for victims who live with a pain that is unfathomable.  Certainly, we can figure out ways to honor victims without throwing them under the bus in defense of Art. In that vein, I ask you, how do you show support to strangers who are victims of sexual violence? How do you show support to your loved ones who are victims of sexual violence? How do you show support for yourself as a victim of sexual violence?

Monday, February 3, 2014

February: you may be little, but you're small!





They say that February is the shortest month, but you know they could be wrong.

Compared, calendar page against calendar page, it looks to be the shortest, all right. Spread between January and March like lard on bread, it fails to reach the crust on either slice. In its galoshes – and you’ll never catch February in stocking feet – it’s a full head shorter than December, although in leap years, when it has growth spurts, it comes up to April’s nose.

However more abbreviated than its cousins it may look, February feels longer than any of them. It is the meanest moon of winter, all the more cruel because it will masquerade as spring, occasionally for hours at a time, only to rip off its mask with a sadistic laugh and spit icicles into every gullible face, behaviour that grows quickly old.




February is pitiless, and it is boring. That parade of red numerals on its page adds up to zero: birthdays of politicians, a holiday reserved for rodents, what kind of celebrations are those? The only bubble in the flat champagne of February is Valentine’s Day. It was no accident that our ancestors pinned Valentine’s Day on February’s shirt: he or she lucky enough to have a lover in frigid, antsy February has cause for celebration, indeed.




Except to the extent that it “tints the buds and swells the leaves within,” February is as useless as the extra r in its name. It behaves like an obstacle, a wedge of slush and mud and ennui, holding both progress and contentment at bay.

James Joyce was born in February, as was Charles Dickens and Victor Hugo, which goes to show that writers are poor at beginnings, although worse at knowing when to stop.






If February is the colour of lard on rye, its aroma is that of wet wool trousers. As for sound, it is an abstract melody played on a squeaky violin, the petty whine of a shrew with cabin fever. O February, you may be little but you’re small! Were you twice your tiresome length, few of us would survive to greet the merry month of May.

Tom Robbins, Jitterbug Perfume






http://margaretgunnng.blogspot.ca/2013/04/the-glass-character-synopsis.html

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