Tag Archives: LGBT

Gay History: Remaking the Castro Clone

Levis 501 jeans. Skin tight. Sanded down at the knees and crotch for that perfectly worn-in look. Third button unbuttoned to create a bit of allure. T-shirt, also skin tight. A Levis snap-front plaid. That was the uniform of the Castro clone, the gay fashion icon spawned in the 70s that — with surprisingly minor evolution or alteration — can still be seen on the streets of San Francisco today.

Danny Glicker, thankfully, is in love with the look. As the costume designer on Milk, Gus Van Sants biopic of the slain civil rights leader Harvey Milk, Glicker had to outfit hundreds of actors, from leading men Sean Penn, James Franco and Emile Hirsch to an army of extras, all dressed to span a full decades worth of fashion dos and donts.

Period films always present challenges to their costumers, but those based on true stories are that much more complicated. Glicker was saddled with another great expectation while preparing the highly anticipated film: Milks characters are not only real, they lived during a time many viewers can still recall themselves. And Milk owned a camera shop and lived an incredibly well documented life, which took some of the guesswork out of the equation, but also meant that there would be no excuse with eagle-eyed fans for anything less than absolute authenticity.

Simply recreating the clothes wouldnt have been sufficient — the bodies on todays actors are more defined and muscled than those of the leaner Milk and his comrades. Instead Glicker had to tailor the clothes to look as if they were hanging off of a 70s frame.

We created these enormous books of research that specifically address each character within the timeline, says Glicker, a young, unassuming, bespectacled man with a head of thick black curls whose previous work include Transamerica, Thank You For Smoking and HBOs True Blood. It was sort of overwhelming, because after awhile it was hard to edit down the material. I was very interested in recreating outfits exactly as they were, partially because I knew that Gus was going to be incorporating so much archival footage into the movie, and I didnt know exactly where.

Given access to the archives of the San Francisco GLBT Historical Society, Glicker and his team managed to get their hands on a fair amount of Milks actual clothing. Then they went shopping. Glicker, who prefers vintage pieces, combed hundreds of stores and amassed a huge collection of items, which he then authenticated using his research books before altering to fit the actors. No tiny detail of the evolution of fashion went unchecked — there are, after all, key differences between a 1976 shirt and a 1978 shirt (such as the collar width), and Glicker was determined to be accurate.

What couldnt be bought was recreated (and sometimes what was bought was still recreated so that spare sets were available), including T-shirts from now-defunct Castro bars, protest Ts found in the archive, and the suit Milk was killed in, which they had viewed at the Historical Society. That was a very, very meticulous recreation, says Glicker, who had to wear cotton gloves while handling the suit, which is kept in a temperature and light controlled environment and wrapped in acid free tissue. We were measuring everything from the lapels to the belt loops and leg openings. The fabric, every aspect of the fit, it was all done to match as closely as possible.

And when the thrift stores and archives didnt have what he needed, Glicker went to Levis corporate headquarters in San Francisco. The uniform of choice for Harvey Milk, his friends and many in the LBGT community at the time was the Levis 501 button fly jean, says Robert Hanson, President of Levi Strauss & Co.s Levis Brand Division. If you saw anything but Levis in the film it would have been wrong.

Levis gave me a tremendous amount of access to both their archive and retail store, says Glicker. Hanson (who is gay) and Levis, an early pioneer and longtime stalwart supporter for gay causes, thought the film was a perfect match for the brand. The movie is really about a very specific movement at a specific time in the city, Glicker says. These people wore Levis. It was what they were about and where they were. Its more than just a brand of clothes in this case, its an iconic part of America and the Castro.

When I started reading about what people wore, adds screenwriter Dustin Lance Black. I thought, What was that Levis clone look about? It didn’t take much to realize that it was about a group of people who had been called pansies and fags reclaiming their masculinity and being men.

That held true even when going butch went beyond the basics. I remember reading someone complaining that the guys were actually going too far with it — trying to be too butch, actor James Franco, who plays Milks longtime lover, Scott Smith, told Black in his Out cover interview. I saw a lot of guys from the Castro where they [actually] looked like construction workers.

Thats why the Castro clone, Glicker says, is actually a deceptively simple look. It has to be perfectly played, he says. In order to make it look good, you have to find the perfect fit and you have to feel great in it to be able to sell the outfit. It was a uniform because it was accessible for everybody. It wasnt out of peoples grasp. It was about the wearer more than the means of the wearer. And whether or not Milk launches a vintage resurgence, the basic elements havent been put out to pasture. I see the influence of it everywhere. Its not going anywhere. Its like the gay communitys little black dress.

Reference

Gay History: John Lennon Once Almost Beat A Man To Death

Today I found out…

John Lennon Rehearsing “Give Peace a Chance”

John Lennon once almost beat a man to death.

Was John Lennon gay? “Why are you bringing up such a ridiculous question? Who cares if he was gay? I thought this article was about John Lennon almost beating a guy to death.” Well, it is, it is, keep reading and you will see all the pieces to this incredible, little-known chapter in the life of John Lennon and how perilously close his temper came to ending the Beatles entirely, almost before they really got started.  This savage beating also helped change Lennon’s life, as he said “It was the last fight I ever got into. That’s when I gave up violence, because all my life I’d been like that.”

In 1963, the Beatles’ were beginning to become famous in England and Europe. A little over a year earlier, they signed with a manager named Brian Epstein (who incidentally died of a drug overdose just four years after this).  Epstein was unequivocal in his sexual preferences- he was as gay as they come.  (As a point of note, being gay was actually against the law in Britain at the time, and was to remain so until 1966.)

According to Pete Best, the Beatles drummer before Ringo, Brian had tried making passes at all four Beatles (including himself) and was met, each time, with a polite but firm, rejection.  Many Beatles fans knew about Brian’s “secret life” and assumed that Paul, the “cute Beatle”, and the one most of the girls liked, was the object of his affections.  Nothing could be further from the truth.  It was the loud, overbearing, and aggressive John Lennon who Brian was crazy about.

In April of 1963, the Beatles were now one of the hottest acts in Europe.  Their records were selling like the proverbial hotcakes. The first album was sitting in the #1 spot on the charts; their concerts were selling out to capacity crowds; and within a few brief months, they would be playing the Royal Variety Performance in front of the Queen herself.

The Beatles arrived at London Airport on Sept. 22, 1964, after a tour of the United States and Canada. From left, George Harrison, Paul McCartney, Ringo Starr, Brian Epstein — the group’s original manager — and John Lennon. Credit… Keystone/Getty Images

It was at this time, out of the blue, that John and Brian decided to take a break in the Beatles’ very busy schedule and go off together for a holiday in Spain. The first suspicious thing about this amongst fans was “Why did John go on holiday, as his wife had recently given birth to a new son?”  (Cynthia had gave birth to Julian, John’s first son, on March 8, 1963).  John admitted, years later, what a rotten and selfish thing this was for him to have done, but nonetheless, he went with Brian, sparking rumors that it was a romantic get-a-way.

Fellow Beatle, Paul McCartney, has his own take on John’s Spain trip with Brian.  According to Paul, the trip’s purpose was for John to assert who the real leader of the Beatles was with Brian. That John took Brian on the holiday “…to make sure Mr. Epstein knew who to listen to in this group”.  It is interesting that even in these very early Beatles’ days, John and Paul were already jockeying for an upper hand.

Whatever the case, John and Brian spent 12 days together in Spain. “We used to sit in cafes together”, recalled John, “looking at the boys. I’d say, ‘do you like that one? Do you like this one?’ …I was rather enjoying the experience, thinking like a writer all the time.”

The details of the trip were sketchy, at best, but soon John and Brian had returned and were ready to get back to the business of making Beatles records, performing concerts, and making appearances.  But in Liverpool, the “gay” rumors were now intensely swirling. Things came to a head with a disc jockey the Beatles knew named Bob Wooler (1926-2002).

Wooler was a very close friend of the Beatles and had introduced them on stage some 300 times.  This incident happened at Paul’s 21st birthday party, on June 18, 1963.  At the party, Wooler was joking around with John and said (with heavy gay intimations): “Come on John, what really happened with you and Brian? Everybody knows anyway, so tell us.”

John had been heavily drinking that night and Lennon was a notorious “bad drunk”.  In a blind rage, John proceeded to beat the stuffing out of a very surprised Bob Wooler, literally kicking him repeatedly in the ribs as he lay on the ground in a bloody heap.

According to John, the only reason he actually stopped the savage beating was because, “I realized I was actually going to kill him…  I just saw it like a screen. If I hit him once more, that’s really going to be it. I really got shocked and for the first time thought: ‘I can kill this guy.’”

Wooler was rushed to the hospital by Brian, who was also present at Paul’s party, and given treatment for a variety of things, including broken ribs.  Luckily for John Lennon- and the Beatles’ future amazing run- Wooler survived the ordeal.

Incredibly, John refused to apologize. “He called me a bloody queer, and I bashed in his ribs for it”, he said defiantly.  Because of this refusal to apologize, Brian had a writer for The Daily Mirror, Don Short, send a telegram on John’s behalf, apologizing.  The telegram read, “Really sorry Bob. Terribly sorry for what I have done. What more can I say? -Signed, John Lennon”  In addition to that, a payment of 200 pounds (around $2200 today) was also given as compensation.

Despite their very recent fame in Europe in musical circles, this incident actually got the Beatles their first national press coverage in England in an article in the Daily Mirror.  (One can easily imagine what kind of coverage an incident like this would have gotten nowadays, with our current tabloids, twitter, and the blogosphere.  And, of course, had Bob Wooler not been the forgiving type, he could easily have raked John over the coals, but chose not to. Or what if John had actually killed Wooler by perhaps kicking him a few more times with Wooler’s broken ribs perhaps puncturing his lungs?  It would have finished the Beatles as we remember them right there, not to mention the fact that John Lennon would have been sent to prison for murder!)

Despite the severity of the incident and the coverage in the Daily Mirror, the incident was soon forgotten and the Beatles went on to conquer the musical world.

The one murky question for Beatles fans is obviously “Did John and Brian really?…”  Beatles fans and aficionados have been debating the question all these years later.

In 1971, in his classic “Rolling Stone” interview, John stated that of all the Beatles he “was the closest to Brian”. (was this one of John’s inside jokes, did he really mean?…) John later briefly commented on the lingering question about Brian and himself shortly before his tragic death in 1980.  “It was almost a love affair, but not quite. It was not consummated. But it was a pretty intense relationship”, he said.

About the gay accusations setting him off, Lennon went on to add, “You know, when you’re 21, you want to be a man. If someone said it now, I wouldn’t give a shit”. (1980). But at the time, John was a very macho, young rock star and he had to prove it to everyone.

One marvels when looking at the incredible, unbelievable career of John Lennon- and the Beatles- at just how close it all came to going up in smoke, because of a needless, drunken beating, all those years ago at a birthday party.

Bonus Fact:

  • While he may or may not had a romantic encounter with Brian Epstein, Lennon definitely also loved the ladies. In 1968, he confessed to his first wife, Cynthia, that he had had over 300 extra-marital affairs with women during their six-year marriage. He may have been underestimating himself.

Reference

Gay History: Jack Larson, Gay Actor Tormented by Jimmy Olsen Role on TV’s ‘Superman,’ (Died in 2015 at 87)

He was not faster than a speeding bullet. He was not more powerful than a locomotive. He was not able to leap tall buildings in a single bound.

In the great pantheon of characters to emerge from the “Superman” universe — Lois Lane, Lex Luthor, Jor-El, General Zod — Jimmy Olsen probably ranks below even Richard Pryor’s wisecracking embezzler in the much-maligned “Superman III.” Jimmy just isn’t that cool. He’s often described as a “cub” reporter. He needs saving more than he saves. He says “Golly.” And he’s sometimes drawn as a redhead.

“Oh, I’m not going in there!” Jimmy whines when hustled into a secret prison after falling prey to the treacherous Von Klaven brothers, identical twins who steal radium, during the 1952 Superman adventure “Double Trouble.” Jimmy’s line when rescued by Man of Steel George Reeves: “Right now, you’re prettier to me than all the movie stars in the world!”

But in a franchise that’s seen its share of tragedy — George Reeves’s reported suicide, Christopher Reeve’s spinal injury — the woes of the actor who played Jimmy in the 1950s went underreported. Jack Larson, who died at 87 on Sunday, was a gifted writer and gay man whose talents and personal struggles were overshadowed by his role as Superman’s flunky.

Even worse: He knew it would turn out this way.

“If I won the Nobel Prize for Literature at 75 and died, they would still say, ‘Jack Larson, best remembered as Jimmy Olsen in the ‘Superman’ series,”’ he said in 1982.

Though Larson never won the Nobel, his swipes at literary greatness were more than the flailing of a teen star gone to seed. Born in California, Larson had dreams of making it big on Broadway as an actor and playwright. After being signed by Warner Brothers while still in high school and a stint in the Marines, the budding thespian found himself at a crossroads.

It was 1951. The old studio system was dying. Though just in his early 20s, Larson had done a few films, but was running out of work — and wanted to get to the Great White Way.

His agent came up with a solution: Play the terrible supporting role of Jimmy Olsen in “Adventures of Superman.”

“I didn’t want to do it,” Larson said, ”but my agent said, ‘Look, you want to get to New York. You don’t have any money. Nobody will ever see this show so take the money and run.”’

Larson did. For $350 an episode, he completed the show and went to the Big Apple. And he was living there when the show he had dismissed became one of the most iconic in TV history — even though it was pretty bad.

“Adventures Of Superman was frequently barely a superhero show — it was more like a dirt-cheap police procedural sprinkled with a few minutes of unconvincing special effects — but it still featured the most famous, popular superhero of all time,” the Onion’s A.V. Club wrote in 2013. “So what else was the nascent geek clan going to watch?”

Larson, meanwhile, became a would-be aesthete fixed in amber as a hapless hanger-on. With a terrible bowtie, no less.

“To me, it was a nightmare,” he said in 2006. “Everywhere I went, it was, ‘Jimmy! Jimmy! Hey, Jimmy, where’s Superman?’ Suddenly, I couldn’t take the bus or the subway anymore. It absolutely freaked me out.”

However, Larson rode the wave. He played Jimmy in 101 episodes of “Adventures of Superman” between 1952 and 1958. And after Reeves’s death — which Larson never believed was a suicide — they tried to get him to do more.

“I refused point blank,” he said. “It made me sick that George had died. He was Superman, and that was the show. I felt, ‘Why go on with it?’ I decided then to quit acting.”

Feeling typecast, he “took up the life of a playwright in New York,” he told the New York Times in 1976 — in a piece that identified him as a “bachelor.”

Larson was far from that. It seemed that one good thing had come of his time as Jimmy: a sexual awakening. While in Hollywood, he became involved with screen legend Montgomery Clift, and met his future longtime companion, director James Bridges (“The Paper Chase,” “The China Syndrome”).

“He realized, in retrospect, that some of his adolescent angst had been due to turmoil over his sexual orientation,” the Times wrote in 1998.

Jack Larson in 2011. (Fred Prouser/Reuters)

That turmoil would be given voice in “The Relativity of Icarus,” a dance piece that premiered at New York’s prestigious Joffrey Ballet in 1974. Larson wrote a poem that accompanied the work. Four decades ago, what some saw as an attempt to mask gay themes in the charged relationship between Daedalus and Icarus was met with controversy.

“It is strange in this day of liberation movements that a homosexual pas de deux has to masquerade as a duet between father and son,” the Times wrote.

Amid the “Icarus” publicity, Larson was outed — as Jimmy Olsen. But Jimmy, he found, was no longer repugnant to him. He began to work the TV nostalgia circuit, and was contemplating hosting a tribute show in 1982.

“I want to host it,” he said. ”I want very much to do it — join up my life with Jimmy Olsen. If you can’t beat ’em, join ’em.”

In the coming decades, he would produce films directed by Bridges and write more plays. And he would appear in what CNN called “winking roles” in “Superman” fare such as “Superboy,” “Lois & Clark” and the film “Superman Returns.”

His sexuality — once hidden — was now an asset.

“Gay fans are gushing over the fact that the director of the new ‘Superman Returns’ (opening June 28) is a gay man, Bryan Singer,” the Chicago Tribune wrote in 2006, “and that, besides the fact that Superman is a real hunk, a new trading card featuring scenes from the film shows the big guy — get this! — actually emerging from a closet.”

The paper, noting Larson’s sexual orientation, added: “What was fun about that show was just the ambiguity of it all. It wouldn’t have mattered if Clark was secretly in love with a co-worker named Lois or Louis Lane.”

Somehow, Larson had ended up with it all: a literary career bolstered by his status as a pop-culture footnote, and both inextricably linked to his life as a gay man.

In some ways, Jimmy had given it to him.

“Everywhere I go, I get the warmest feelings from people about Jimmy,” he said. “They love him, and I grew to feel that I could never have done anything more special than be Jimmy Olsen.”

Los Angeles: Actor and playwright Jack Larson (1928–2015) died yesterday at the age of 87. Best known for his role as Jimmy Olsen, Clark Kent’s boy-reporter sidekick in the 1950s television series “Superman,” Larson met his longtime partner, film producer James Bridges, in 1957; they had been a couple for nearly four decades when Bridges died in 1993.

For many years, Larson and Bridges shared a home in the Brentwood Heights neighborhood. Known as the Sturges House, the structure was designed in 1939 by architect Frank Lloyd Wright. “It was obvious to anyone that since we lived together we were partners,” Larson told the Los Angeles Times in 2011. “We always went places together. We never pretended.'”

Located at 449 Skyway Road, Sturges House is formally listed as a Historic-Cultural Monument by the City of Los Angeles. Larson continued living in the house until his death.

Knowing the Sturges House

I first encountered Frank Lloyd Wright’s Sturges House in courses in the History of Architecture at the University of Wisconsin, Madison, where I was a graduate student in the 1960s. This was indisputably “FLW Country.” He had been born nearby in 1867 in Richland Center, Wisconsin and had lived as a child and teenager and had gone to high school in Madison and had then matriculated as “special student” at the University of Wisconsin. Long after that he had built “Taliesin,” his great longtime home and studio in Spring Green, Wisconsin, northwest of Madison. In 1937, also in Madison, Wright had built his first so-called “Usonian” house for Herbert and Katherine Jacobs, a small, wood and brick, two bedroom, flat-roofed, moderately-priced structure that took its name from various sources, including a play on “US-ian.” It was followed, in the late 1930s and 1940s, by other Usonians in Wisconsin, and in neighboring Illinois and Michigan. Wright’s similar, though distinctive, Sturges house (1939) in the Brentwood district of Los Angeles is generally considered to be his “California Usonian.”

Selma Sturges on the roof of the residence, 1940.
Image used with permission, courtesy of the Sturges family. Photographer unknown.

When, in 1968, I received an appointment at UCLA to teach urban, architectural and cultural history, I was fortunate to live first in the 1937 Strathmore Apartments in Westwood, designed by Richard Neutra, one of Wright’s already famous former apprentices—about whom I would soon begin to write a book. At the same time, I began to explore Los Angeles architecture, including ten Neutra structures in Westwood alone and not far away, in neighboring Brentwood: Wright’s great Sturges house. Unlike the generally flat sites of the Usonians in the Middle West, I was surprised to find the Sturges residence perched high on a steep lot among rolling hills. Eager to explore this treasure, I unabashedly knocked on the door one day and was cordially welcomed by its owners, the film director James Bridges and his longtime partner, the actor and writer Jack Larson.

Bridges (1936–1993) directed such acclaimed films as: The Paper Chase (1973), The China Syndrome (1979), and Urban Cowboy (1980). Larson (1928–2015) was best known–to his eternal dismay–for his role as Jimmy Olsen, the cub reporter, in the long-developing series Adventures of Superman. He always lamented that he was not as well known for the libretto he wrote for his and Virgil Thomson’s opera Lord Byron (1972). The couple acquired the house in 1967 and lived there together until Bridges’ death in 1993. Larson continued to inhabit it alone until his death in 2015.

Jack Larson as ‘Jimmy Olsen’ and Noel Neill as ‘Lois Lane’ (Photo by ABC Photo Archives/ABC via Getty Images), c. 1951. Vintage print from the collection of Jack Larson sold to benefit The Bridges/Larson Foundation.
Film Director James Bridges on location. Vintage print from the collection of Jack Larson sold to benefit The Bridges/Larson Foundation.

Jim and Jack were the first to tell me of how the Sturgeses were told that it was medically impossible for them to have children and how, as a consolation, they decided to commission a house by Wright, whom they had long admired. It was an ideal cottage for two people, but soon after they moved in, Mrs. Sturges realized that she was, in fact, pregnant. Wright altered the house design to accommodate a nursery. But after another child came along, the couple gave up their dream house and moved around the corner to a larger residence. Their name, however, would always be attached to their Wright-designed home as it went through several owners until Bridges and Larson acquired it.

Robert Imandt photograph of the residence, c. 1946. Vintage print from the collection of Jack Larson sold to benefit The Bridges/Larson Foundation.

Built of steel, concrete, brick and wood, the house is approached from the west at the rear just off the carport at the top of the hill. Visitors could either proceed around the encircling deck to enter through the living room on the eastern side or, as most did, through the small kitchen to the west. With less square footage than the Usonians in the Middle West, the house contains a relatively large living-dining room, two small bedrooms, and one bath on the main level. Tiny stairs lead up to the roof deck and down into the windowless basement, which Bridges used as a dark room and studio. In 1939, Wright had deputized his recent Taliesin disciple, John Lautner, to complete final details of the design and to supervise construction. Both Wright and Lautner created specially designed furniture and other accouterments, such as lamps. Small cabinet spaces were cleverly concealed behind fold-out wall panels. Larson and Bridges would also enjoy pointing out various movie treasures they had acquired over the years such as the actual wrench used by Charlie Chaplin in Modern Times (1936).

Sturges Residence appears on the cover of California Arts and Architecture magazine, April 1940. Vintage magazine from the collection of Jack Larson sold to benefit The Bridges/Larson Foundation.

The house was long enjoyed by such Hollywood visitors as writer Gore Vidal and director John Houseman as well as by actors Jane Fonda and Debra Winger, who starred in Bridges’ films and continued to be friends. Jack and Jim also seemed happy to open the house to admiring architecture people such as historians Vincent Scully and Colin Rowe, museum curators Arthur Drexler and Carter Brown, and architects Richard Meier, Peter Eisenman, Richard Weinstein, Jaque Robertson and Frank Israel. The house thus had several incarnations in the public imagination, first, as it was initially published in the Forties and Fifties and again in later years after it had become so famous that it seemed indispensable to any publication on Wright or on modernist Los Angeles.

It remains a vitally significant monument in the history of both.

Pedro E. Guerrero photograph of the residence, 1947.
Vintage print from the collection of Jack Larson sold to benefit The Bridges/Larson Foundation. © 2016 Pedro E. Guerrero Archives.
Frank Lloyd Wright, The George D. Sturges Residence, Photo © Grant Mudford
Frank Lloyd Wright, The George D. Sturges Residence, Photo © Grant Mudford
Frank Lloyd Wright, The George D. Sturges Residence, Photo © Grant Mudford
Frank Lloyd Wright, The George D. Sturges Residence, Photo © Grant Mudford
Saved from savewright.org

Photo © Grant Mudford Courtesy of Los Angeles Modern Auctions (LAMA)

Reference

What About the Guys Who Do Fit the ‘Gay Stereotype’?

The male athletes who’ve come out recently reinforce the obvious: Gay men can be masculine. But people should also be accepting of men, gay or straight, who don’t conform to traditional gender norms.

When Los Angeles Galaxy midfielder Robbie Rogers took the pitch on Sunday, he became the first openly gay man to play on a major professional team in the U.S. (Danny Moloshok/Reuters)

A couple weeks ago, Mark Carson, a 32-year-old gay man dressed in a tank top, cut-off shorts, and boots, was walking with his friend in the West Village when they were approached by Elliot Morales. “Look at you faggots,” Morales allegedly said. “You look like gay wrestlers.” Morales followed the men down the street shouting anti-gay slurs before fatally shooting Carson at point-blank range just blocks from the Stonewall Inn. Carson’s murder comes at a time when anti-gay crimes in New York City are on the rise, according to the NYPD. There have been 29 reported this year, up from 14 in the same period last year, even as hate crimes overall have declined during that time by almost 30 percent.

This recent uptick in anti-gay violence also comes during the same month that three more states passed laws legalizing same-sex marriage and just weeks after NBA veteran Jason Collins revealed that he is gay—and was largely greeted with open arms by the sports world. Last week, soccer player Robbie Rogers, who had said he would leave the game when he came out back in February because he didn’t “want to deal with the circus,” had a change of heart. When he took the pitch in a Los Angeles Galaxy match on Sunday night, he beat Collins to the punch to become the first openly gay athlete to play in a major U.S. men’s professional sport.

This moment of staggering contradictions seems like a good time to take stock of how far we have—and haven’t—come in dismantling homophobia. And the hopes we pin on these pioneering athletes may offer some key lessons.

Shortly after Collins came out, Brendon Ayanbadejo, former Ravens linebacker and advocate for marriage equality, explained the importance of his announcement on Meet the Press. Of course, given the sheer number of Americans who tune in to watch professional sports, athletes have an unprecedented platform to offer positive representations of LGBT people to large swaths of the population. But Ayanbadejo got to the heart of why the importance of a figure like Jason Collins extends beyond the celebrity factor: “People think gayness has something to do with femininity when really we just need to erase that stereotype from our minds,” he said. “LGBT people come in all different types and shapes and forms.”

As many commentators noted, this helps explain why college basketball phenom Brittney Griner’s casual “coming out” just weeks before Collins’ was greeted with so little fan-fare. The belief that sports—and perhaps team sports particularly—are a masculine endeavor lingers even 40 years after Title IX ushered millions of American women into the game. And since for women, we think gayness “has something to do with” masculinity, we hold the opposing set of assumptions about female athletes: “In sports right now, there are two different stereotypes—that there are no gay male athletes, and every female athlete is a lesbian,” Patrick Burke of the gay sports advocacy group You Can Play explained to the New York Times. The news that Griner, who wore a white tux on her 6-foot-8 frame at the WNBA draft, is gay didn’t fundamentally challenge our notion that sexuality has something to do with gender—and it just confirmed the stereotypes we had about women who excel in sports. As Garance Franke-Ruta put it, “Female professional athletes are already gender non-conforming. Male ones are still worshiped as exemplars of traditional masculinity.”

Within this context, the hope is that a high-profile gay male athlete—or, more realistically, a few of them—could finally smash the stereotype that “gay” equals “unmasculine” once and for all. And, in fact, to some, Collins and Rogers don’t have enough macho mojo to do the trick. Writing at The American Prospect, Joel Anderson argued that Collins’ underwhelming performance on the court has taken away from the potential power of his announcement. The New York Times’s John Branch noted that Major League Soccer is probably only the nation’s fifth-most popular league—and, at least in the American sports landscape, soccer players hardly have an uber-masculine image. (In fact, according to the Onion, soccer became the “world’s first openly gay sport” in 2010.) The real game-changer, Anderson wrote, would be if a player in the NFL, that bastion of “a certain kind of masculinity if not outright machismo,” came out. “Football players are supposed to be our manliest men,” he explained. “Their acceptance of a gay man into that world could go a long way toward unpacking some of the most insidious stereotypes about gay people.

There’s no doubt those are stereotypes that need unpacking. Sociologists have long noted that homophobia is a fundamental ingredient of masculinity in modern American culture. In his seminal 1994 article “Masculinity as Homophobia,” sociologist Michael Kimmel, author of Guyland: The Perilous World Where Boys Become Men, argued that “homophobia is a central organizing principle of our cultural definition of manhood.” Since homosexuality is associated with femininity, feminizing and anti-gay comments are the primary mechanism for enforcing the boundaries of masculinity. If a guy steps ever so slightly outside of gender norms, his peers will bring him back into line by calling his heterosexuality into question (which implicitly challenges his gender). The pressure to prove and re-prove hetereosexuality is part of what it means to “be a man”—and it pushes men to embrace both homophobia and hypermasculinity. “Homophobia, the fear of being perceived as gay, as not a real man, keeps men exaggerating all the traditional rules of masculinity, including sexual predation with women,” Kimmel wrote. “Homophobia and sexism go hand-in-hand.”

Homophobia, then, is not simply social disapproval and discrimination against gay people, but an entire cultural structure that disqualifying all but the “most virulent repudiators of femininity” from “real manhood”—in the process upholding gender inequality and maintaining a hierarchy of men based on sexuality, race, class, ability, and so on.

It’s entirely understandable, then, why Collins took pains to highlight his masculinity in his Sports Illustrated article announcing the news. “I go against the gay stereotype, which is why I think a lot of players will be shocked: That guy is gay? But I’ve always been an aggressive player, even in high school. Am I so physical to prove that being gay doesn’t make you soft? Who knows? That’s something for a psychologist to unravel.”

But where does that leave the guys who do fit the “gay stereotype”?

After all, while it’s certainly true that not all gay men are “soft,” it’s also true that some of them are. The gay guy who would rather be belting out some Barbra Streisand than shooting hoops is not just a stereotype. He exists, too. He’s probably been spared the awful loneliness and anxiety of living for 34 years without being open about his sexuality to those closest to him, as Collins did, but he probably had less of a choice in the matter. The first time he had an anti-gay slur hurled at him may have happened before he even came out to himself. In fact, like 11-year-old Carl Joseph Walker-Hoover, he may only be perceived as gay.

Mainstream gay rights advocates seem largely optimistic that the visibility—and acceptance—of gay male athletes like Collins and Rogers will help that guy, too. “By doing what he did, Jason Collins has extended gay kids a lifeline,” Fred Sainz, VP for communications and marketing for the Human Rights Campaign, told Time. “The message to that gay kid, even if he’s not involved in athletics, is reassuring. Even the jocks are gay. And there’s a message to bullies: gay kids are not second-class citizens.”

But it’s not completely clear that showing that “even the jocks are gay” necessarily makes things better for those guys (gay or straight) who don’t so readily conform to traditional masculine norms. Since gayness and femininity are still so linked, it’s nearly impossible to determine what homophobia’s driving factor is. As Kimmel explained to me, “As long as we think homosexuality is about effeminacy in men—as long as we think we can tell if a guy’s gay if he’s acting ‘feminine’—then we can’t tease it out.” But if that link is successfully broken—say, by the growing visibility of “macho” gay athletes who challenge the stereotype—then it will be possible. “Then the effeminacy part will be about subscribing to gender norms, not revealing anything about your sexual orientation.”

For now, though, it’s hard to say: Is being a feminine man bad because it’s considered evidence that you’re gay? Or is being gay bad because it’s seen as feminine? Or are both bad? And if the association between femininity and gayness is severed, what happens next?

The changes over the last two decades may provide some clues. After all, anti-gay attitudes in the United States have declined dramatically since the 1980s and ’90s. As recently as ten years ago, the public was evenly divided on whether homosexuality should be accepted or discouraged by society. Today, 59 percent of Americans say it should be accepted, according to a Gallup poll released recently. For the past three years, more Americans support same-sex marriage than oppose it. The most recent Pew Research Center survey, conducted this past March, found 49 percent in favor, compared to 44 percent opposed—and other polls have put the level of support even higher. About two-thirds of the public thinks that gay and lesbian couples can be as good parents as heterosexual couples and that they should have the same legal rights as their straight counterparts.

Among young people, especially, anti-gay views are decidedly the exception. About three-quarters of millennials believe homosexuality should be accepted and 70 percent support same-sex marriage. And, in large part, it is young men who have been driving this trend. Ever since we’ve been asking about it in public opinion polls, men have been more likely than women to espouse anti-gay views—a fact that buttressed the theory that masculinity is intimately connected with homophobia, says Tristan Bridges, assistant professor of sociology at The College at Brockport, SUNY. But just recently that gender gap has begun to narrow. Among millennials, it’s virtually non-existent: 69 percent of young women support same-sex marriage, compared to 65 percent of young men. Though homophobia is by no means eradicated—after all, Bridges points out, straight men especially still seem be far more comfortable with gay identity than actual gay sex—the largely supportive response to Collins and Rogers coming out would seem to reflect a real and rapid change in anti-gay attitudes, which should certainly be celebrated.

What’s far less clear is whether this shift is actually changing the way homophobia is used as a weapon for maintaining traditional masculinity. “Surely, it’s incontestable that the attitudes that people have about gay people have changed a lot—largely for the better.” Kimmel tells me. “But the attitudes that people have toward what constitutes masculinity, and how to enact being a ‘real man,’ haven’t changed very much at all.” Consequently, the use of homophobic slurs as a “mechanism of gender policing remains relatively intact”—even if those words have become less likely to be applied to actual gay people.

That’s what sociologist C.J. Pascoe found when she spent a year and a half at a California high school doing research for her 2007 book, Dude, You’re a Fag: Masculinity and Sexuality in High School. Homophobic slurs were tossed around constantly, but the students insisted they weren’t really about sexual orientation. “When I talked to these boys about what they were teasing about, they would go out of their way to say, ‘Oh no, we would never actually call a gay boy a fag. That’s just mean,'” she told me. Instead, boys labeled their peers “fags” for things like dancing, being too emotional, caring about clothing, being incompetent, or not have success with girls. While actually being gay wasn’t exactly accepted, Pascoe discovered that it wasn’t nearly as bad as being considered an unmasculine guy. As one student told her, “Well, being gay is just a lifestyle. You can still throw a football around and be gay.” Indeed, of the three out gay boys at the school, the two who were traditionally masculine weren’t really bullied by their peers much at all. But the third boy, who broke both the norms of sexuality and gender, faced such severe tormenting that he eventually dropped out of school.

Some scholars see cause for optimism, though. For example, Eric Anderson, an American professor of sociology at the University of Winchester, England, argues that declining homophobia is already starting to create “inclusive masculinities.” According to Anderson, homophobia only serves a weapon for enforcing gender norms in an environment of “homohysteria”—in which there is both widespread social disapproval of homosexuality and being gay is associated with femininity. As anti-gay attitudes decline and “the stigma of being called gay doesn’t sting” anymore, Anderson explained to me, the boundaries of acceptable masculinity expand. “It’s not to say that there are no hyper-macho men,” he says. “But it is to say that those who are more feminine are perfectly acceptable, because they’re not regulated by homophobia anymore.” And a similar transformation would be expected to happen if the link between femininity and gayness were broken. If being feminine is no longer considered incontrovertible “evidence” that you’re gay, who cares if you bend gender norms? Anderson’s research backs up his theory. He’s found that the male college athletes and fraternity members he studied in the U.K. and the U.S. are increasingly more accepting of their gay peers—as well as less aggressive and sexist, and more emotionally intimate and physically affectionate with their male friends.

But others aren’t convinced of such a large-scale transformation. Anderson argues that since sports have historically been highly homophobic spaces, other male groups are likely to be moreinclusive than the primarily white, straight, middle-upper class college athletes he has researched. But studies suggest that, paradoxically, those are the guys who may actually have the most freedom to bend the rules of masculinity. Pascoe describes it as “jock insurance.” In effect, men who have the most status have the masculine capital to be able to get away with flouting some gender norms. “Gender is at the heart of all this stuff,” Pascoe explains. “It can really make up for your deviance in other ways.” Bridges agrees: “I think it might be the case that gender flexibility is becoming more ok for young men today than it was in previous generations. But I would say that that is the case for a very select group of men.”

Research on LGBT students’ experiences in K-12 schools also suggests that anti-gay harassment may be driven as much by gender anxiety as by homophobia. For starters, the growing acceptance of homosexuality has been slow to translate into a change for LGBT youth, according to GLSEN’s national school climate survey, which has been conducted every two years since 1999. There has been some improvement: The frequency of anti-gay comments has slowly but steadily decreased over the last decade. The most recent report from 2011 found the percentage of students who reported hearing slurs like “faggot” or “dyke” was about 70 percent, a drop from over 80 percent in 2001. Even the pervasive use of the expression “that’s so gay” seems to have slightly declined in recent years (though “no homo” may have risen to take its place). Yet LGBT students’ reports of being harassed or assaulted held steady from 2001 to 2009, before finally dropping somewhat in 2011. And there has been no change at all in incidence of negative comments about gender expression.

Furthermore, gender non-conforming LGBT students are more likely to be bullied than their fellow gender-conforming LGBT peers. Of course, some of that may be because bending gender norms is conflated with being gay in a culture that still hasn’t let go of the idea that gender and sexuality are linked. But the high rates of harassment and violence faced by transgender people—who most radically reject the gender binary—suggest that gender policing is playing a role over and above the role of homophobia. A whopping 80 percent of transgender students reported that they felt unsafe at school because of their gender expression. And it doesn’t get much better for adults: Ninety percent of the trans and gender non-conforming people surveyed by the National Gay and Lesbian Task Force and the National Center for Transgender Equality reported experiencing harassment, mistreatment, or discrimination on the job, or hid their identities to avoid it. A 2012 report on anti-LGBT violence from the National Coalition of Anti-Violence Programs found that trans people were 28 percent more likely to be physically assaulted, and trans women specifically made up 40 percent of hate murder victims.

It’s not just boys who are punished for breaking gender norms, of course. Take Griner for example. In an op-ed in the New York Times, she recalled that in seventh grade “the teasing about my height, appearance and sexuality went on nonstop, every day.” Notably, it seemed to have more to do with her gender than her sexual orientation: “People called me a dude and said there was no way I could be a woman. Some even wanted me to prove it to them.”

Still, at this moment in history, it is easier to be a gender non-conforming girl. “Girls are allowed a lot more leeway to be outside of traditional femininity than boys are allowed to be outside of traditional masculinity,” says Barbara Risman, head of the department of sociology at the University of Illinois at Chicago and senior scholar at the Council on Contemporary Families. So while girls also hold each other to rigid standards, and are vicious when someone doesn’t conform (one word: slut-shaming), they’re far less likely to be homophobic. The GLSEN report, for example, found that over half of students reported hearing remarks about students not acting “masculine enough,” but just over a third heard comments about students’ “femininity” as often. Up to a certain age, girls can usually get away with being tomboys, while “sissy” boys are discouraged from very early on—and not just by their peers. Studies have shown that parents—especially fathers—are more uncomfortable with their young sons playing with dolls or dresses than with their daughters doing stereotypically “boy” activities. And though stepping too far outside of acceptable gender norms is seen as a problem for everyone, to a degree, women may even be rewarded for distancing themselves from femininity at times.

This is not to say that declining homophobia doesn’t have the potential to lead to a serious reimagining of masculinity more broadly. And obviously this isn’t the kind of change that happens overnight. After all, the millennial generation that’s driving the momentum towards marriage equality is just beginning to create families of their own; I have no doubt that we will raise kids who are more accepting of different sexualities than any before them. And I’m also optimistic that millennials are well-poised to finally retire rigid, outdated versions of masculinity for good. After all, we’ve come of age in an era of unprecedented gender equality, and as traditional gender differences continue to converge, a masculine ideal that still defensively defines itself primarily against what it is not no longer makes any sense. The crisis of masculinity—predicted by a zillion trend pieces on the so-called “end of men”—offers a real moment of opportunity for my generation. As Thomas Page McBee wrote in the Atlantic last year, “Feminism allowed women to unlock the parts of themselves society kept from them, and now men are doing the same.”

But there are dangers to seeing these two trends as inevitable—and inevitably linked. After all, Bridges warns, “the most important and most dangerous forms of inequality are really capable of shifting.”Indeed, Pascoe points out that our ideas about what it is to “be a real man” are constantly changing—gender roles are always in flux—and “the important thing is not really what is included or excluded in the definition, but that that definition maintains gender inequality.” So while “sexuality might not be as big of a deal anymore,” what remains “a big deal is differentiating yourself from femininity.” In other words, we may well be moving toward a culture in which being gay is no longer on the list of things that are considered automatically “unmasculine.” However, unless we throw out the list altogether, the gender-enforcing function that homophobia currently serves—and the sexist culture it supports—will continue relatively unchanged. In such a world—to take another (extreme) example from sports—perhaps the Mike Rices of the future won’t call their players “faggots” and “fairies.” But if they still shout “cunt” and “pussy” as they physically abuse their athletes, that will be superficial progress indeed.

In fact, if the association between gayness and femininity is broken without more fundamentally expanding masculinity, it may even make things worse. Kimmel emphasizes that we don’t really know yet how this will all play out, but it could end up creating two tiers of gay men: “the really gay guys and the macho gay guys.” To some extent, that distinction already exists. Being “straight-acting” is valued—not only in the heteronormative culture at large but within gay communities, too. Gawker’s Rich Juzwiak explained last year, “As a gay, you understand that while you’ll always find peers who allow you to be exactly as queeny as you are, there is still a social hierarchy that puts a premium on masculinity.” Kimmel notes that, if that’s the direction we’re headed, gender non-conforming gay guys, who used to provide a critique of the dominant masculinity, “are gonna be seen as a real problem. If even gay men can be real men, what’s wrong with you? So in a funny way this could be another reassertion of the power of traditional ideas of masculinity.”

Reference

But, hopefully, instead it will be the first step in an important cultural change. “It’s a very good and powerful conceptual shift to decouple sexuality and gender,” Risman explains. “That is, to show there are very masculine gay men and effeminate gay men, but there are very masculine straight men and effeminate straight men, too.”

The brave decision by Collins and Rogers to come out should not be so narrowly taken as proof that even “real men” can be gay. Instead it should remind us that human beings^mdash;yes, even men—”come in all different types and shapes and forms.”

The Gay Men Risking Their Health For The Perfect Body

“You’re too ugly to be gay,” a man in a Huddersfield gay bar told Jakeb Arturio Bradea.

It was the latest in a series of comments from men that Jakeb says made him feel worthless. Last summer, following the comments, he tried to kill himself.

Manchester-based charity the LGBT Foundation has warned that body image issues are becoming more widespread in gay communities. It says gay and bisexual men are “much more likely” than heterosexual men to struggle with them. 

A number of gay men have told the BBC they are going to extreme lengths to change their bodies – including using steroids and having plastic surgery – just to become “accepted” by others in the LGBT community.

Several said pressure from social media platforms and dating apps was exacerbating their body issues.

“Guys with stunning bodies get the comments and the attention,” says Jakeb. “I’ve not gone on dates because I’m scared of people seeing me in real life. I would honestly have plastic surgery if I could afford it.”

Instead of surgery, a few years ago Jakeb turned to anabolic steroids – class C drugs that can be misused to increase muscle mass.

I got to a certain weight from just working out and going to the gym, but I couldn’t get any bigger, and I got into my head that I needed to be bigger,” he says.

“My friend said he knew a steroid dealer, so I thought maybe I’ll just do a low dose to see what happens.”

But anabolic steroids can be addictive. Jakeb soon found himself unable to stop.

“I got to the size I wanted to be, but it didn’t feel good enough,” he says. “I kept wanting more. It was like there was a harsh voice telling me I’m skinny.”

Jakeb had his second near-death experience in November last year when – after several years of heavy steroid use – he suffered heart failure.

“I couldn’t breathe, I couldn’t sleep, I was days away from dying,” he says. “The cardiologist said if I had done one more injection or gone to the gym a few more times I would have dropped dead.”

Months later, Jakeb has stopped taking steroids and has lost the extra muscle he gained, but he continues to have health problems for which he is receiving hospital support. “It just hasn’t been worth it at all,” he says.

And Jakeb is not alone in taking drastic measures to try to appeal to men.

James Brumpton – a software engineer from Lincoln – found himself “catapulted into this world of self-consciousness”, after he hooked up with a man at a local gay bar.

When James went back to the man’s house and took off his T-shirt, his date looked at him and made a disgusted noise. “Nice arms though,” the man added.

James BrumptonImage captionOther men have shamed James about his body many times, he says

Eventually, the experience led to James deciding to have an abdominoplasty – otherwise known as a tummy tuck.

“I allowed another man to influence me to a point where I literally had part of me removed,” he says.

According to the most recent figures released by the British Association of Aesthetic Plastic Surgeons (Baaps), 179 abdominoplasties were performed on men in 2018 – up 18% on the previous year.

Prof Afshin Mosahebi, of Baaps, says gay men are currently having more cosmetic procedures done than straight men, although he notes that women have more procedures than men overall. 

The surgeon believes the pressure of social media is pushing people to go under the knife.

“Some patients don’t need surgery, they need psychological help, and even the patients that do need surgery need to be appropriately informed of all the potential risks,” he says.

James Brumpton's abdomenImage copyrightJAMES BRUMPTONImage captionJames’s abdomen after having a tummy tuck

After James’s tummy tuck went wrong, he was left with permanent scarring, which made him even more conscious of his body.

“I’ve been shamed many times since then,” says James. “A guy I was dating once said that I needed to go and find jeans in the maternity section because I have wide hips.”

Dating apps have fuelled body image concerns, he says. “People having in their profiles ‘no fats’, or that they’re only into masculine and muscular guys, so they don’t want anyone that’s super skinny,” he says.

Images on social media and in leading gay magazines have also led James to feel he is an “invader in the space”.

“The idea in your head is that to be a gay man, is to look like a Calvin Klein model,” he says.

Photos of “sexy bodies” drive sales of gay magazines, according to Matthew Todd, a former editor of one such publication, Attitude.

“It was a tension the whole time and I continually tried to put people on the cover that weren’t like that: the first trans man, the first trans woman, the first lesbian,” says Matthew.

“I kept doing those kinds of things, but they didn’t sell well.”

When Matthew put a photo of Stephen Fry on the front of the magazine in 2010, “it was one of the worst selling editions ever”, he says.

“That’s not a reflection on Stephen Fry, because he’s incredibly popular,” he says. “I think it says more about what readers are coming to gay publications for.”

Low self-esteem

Matthew, the author of Straight Jacket: How to be gay and happy, says homophobia has fuelled gay men’s body issues.

“It’s really important to remember that there is unprecedented pressure on everybody to present themselves in a visual way,” he says.

“But I think you can’t take out of this discussion the fact that LGBT people grow up, shamed, not able to be themselves.

“And I think for lots of people, that’s a massive trauma that manifests as low self-esteem. If you don’t like yourself, that manifests as not being happy with the way you look.”

The result has been that gay men are under more pressure than straight men to have the perfect body, Matthew says.

“If you go on to some gay dating apps, you would think that the vast majority of gay men are supermodels,” he continues.

“If you’re a gay man, the act of finding another man attractive is also making a judgement of yourself. Many gay men confuse ‘Do I want to be with him?’ with ‘Do I want to be him?'”

Jeff Ingold, from LGBT charity Stonewall says it is “crucial” that we see more diverse representations of gay and bisexual men with different body types in the media.

“Not only would this help gay and bi men see themselves reflected in what they watch, it would also help break down harmful stereotypes that affect gay and bi men’s body image and self-esteem.”

But as it is, Jakeb says he still gets people online telling him they “wouldn’t leave the house if they looked like me”.

“I didn’t go on pride marches and have bricks thrown at me to have the community we’ve got now,” he says.

“We have equality, but we’re horrible to each other.”

Reference

Gay History: Remembering the Gay Man Who Saved 17 Million Lives

The WWII hero saved millions of lives before being chemically castrated for being gay. He killed himself two years later.

“[Alan Turing] was and is a hero of all time…a man who is a gay icon, who didn’t deny his nature, his being, and for that he suffered. … This is a story that celebrates him, that celebrates outsiders; it celebrates anybody who’s ever felt different and ostracized and ever suffered prejudice.”

—Benedict Cumberbatch

I usually find movie award shows to project primarily fluff and silliness, and they rarely stir deep emotions in me. But listening to Benedict Cumberbatch accept the award for Best Actor at the American Film Awards for his portrayal of Alan Turing in the film The Imitation Game two years ago brought me to tears.

This stemmed from a sense of deep pride and an endless abyss of sadness. Cumberbatch’s commitment and passion shined through on stage as he talked about transforming Turing’s story, his brilliance, and his humanity to the silver screen, helping to give Turing the long-overdue wide-scale recognition he rightly deserves.

Alan Mathison Turing was a pioneering computer scientist, and he served as a mid-20th century British mathematician, logician, and cryptanalyst who, working during World War II at England’s Government Code and Cypher School at Bletchley Park, succeeded with his team of scientists and linguists in cracking the “Enigma code” used by the Nazi command to conduct covert communication operations.

Because of Turing and his colleagues’ efforts, Cumberbatch said, there is now general agreement that they shortened the war by at least two years, saving an estimated 17 million lives. Prime Minister Winston Churchill singled out Turing as the person whose work contributed the most to defeating the Germans.

The Imitation Game also highlights the enormous obstacles placed in the way of women entering the sciences, especially mid-century. In this regard, Keira Knightley made an equally moving speech at the American Film Awards in accepting theBest Supporting Actress award for her portrayal of Joan Clarke, who worked with Turing in deciphering the code.

“Particularly now, when women are such a minority in all fields, her story and the fact that she really perseveres, and she had space and time and grace, is really inspiring,” she said.

Though initially considered a national hero in Britain, in 1952, government officials arrested and prosecuted Turing on the antiquated charge of “gross indecency” when he “admitted” to maintaining a same-sex relationship. Rather than serving time in prison, Turing chose to undergo estrogen injections then considered in men a form of “chemical castration” eliminating sex drive. Turing took his life two years later by swallowing cyanide just two weeks short of his 42nd birthday.

I find it deeply ironic that while Turing and his team helped defeat the Nazi war machine, a nation intolerant of any form of difference including same-sex relations (especially between men), the primary “allied” nations fighting Nazi Germany – United States, Britain, and the Soviet Union – all maintained laws criminalizing homosexuality.

Under King Henry VIII in 1533, England passed a “buggery” (or sodomy) law, doling out the penalty of death for “the detestable and abominable Vice of Buggery committed with mankind or beast.” Under the rule of Elizabeth I in 1564, death for same-sex acts between men became a permanent part of English law until the 1880s. British courts at the time concluded that sex between two women was impossible and, therefore, exempted women from the statute. By 1885, English Criminal Law punished homosexuality with imprisonment up to two years. This remained in effect until homosexuality was decriminalized in 1967.

In addition, Soviet dictator Joseph Stalin criminalized homosexuality with eight years imprisonment or exile to Siberia. And in the United States, consensual same-sex relations were against the law at one time in all states, and remained illegal in some states as late as 2003, when the Supreme Court finally overturned such bans in its Lawrence v. Texas decision.

In 2009, British Prime Minister Gordon Brown officially apologized to Alan Turing on behalf of the people of his nation for “the appalling way he was treated.” Parliament finally brought up a bill of “pardon” in 2013, and on 24 December, 2013, Queen Elizabeth granted Turing a posthumous pardon.

Though the English government never actually forced a physical stigma onto Turing’s body, they branded the symbol of the outsider, the pervert, the enemy deeply into his soul. This branding seriously deprived the British nation and the larger world community of his continued genius, his generosity, and the many additional gifts he could have imparted.

I agree with Benedict Cumberbatch that Turing’s wide-scale recognition is long overdue.

Reference

Gay History: Tall Ships, Tall Tales, And The Mysteries Of Eugenia Falleni

Eugenia Falleni in 1920. An Italian-born-woman-turned-Sydney-dwelling-man, Falleni was convicted of murder in 1920. Wikimedia

I’m an unlikely sailor of tall ships. Too clumsy, too prone to motion sickness, too white and nervous about symbols of colonisation. Nevertheless, in 2013 I found myself up the mast in the middle of the Tasman sea, surrounded by nothing but open ocean.

I was researching a novel about Eugenia Falleni, an Italian-born-woman-turned-Sydney-dwelling-man who was tried for the murder of his wife in 1920. As the commonly told version of the story would have it, Falleni “disguised herself” as a cabin boy and sailed from Wellington to Sydney on a Norwegian barque in the last years of the 19th century. According to some enthusiastic (but factually dubious) accounts, Falleni “roistered” around the Pacific, calling in at Honolulu, Papeetee, and Suva, drank with men, and passed as a man, but arrived in Sydney pregnant.

This “Norwegian barque” was a Schrodinger’s box, and Falleni was the cat. Falleni was man and woman in the same instant, and only tunnelling back through time, lifting a hatch on the deckhouse roof and peering in would decide the moment when Falleni, in the eyes of those watching at least, switched from one gender to the other. Many of Falleni’s biographers have tried to imagine the moment of the onlookers’ “discovery”. As a would-be novelist, I had to as well.

But where to start? Too under-confident in my concept to approach anyone from the transgender community, I started with the ship. If I could get the realist details of the external world right, I told myself, perhaps the interior, psychological uncertainties would resolve themselves in the process. Procrastination disguised as research, perhaps, but I did not know that then.

A Google image search of barques revealed that one was – bizarrely for the 21st century – sailing from Sydney to Auckland, almost exactly the reverse passage Falleni would have made in 1897. I lost a few hours clicking through links that led to sites, which led to my booking a berth as voyage crew on the STS Lord Nelson, set to leave Darling Harbour for Auckland on October 10 2013.

The Lord Nelson is not Norwegian, but wannabe time travellers can’t be too fussy. “Nellie”, as she’s affectionately known by those who sail her, is owned and worked by the South Hampton-based Jubilee Sailing Trust, an organisation established in the late 1970s to make off-shore sailing a possibility for those with special needs.

Stowing Sails of the Lord Nelson. JST

Despite Nellie’s mod-cons, my first night beyond the heads was a waking nightmare. The voyage crew slept below decks towards the bow of the ship in an area called the fo’c’sle. The fo’c’sle is far from the stabilising main mast, moves the most, and is the worst place to be if you are feeling queasy. It thrashed up and down, side to side, while we tried to sleep on shelves masquerading as bunks, our green faces nudging and retreating from the lee cloths that kept us in our beds.

We could hear the slurp and spray of the Tasman as it slammed against the porthole windows. Something aggressive barged at the hull repeatedly, and the aftershocks made the ship quiver like a dog in a thunderstorm. In my sleepless paranoid state I was convinced hammerhead sharks were head-butting the keel, trying to get at the tender voyage crew inside. (Later I would learn that the noise was made by the anchor rolling around in the anchor locker.)

Over the following nights, most of us gingerly made our way from our bunks to the stairs in the lower mess, then waited for the ship’s roll to help our weakened legs climb the stairs onto the deck. Once on deck we had to clip onto the safety wire that ran around the deckhouse and vomit into paper bags before flinging them into waves, which loomed five metres above us on the windward side of the ship, or dropped, suddenly, from beneath.

The ship would nuzzle into these waves, before rising on their peaks, tilting, then sliding down into a temporary gully. Why did I think this state of interminable queasiness would help me with a novel? I was literally, and figuratively, at sea.

All at sea

It was a feeling of motion-sickness that originally inspired me to write about Eugenia Falleni. In 2005, Sydney’s Justice and Police museum hosted City of Shadows, an exhibition of long-forgotten police photographs recovered from a flooded warehouse. I left the exhibition with the accompanying book, and later pored over the photographs for traces of the suburbs I thought I knew. One picture in particular captured my attention: a mugshot of a man in a cheap suit and tie, his short hair combed into a sideways part. 

What struck me most was the melancholy in the subject’s eye; how brow-beaten he looked. To me, he seemed composed, but so close to the verge of a nervous breakdown that I was physically jolted out of being a passive viewer. I flipped to the back of the book to read a brief footnote: 

Eugenie Falleni [sic], 1920, Central cells. When hotel cleaner “Harry Leon Crawford” was arrested and charged with the murder of his wife three years earlier, he was revealed to be in fact Eugenie Falleni – a woman and mother who had been passing as a male since 1899…

Turning back to the portrait of the sad man, his face — or my perception of his face — morphed into that of a woman’s. But in the moment that he, the sad man, morphed into she, the “cross-dressing murderer”, I have to admit that the thrill I felt was associated with my own jolt in perception; like the moment Escher’s black birds turn into white birds flying in the opposite direction. What would it be like to live your life oscillating between what others expected to see?

I had, up until this voyage at sea, written hundreds of thousands of words that did not ring true. Possibly this bad writing was due to a nervousness that what I was attempting was culturally insensitive. I am not transgender, I am not working class, I am not, and have never been, Italian. Should I even be attempting to write Falleni’s story? In the interests of forging the most respectful way forward (and appeasing my guilt), I did eventually meet with a trans man my supervisor knew. I was anxious going into the meeting, because I wasn’t entirely sure what I was asking from him. Did I want his permission? And if he gave it, what then? 

My fears, it turned out, were founded. While he generously gave me his morning, he seemed a little frustrated by the need to have to explain that his experience as a trans man was going to be very different to another trans experience, especially one lived a hundred years ago. I flushed with embarrassment. Of course I didn’t want him to suddenly be the spokesman of the entire trans community, no, not at all. 

Sitting across the table from him, my cold coffee growing skin as I babbled, I realised how condescending the categories of identity politics can be. While they are vital in giving the disenfranchised a collective voice, identity politics can also flatten the myriad possible expressions of how people might live between genders into one “type” — where one person’s experience can stand in for another’s.

Deviants to dysmorphia

Falleni told detectives that they dressed as a man for the economic opportunities. According to the local Sydney tabloid press, Truth, Falleni told detectives they “thought it better to give up life as a woman, because they worked for long hours for a small wage”. But Falleni also married two women and owned a dildo (also held in the Justice and Police Museum’s collection) — and presumably engaged in sexual relationships with women. Living at a time that did not have a language for what would now be considered transgender experience, it’s not surprising Falleni avoided citing sexual or instinctual reasons for passing as a man. 

At the time of Falleni’s trial, the term used to describe anyone not living a hetero-normative existence was a “sexual invert”, a pathological condition of deviancy. Falleni’s barrister, Archibald McDonnell, vaguely suggested that Falleni was such an “invert” by arguing that Falleni had “the masculine angle of the arms”. The judge interrupted McDonell’s cross-examination of the government medical officer to ask if he was making an insanity plea, proving that, at the time, there was confusion about whether “sexual inversion” was a sexualityBut as historian Ruth Ford argues, it was not in the interest of the Crown to classify Falleni as an invert, because it would have “detracted from their case, which emphasised Falleni’s deceptive nature — her fraud and lies”. 

Since Falleni’s arrest, various attempts have been made to categorise Falleni’s gender-crossing. In 1939, Dr Herbert M. Moran wrote that Falleni was a “homosexualist” and suggested their “disorder” was congenital. He wrote: 

She was condemned even from her birth and her abnormality derived from the very nature of her being. The temperamental outbursts, the vulgar debauches, the filthy speech, were but minor manifestations of her interior disorder.

In his 2012 biography of Falleni, Mark Tedeschi diagnosed “gender dysmorphia”, reporting that 

her female bodily attributes were like having an unwanted, additional limb attached to her body that she overwhelmingly felt did not belong to her.

Eugenia Falleni in 1928, State Reformatory for Women. Justice and Police Museum, Sydney

Others have resisted classifying Falleni’s gender and sexuality. Alyson Campbell, director of Lachlan Philpott’s 2012 play about Falleni, The Trouble with Harry, admits to having initially wished to impose a lesbian subjectivity on Falleni’s story. However she conceded that neither lesbian or trans identities were “available to a person such as Falleni, navigating a way through the undocumented, secret world of being a female husband.”

I did not want to invade Falleni’s very private existential conundrum and claim their identities for my empire (read: my cv), and yet I couldn’t shake the story off. 

What kept drawing me back was not an urge to answer the questions of who Falleni was (which are not my questions to answer), but rather an urge to come to terms with how Sydney dealt with the uncertainties that Falleni’s various identities posed. The shock remains fresh: Falleni’s trial occurred almost 100 years ago, and although the terminology we use to discuss cases like this has changed, the tendency to categorise and scrutinise “abnormal” behaviour hasn’t. 

This was also a story about patriarchy, how its control is insidious and polices everyone — men and women and those who are neither or both — at every level of bureaucracy. Though my experience is by no means comparable to Falleni’s, this is something I have experienced first-hand. 

A stranger amongst men

When the seas died down around Nellie, we were well clear of land. Surrounded by nothing but open ocean, my life now depended on something as small as a house, as buoyant as a bath toy, something only as strong as its shipwrights knew how to make it.

Sexual innuendo was social currency on the ship, and your first voyage was a test, to see if you could take it. It was fun, at first, to be around authority figures who couldn’t give a shit about “minding their manners” and affecting professional decorum. It helped that the first mate Leslie — a woman — had stripes, and was just as crass as the men. 

I ended up staying on from Auckland to Wellington, this time as a trainee bosun’s mate, the volunteer crew responsible for maintaining the ship’s equipment. On this leg a watch leader presented me with a lock that had fallen off the ladies’ toilet door in the fo’c’sle, along with four very short screws. I found Leslie and the Captain in the chart room and asked Leslie what she thought I should do with it. 

She looked at me incredulously. “Fix it.”

“Right,” I said, “but where are the screws?”

“You’ll have to get them from Mr Chips,” she said.

“Ah, but Pip,” the Captain said, “I’d be careful how you ask Chips for a screw.”

I found the second engineer, Mr Chips, on the stern platform with the first engineer, Marco, sitting in a coil of rope and sipping his third cup of tea for the day.

“Chips,” — I was already on the defensive — “I know how this is going to go, but I need four long screws.”

Chips said nothing for a while.

“Right,” he eventually said, “well you’ll find them in the container in the middle of the workshop.”

Marco groaned at the wasted opportunity.

Negotiating sexual innuendo with the cook was more precarious. When a handful of us were asked to scour the hot galley, I volunteered to scour the lard that had accumulated under and behind the ovens. At one point I had my torso wedged under the ovens, and my arse had nowhere else to be but high in the air. Derek the cook stood behind, supervising. The next day he sat beside me while I was sitting on the deck.

“I think you visited me last night in my dreams,” he said softly. “But you weren’t wearing French knickers when you cleaned the ovens, were you?” The comment was meant to be funny, but it made me weary. Really? I thought. Is this how it’s going to be? The game was: they prodded, and you deflected. It was both exhausting and boring.

Later, in the bar, I told Derek he was a sleaze. I said it publicly, and jovially, knowing “preciousness” would not be tolerated. Mr Chips inhaled sharply and Derek’s face fell. An unspoken rule of the ship became clear to me: women should take a joke, but an accusation of sexual impropriety — even if made in good humour — would not be tolerated. 

Derek’s revenge came at dinner. My meal was loaded with so much chilli powder, I could barely swallow it. He didn’t talk to me for three days, but by the time we reached Napier he was cracking jokes about my “free passage” with a playful elbow in the ribs. I laughed along, to show him I could take it.

After we’d tied up in Wellington, Marco and I were taking a moment to recover from the wind over a cup of tea in the upper mess.

“So, what are you writing about?” he asked. 

I told him the spiel. By then, I’d learned it by rote.

“Falleni…” Marco said, trying out the name, “so she was Italian? Of course she was. I bet she was hairy, too,” he chuckled, and shot a knowing look at Mr Chips. 

As he did, I thought I saw a horse passing by on the dock outside. I did a double take. Yes, there was a horse out on the dock, being led by a woman in a shabby suit and bowler hat. She turned to look at the ship, and I saw her moustache, the whiskers growing out of her cheeks.

“Oh my God,” I said, and pointed out the window behind his back. He turned to look, and there were more women now, all in shabby suits and moustaches. 

Marco turned back, unfazed. “So the wife, she had to know.”

“Well, apparently not,” I said, on automatic pilot, transfixed by the scene out the window.

“But how did they fuck?”

“With a dildo,” I said. “It’s on exhibit at…”

The women began to chant. They were on strike. They were re-creating the Great Strike of 1913 for the museum over the road, but it was the world of my novel and it was real and it was right outside the window.

Female union actors dockside in Wellington. Pip Smith

During the month I spent in Wellington, I wrote the first part of my novel that stuck. It had nothing to do with sailing ships, nothing to do with being a spokesperson for a transgender experience that was not mine to share, and everything to do with being a fish out of water: a stranger amongst men.

Postscript

Eugenia Falleni was sentenced to death for the murder of Annie Birkett on October 6 1920, but shortly afterwards this sentence was commuted to life imprisonment. Falleni was released from Long Bay Penitentiary in February 1931, after which they lived as Jean Ford, and built a successful business as a manager of “residentials”.

On June 9, 1938, Jean Ford sold her Glenmore Road “residential” business for £105, and on the same day was hit by a car on Oxford St. Ford was taken to Sydney Hospital, but died on June 10, aged 63. Throughout their lives, Falleni maintained their innocence. 

A year after my voyage on Nellie, Suzanne Falkiner re-released her 1988 biography of Falleni with revisions and new information. There were details that hadn’t jumped out at me before. The main one suddenly rendering redundant months and thousands of dollars worth of research: Falleni probably didn’t travel to Sydney by a “Norwegian barque” at all. The son of one of Falleni’s New Zealand friends recalled that 

the last time [Falleni] met my mother, [Falleni] told her that she was going to work her way as a stoker [someone who stoked a fire for a ship’s engine] on a ship to Australia, which she did. After she arrived in Australia, she [or someone who wrote for her] wrote to my mother saying she had arrived safe and that she hardly slept at all on board ship and kept an iron bar under her pillow for protection.

A stoker? On board a barque? Not likely. In becoming obsessed with the mysteries of Falleni’s identity, I had ignored details that were not convenient to my own myths. Or perhaps I wanted to go to sea, be at sea, a little while longer.


NB: in this article, I have chosen to refer to Falleni according to their surname, for its gender-neutrality, and have used the pronoun “they” when referring to Falleni’s collective self, and “he” or “she” for Falleni’s particular identities that presented as decidedly male or female.

Pip Smith’s novel, Half Wild, has just been published.

Reference

Gay History: Nancy Kulp: Life In The Celluloid Closet (Miss Jane Hathaway In “The Beverly Hillbillies)

In the 1960s, it was almost unheard-of to find an out Queer person on television. Those that held a Queer identity were often forced into a ‘celluloid closet’ and made to keep their identities silent and hidden from public consumption. This was the case of Nancy Kulp, a closeted lesbian who is most remembered for her appearance as Miss Jane Hathaway in almost all of the 274 episodes of The Beverly Hillbillies, a television series airing on CBS from 1962 to 1971. Kulp would eventually come out, using her own terms, in a 1989 interview.

Nancy Jane Kulp was born in Harrisburg, Pennsylvania on August 28th, 1921 to Marjorie and Robert Kulp; the family would later move to Dade County, Florida. The only daughter of a lawyer and schoolteacher, Nancy was a bookish child from an early age and dreamed of becoming a journalist. Nancy would take the first step toward her goal when she graduated from Florida State University with a bachelor’s degree in journalism in 1943. During her years at FSU, Kulp worked as a feature writer for the Miami Beach Tropics, working on celebrity profiles.

Though she planned on continuing her education and obtaining her master’s degree, Nancy joined WAVES (Women Accepted for Voluntary Emergency Service) in 1943 to aid the US Navy during World War Two. While it was her patriotism and desire to work in an “all-female” atmosphere that led to her enlistment, Nancy determined that it was not her destiny to hold a career in the armed forces and left in 1945 after reaching the rank of junior-grade lieutenant. After leaving WAVES, Kulp took a position in Miami as a publicity director for a local radio station in 1946.

At the age of thirty, Nancy Kulp exchanged vows in an April Fool’s Day wedding celebration to Charles Dacus on April 1, 1951. While the marriage was short-lived, both parties parted on good terms and the relationship had a long-lasting impact on Nancy Kulp’s life. Nancy said that it was Charles Dacus who encouraged Kulp to leave her career as a publicist to achieve a career in acting (though she also later said that this inspiration came from director George Cukor). Following this encouragement, Nancy made her way to Hollywood where she took a position as a film publicist while she waited for her big break.

This break would come only three weeks later when she was discovered by A-list, gay, director George Cukor. Later that year, Nancy Kulp would make her big screen debut in Cukor’s 1951 film, The Model and the Marriage Broker. This role was larger than most others she would hold in movies though it was mostly silent and demeaning as she took on the role of a young woman desperately seeking matrimony from a marriage broker. This role was Kulp’s first foray into the sort of character she would often be type-cast to play- the spinster.

In 1954, Nancy would be cast in another Cukor film, the Judy Garland- led A Star is Born, though the scene in which she appeared would later be cut without the director’s knowledge or consent. Kulp would make several smaller appearances in many successful films such as Sabrina (the 1954 film starring Audrey Hepburn), The Three Faces of Eve (1957), Strange Bedfellows (1965), and The Parent Trap (1961), where Kulp played the butch troop leader.

While Nancy appeared in movies, most of her acting work was done for the small screen. She made several appearances, largely comedic, on various television shows. Her first recurring television role was as a bird-watcher named Pamela Livingstone on The Bob Cummings Show (1955-1959). The writer for The Bob Cummings Show, Paul Henning, would go on to write for The Beverly Hillbillies, and created a role specifically for Kulp. Nancy would become known across the country as Miss Jane Hathaway, a smart and confident secretary that worked for a bank. Miss Jane, as most of the characters called her, was also a character that played into Kulp’s type-casted role as a spinster. Kulp received an Emmy Award nomination in 1967 for her performance on the show.

After the final episodes of The Beverly Hillbillies, Kulp was given a regular role on the Brian Keith Show (1973-1974) and made appearances on Sanford and Son (1972-1977), The Love Boat (1977-1987), and Fantasy Island (1978-1984). Kulp also appeared on stage at summer stock and dinner theaters before eventually landing a role in Paul Osborn’s 1982 production of Mornings at Seven.

In 1984, the patriotic Nancy Kulp, who had long been interested in politics, decided to run for Congress in her district in central Pennsylvania, having settled in Port Royal. She ran as a Democrat against the Ninth District’s incumbent Republican representative, Bud Shuster. While she received an endorsement from friend and fellow showbiz personality Ed Asner, her Hillbillies costar Buddy Ebsen recorded a radio advertisement claiming that Kulp was “too liberal for Pennsylvania.” Kulp was enraged by Ebsen, a California resident, getting involved in her campaign, stating that she “was speechless at such a betrayal, and something so needless and cruel.”

Nancy Kulp would go on to be defeated by Shuster and would spend the next year at Juniata College in Huntingdon, Pennsylvania, teaching film and drama. She would later return to California to serve on the board of the Screen Actors Guild and take an active role in non-profits including the Humane Society of the Desert, United Cerebral Palsy, and the Desert Theater League.

In a 1989 interview with author Boze Hadleigh for the book Hollywood Lesbians: From Garbo to Foster, Kulp responded to Hadleigh’s “Big Question” (the question of her sexuality which she renamed the “Fatal Question”) Nancy remarked in her own words:

“As long as you reproduce my reply word for word, and the question, you may use it,” she told Hadleigh. “I’d appreciate it if you’d let me phrase the question. There is more than one way. Here’s how I would ask it: ‘Do you think that opposites attract?’ My own reply would be that I’m the other sort–I find that birds of a feather flock together. That answers your question.”

Never in the course of the interview did she refer to herself as a lesbian.

Nancy Kulp would die of cancer only two years later, on February 3, 1991, at her home in Palm desert, California. While she never actively owned a lesbian label, Nancy Kulp was hailed as being a lesbian ground-breaker in the field of acting for having portrayed her identity (though a secret) in her work.

Former “Beverly Hillbilly” Says She Didn’t Play The Political “Game″

WASHINGTON (AP) _ Nancy Kulp of ″The Beverly Hillbillies″ fame doesn’t blame fellow Hillbilly Buddy Ebsen for her election defeat last fall – but says he should have stayed out of the congressional race.

Ebsen, who starred with Ms. Kulp on the long-running television program in the 1960s and early 1970s, recorded a radio commercial for her opponent, Republican Rep. Bud Shuster. In the spot, aired several weeks before the election, Ebsen said, ″Nancy, I love you dearly but you’re too liberal for me.″

Ms. Kulp still bristles when she thinks about the ad. ″How dare he 3/8 It wasn’t his business,″ she said.

But she said there were other reasons for her defeat, notably her lack of political savvy, a shortage of campaign dollars and the popularity of President Reagan in Shuster’s sprawling rural Pennsylvania district.

“I didn’t play the game, I guess,″ Ms. Kulp, 63, said in a telephone interview from Los Angeles. She left her restored, three-story farmhouse in Port Royal, Pa., after the election and drove to California to visit friends.

While she raised $73,143 during 1984, Shuster, who was seeking his seventh House term, reported contributions of $269,597, according to campaign finance reports. Ms. Kulp reported gifts of $29,471 from political action committees, Shuster $138,817.

After years of involvement in local party politics and with the Screen Actors Guild, Ms. Kulp said seeking office was satisfying because ″you finally get to put your convictions on the line. It was one of the highlights of my life.″

But the experience left her with a helpless feeling that there was an image barrier between her and the voters that she could not surmount.

“You’re turned off by the distortions,″ she said. ″My feeling is a candidate is elected because they are perceived to be something. Ronald Reagan never talked issues; he waved the flag and the people loved it.

“I was perceived to be an ultra-liberal. If that is their perception – even if they like me – then I can’t win.″

The experience, she said, has left her ″ambivalent″ about the elective process and doubtful that she will seek public office again.

A central Pennsylvania native born in Harrisburg, Ms. Kulp began her acting career in 1952. She appeared in such films as ″Three Faces of Eve″ and ″The Parent Trap,″ and was featured on ″The Bob Cummings Show″ on television before the ″Beverly Hillbillies″ premiered in 1961.

On the ″Beverly Hillbillies,″ she played the secretary of a banker managing the account of a millionaire hillbilly, played by Ebsen. She and Ebsen used to talk politics on the set; they rarely agreed about issues, she said.

Ms. Kulp said she now is thinking about returning to the East Coast, possibly to teach. Juniata, a small liberal arts college 120 miles east of Pittsburgh, has expressed interest in her, perhaps for an ″artist-in-re sidence″ program, said college spokesman Robert Howden.

Who the F Is … Actress and Politician Nancy Kulp?

Who she was: A well-regarded character actress who eventually ran for public office and came out — rather obliquely.

What she accomplished: Nancy Kulp (1921-1991) endeared herself to baby boomers with her role on a silly but successful TV sitcom, The Beverly Hillbillies. From 1962 to 1971, she played the prim, efficient Miss Jane Hathaway, secretary to banker Milburn Drysdale. She and Drysdale were managing the millions of the Clampett family, a backwoods clan who had relocated from Tennessee to Beverly Hills after striking oil. The comedy arose from the contrast between the beyond-unsophisticated Clampetts — who made moonshine, kept “critters,” and called their swimming pool “the cement pond” — and the upscale Southern Californians who surrounded them. Hathaway, always called “Miss Jane” by the Clampetts and their kin, was unaccountably attracted to the dim-witted Jethro Bodine, nephew of patriarch Jed Clampett. Critics had no love for the show, but viewers found it hilarious, and it had an extended life in syndication.

Born in Harrisburg, Pa., Kulp studied journalism in college, then served in the WAVES during World War II. After the war she worked as a publicist for radio and TV stations in Florida, then came to Hollywood in the 1950s with an eye to continuing in publicity. Someone encouraged her to try acting — some accounts say it was her then-husband, Charles Dacus, whom she refused to discuss in later years; others say it was esteemed director George Cukor. At any rate, she quickly won a small role in a Cukor film, The Model and the Marriage Broker, starring Jeanne Crain, Scott Brady, and Thelma Ritter. It was one of the great filmmaker’s lesser efforts, but it launched her career. She played supporting parts, often uncredited, in some noteworthy movies — Shane, Sabrina, the Judy Garland version of A Star Is Born, also directed by Cukor — and some now-forgotten ones. She also worked in TV anthology series and in guest-starring roles. Before Hillbillies, she was a regular on The Bob Cummings Show, playing a spinsterly bird-watcher named Pamela Livingstone. (Bird-watching was also one of Miss Jane’s hobbies.)

After The Beverly Hillbillies ended, she continued to guest-star on various TV series; she had a recurring role on Sanford and Son for a time, and like many aging actors she appeared on The Love Boat and Fantasy Island. She also performed on Broadway in Morning’s at Seven in the early 1980s. But she had a passion for politics, dating back to Adlai Stevenson’s presidential campaign in 1952, and in 1984 she returned to central Pennsylvania to run for Congress. She was an underdog as a Democrat in a heavily Republican district represented by a popular incumbent. She got support from showbiz friend Ed Asner, but her Hillbillies costar Buddy Ebsen, who had played Jed, did a commercial in which he called her “too liberal” and endorsed her opponent. It caused a rift between them that lasted for years, although they reportedly eventually made up. She lost the election to the incumbent, Bud Shuster. Later, she taught acting at a Pennsylvania college and made some stage appearances, including one as the Nurse in Romeo and Juliet at the 1987 Georgia Shakespeare Festival in Atlanta, then retired to the California desert, where she kept busy with volunteer work. Among other things, she served on the board of the Screen Actors Guild.

In 1989 she addressed her sexual orientation — to a degree — in an interview with Boze Hadleigh, published in his book Hollywood Lesbians. “As long as you reproduce my reply word for word, and the question, you may use it,” she said. “I’d appreciate it if you’d let me phrase the question. There is more than one way. Here’s how I would ask it: ‘Do you think that opposites attract?’ My own reply would be that I’m the other sort — I find that birds of a feather flock together. That answers your question.” Miss Jane would have appreciated the imagery. She also expressed admiration for gay congressman Barney Frank, and when Hadleigh asked if she would have come out in Congress, she said, “Not voluntarily. If I were outed, then I would not deny it.” Hadleigh waited to publish the book until 1994, when all his subjects were dead. Kulp died of cancer in 1991 at her home in Palm Desert, Calif.

Choice quotes: “If one is past 50 or 60, it’s almost like saying that most of your life you’ve been too embarrassed to admit it or to speak up.” — to Boze Hadleigh, on the possibility of coming out

“I think I’ve been successful in making the distinction between actress and politician. But there’s always someone who screams, ‘Where’s Jethro?’” — to People magazine, during her congressional campaign

10 times Miss Jane Hathaway let loose and ditched her pressed suit on The Beverly Hillbillies

Take a tour of Nancy Kulp’s silliest costumes.

At its heart, The Beverly Hillbillies was about breaking out of your comfort zone, and it wasn’t just the Clampetts experiencing the growing pains. Fans know that Miss Jane Hathaway, the snooty bank secretary who keeps an eye on the Clampetts, had as much to learn from the hillbillies about having fun as they did from her about fitting in with fine society.

We first meet Jane Hathaway in the bank, dilligently taking notes for Mr. Drysdale, her boss, the insanely wealthy bank manager. She’s wearing her signature pressed suit, a drab number we’d see her sport throughout most of the initial seasons. But it wouldn’t take the writers, costumers and hillbillies long to wrestle Miss Jane out of those stuffy suits and neckerchiefs just to stuff her into funnier outfits that drew extra laughs precisely because she’d been set up as such a straight character. It was one of many ways the show had fun with its audience.

Below, we’ve gone back through our favorite episodes of The Beverly Hillbillies to offer up this tour of Miss Jane Hathaway’s most dazzling and outrageous outfits over nine seasons. Played brilliantly by Nancy Kulp, Miss Jane remains one of the show’s most memorable characters, and here’s a parade of standout moments that show us how her wardrobe helped cement her legacy.

1. Miss Jane Hathaway the Artist

It only took seven episodes before we saw Nancy Kulp slip into something sillier, this artist look that we consider her character’s first masterpiece in transformation.

2. Is that Nancy Kulp or Groucho Marx?

In the later seasons, the volume got turned up on Nancy Kulp’s costumes, and this was perhaps the height of that hilarity.

3. A hillbilly before the first season ends.

By the end of the first season, we got our first look at Nancy Kulp in hillbilly garb, and even doing a dance with the whole Clampett family! Talk about letting loose! This primed us to expect the unexpected from the typically kempt Miss Jane.

4. Remember when Miss Jane posed as Uncle Sam?

The color episodes of The Beverly Hillbillies do not disappoint when it comes to costumes, especially this red-white-and-blue suit arguably louder than any other suit she donned the whole series.

5. Miss Jane, the pageant queen.

There were many plots that involved Elly and Jane in competition for a suitor’s attention, but this beauty contest in the third season was the first time they turned that trope into a swimsuit competition!

6. Don’t think Miss Jane’s beneath a denim suit!

Need proof that Miss Jane Hathaway is a trendsetter? Check out this denim suit she donned at the very start of the ’70s. It was her idea of beach attire, and the bucket hat just perfects the look, don’t you think?

7. Fancy Nancy!

There were plenty of times, as we’ll get into soon, when Nancy Kulp showed up looking stunning on The Beverly Hillbillies, but we get flashes of Carol Burnett and Friends when we saw this particular evening attire and wacky updo!

8. Miss Jane’s very first evening look.

Let’s take a moment to just genuinely appreciate how Nancy Kulp completely owned silk, pearls and simplistic elegance. Bask in the very first time we saw her in a seriously stunning evening look from the first season.

9. That’s not to say she didn’t also know how to overdo it…

Between the wig, costume jewelry and dangly everything, Miss Jane almost looks as out of sorts in this outfit as Elly May did in an evening gown!

10. Proper, even in pajamas.

Last look is all the proof you need that Miss Jane even prefers to sleep in a suit, donning these neat blue pajamas in contrast to Granny’s gowns, but that changes soon when the writers get her character stuck in a sleeping bag that Granny’s trying to free her from here. It’s just one more example of all the physical humor that came just from shaking up Jane Hathaway’s wardrobe!

References

What Would Happen If We Made Our Gay Movie About The Bible?

From dusty-sandal epic to zany comedy, these LGBTI characters from the Bible deserve some movie magic.

Lupita Nyong’o and Oprah Winfrey.

Ruth and Naomi

Category: Drama

Starring: Lupita Nyong’o (Ruth) and Oprah Winfrey (Naomi)

Premise: At a time of famine, a mother who has lost her sons finds love, strength and hope in the unlikeliest place.

Plot: Naomi and her family flee to Moab to find food. Her husband and then her sons die. One of her daughters-in-law leaves, but the other, Ruth, refuses to go.

‘Don’t urge me to leave you or to turn back from you. Where you go I will go, and where you stay I will stay. Your people will be my people and your God my God.  Where you die I will die, and there I will be buried. May the Lord deal with me, be it ever so severely, if even death separates you and me.’ (Ruth 1:16)

Together they travel to Bethlehem and build a new life.

Channing Tatum and Zac Efron.

David and Jonathan

Category: Action

Starring: Channing Tatum (David) and Zac Efron (Jonathan)

Premise: One was the lowly shepherd who slew the giant Goliath. The other was the Prince of the Israelites. Their love would rock a nation.

Plot: David kills Goliath and becomes a great warrior. Prince Jonathan, heir to King Saul, falls in love with him.

They make a ‘covenant’, a sworn, lifelong friendship agreement – more marriage than bromance.

‘Jonathan made a covenant with David because he loved him as himself. Jonathan took off the robe he was wearing and gave it to David, along with his tunic, and even his sword, his bow and his belt.’ (1 Samuel 18:4)

They make out: ‘They kissed each other and wept together’.

Saul tries to kill David, fearing he would take the crown. Jonathan repeatedly warns his lover, saving his life.

Saul and Jonathan die in battle. David becomes king and writes the ancient world’s gayest song of mourning:

‘I grieve for you, Jonathan my brother;
you were very dear to me.
Your love for me was wonderful,
more wonderful than that of women.’ (2 Samuel 1:17)

Jamie Bell and Dev Patel.

Daniel and Ashpanez

Category: Action

Starring: Jamie Bell (Daniel) and Dev Patel (Ashpanez)

Premise: Babylon. The greatest city on Earth. A slave finds love with his eunuch overlord. Together they will defy the king and win eternal glory.

Plot: King Nebuchanezzer overruns Jerusalem and brings Daniel to Babylon to be his slave.

‘Now God brought Daniel into favor and tender [physical] love with the prince of the eunuchs’, Ashpanez, the man whose job it was to train the slaves to serve the king. (Daniel 1:9)

When Daniel refuses to eat the food the king commands, Ashpanez helps him. Daniel becomes the most ribbed and powerful of the king’s servants and goes on to survive action sequences in a fiery furnace and den of lions.

Darren Criss and Jared Leto.

Jesus and the Beloved Disciple

Category: Epic

Starring: Jared Leto (Jesus) and Darren Criss (John)

Premise: The Greatest Love Story Never Told.

Plot: John is one of Jesus’ first disciples and is repeatedly called ‘The Beloved Disciple’. He is next to him at The Last Supper.

‘Now there was leaning on Jesus’ bosom one of his disciples, whom Jesus loved.’ (John 13:23)

At the crucifixion, Jesus tells his mother Mary that this ‘beloved disciple’ is ‘your son’ and tells him that she is ‘your mother’.

Later, he is one of the first to find Jesus’ tomb empty and is visited by Jesus after his death.

Morgan Freeman in the film Red.

The Ethiopian Eunuch

Category: Comedy

Starring: Morgan Freeman

Premise: Judea. 31 AD. Around about teatime. And it doesn’t take much to save a eunuch.

Plot: An angel sends Philip to a desert road between Jerusalem and Gaza. He comes across a ‘born’ eunuch (gay man or possibly intersex person) who is the treasurer of the queen of the Ethiopians. (Acts 8:27)

When the Ethiopian Eunuch sees some water, he asks Philip to baptize him. But after they emerge from the water, Philip has simply disappeared…

Hugh Jackman and Russell Tovey.

The Centurion and his Lover

Category: Romantic comedy

Starring: Hugh Jackman (the centurion) and Russell Tovey (his lover)

Premise: Boy meets centurion. Centurion falls in love with boy. Boy falls sick. Centurion visits Jesus and asks for miracle.

Plot: Hugh Jackman stars as the beefy Roman Centurion who falls in love with his slave. But when the young man falls sick, nothing will stop him from finding a cure, even if it means humbling himself in front of a conquered Jew, Jesus.

‘Lord, my “pais” [servant or same-gender lover] lies at home paralyzed, suffering terribly… I do not deserve to have you come under my roof. But just say the word, and my servant will be healed.’ (Matthew 8:6)

Spoiler: They all live happily ever after.

Reference

Gay History: A Gay Old Kat

The Krazy Kat club, 1921.

Via The Comics Reporter, the website Shorpy has a  great collection of photos from the 1920s of the Krazy Kat club, a Washington DC hangout/speakeasy that appears to have been quite a hub of bohemian activity. The police busted it more than once. The clientele included college kids, flappers and gays. A diary by a gay man kept in 1920 refers to the Krazy Kat club as a “Bohemian joint in an old stable up near Thomas Circle … (where) artists, musicians, atheists, professors” congregated.  

The gay angle is worth pondering because of the club was named after the comic strip Krazy Kat (who can be seen on the door sign in the photo above). Krazy was the first androgynous hero(ine) of the comics: sometimes Krazy was a he, sometimes a she. As creator George Herriman stated, Krazy was willing to be either.

 Is it possible that Krazy’s shifting gender identity made him/her an icon for gays? 

Or it could be that the owners just liked comics. The building that housed the Krazy Kat club remained a gay hangout for decades to come and also held on to its connection to comics: it was later renamed The Green Lantern.

It’s also the case that Krazy Kat attracted outsiders of all sorts, not just gays. In the 1930s in Chicago, there was a Krazy Kat club organized by teenage African-Americans, also interesting in the light of the fact that Herriman had some black ancestry and used African-American themes and motifs in his strip.

This 1920s Badass Bohemian Hangout Had a Speakeasy in a Tree House

Oh yeah!  If this isn’t one of the coolest places that anyone ever partied in, then I don’t know what is! When I came across these photos I was immediately compelled to find out more about it.

Turns out that back in the 1920s there was speakeasy in Washington D.C. that served its bootleg cocktails in a treehouse.  It was named the “Krazy Kat Klub” after the character in a popular comic strip created by George Herriman.

The club was run by Cleon “Throck”  Throckmorton , an artist who later became a stage set designer.  It was a hipster haven for the counterculture,  the avant garde,  the artsy set.

This excerpt from a 1922 article in the Washington Times on Throckmorton and his “Krazy Kat Klub” was written by Victor Flambeau. He describes the club as  “a most spooky sort of place, weird and crazy as its name.”  A place for “Good friends, a blazing fire, some primitive furniture, hand made no doubt, candles, drinks, eats, a floor to dance upon, a garden annex in summertime, a spreading tree with airy rookeries built in it’s branches.”

I don’t know about you, but it sounds like a really fun place to me!

Below is the entrance to the club, which was actually in an old stable.  Cleon, aka “Throck” is on the right.

And you know those unruly bohemians! Because it operated during Prohibition it was raided many times.

Below is an account from the Washington Post on a raid in 1919.

Officer Roberts was under orders to watch the ” rendevous of the Bohemians.”  (great name for a band!) when he heard a shot fired. A raid ensued and 14 people landed in the slammer, mostly for drunk and disorderly conduct.

The article likens the Krazy Kat Klub to a Greenwich Village coffee house,  with gaudy pictures created by futurists and impressionists.   And the people arrested were “self styled artists, poets and actors and”  GET THIS,  “some who worked for the government by day and masqueraded as Bohemians by night.”

The horror! Can you imagine?  Government workers leading double lives!  Who would have thought?

 

I don’t know who that hot tomato is on the left, but I adore her 20s boho look.  The photo was taken in 1921 and she’s wearing black rolled down stockings, a scarf wrapped around her head gypsy style and a skirt that is showing her knees. Downright scandalous!
And check out this old rickety ladder they had to navigate in order to knock back a few.    They sure had to  go way out on a limb to get tipsy in the treetops!  Imagine what it was like to have to climb down after one too many? I can imagine more than one patron ended up on their behinds!
Mr. Throckmorton at the easel, 1920s hipsters smoking and posing in the yard.
More history about the Krazy Kat Klub can be found here.

After seeing these photos I so want one of these in my back yard.  Note to self, must add speakeasy treehouse to DH’s “Honey Do” list.

So, what about you? If you could time travel back to the 1920s, would you want to hang out in a place like this?

The Language of Krazy Kat

Chris Ware’s cover for the new Krazy Kat book.

If you live near a decent book store, you can now buy a copy of George Herriman’s Krazy & Ignatz 1941-1942: “A Ragout of Raspberries”, which gathers together two years of great full-page, colourful Krazy Kat comics. Beautifully designed by Chris Ware, the book also has a substantial essay I wrote Herriman’s writing skills.

 In celebration of this new book, I want to quote a very pregnant bit of dialogue that appeared on Jan. 06, 1918 when Krazy Kat and Ignatz Mouse started arguing about the nature of language:

Krazy: “Why is Lenguage, Ignatz?”

Ignatz: “Language is that we may understand one another.”

Krazy:  “Can you unda-stend a Finn, or a Leplender, or a Oshkosher, huh?”

Ignatz: “No,”

Krazy: “Can a Finn, or a Leplender, or a Oshkosher unda-stend you?”

Ignatz: “No,”

Krazy: “Then I would say lenguage is that that we may mis-unda-stend each udda.”

(I know what Finns and Laplanders are but I have no clue as to Oshkoshers. Anybody have any idea on this?)

The language of sin in Krazy Kat.

And here’s an excerpt from my essay:

To a striking degree, Herriman drew on the rich oral culture of early 20th century America. Herriman was a cultural magpie, taking his words from diverse sources far and wide, ranging from popular songs to political speeches to the Bible to medical and scientific discourse.

In describing Herriman’s literary skills, it’s easy enough to classify him as a nonsense poet, a coiner of nonce-words and playful gibberish in the great tradition of Lewis Carroll and Edward Lear. But if you pay close attention to Herriman’s language, what becomes evident is that he usually doesn’t make words up, however much he might twist them around. Rather, Herriman had a great ear for speech, for the endless mutations and variations of language as garbled by the human tongue. Herriman’s language was not something he invented in his head; it can be traced back to the world he lived in.

The America Herriman grew up in was much more oral than anything we’re used to. For us, music is something that comes out of a c.d. player or an iPod. In Herriman’s world, people could break out into song all over the place: at parties, at picnics, and in church. All the characters in Krazy Kat are tuneful, especially the eponymous heroine. These songs come from all sorts of genres, ranging from traditional hymns (such as Krazy’s familiar refrain that “there is a heppy land, fur, fur a-wa-ay”) to frontier anthems (“home on the range” gets a workout on July 26, 1942) to bluesy lamentations (when Krazy sings “Press my pents an’ shine my shoes” on July 22, 1935). Herriman also brings in songs from other languages. On July 29, 1941 we hear Ignatz sing to himself “Adios, Chaparrita Chula”. These words (which could be translated to mean “goodbye insolent darling”) are taken from the traditional Mexican lover’s lament “Adios, Mariquita Linda”.

Words aren’t stable, fixed things. They have shades of meaning and shifting connotations. Herriman was supremely alert to the slipperiness of language. Listen to how Ignatz tries to sweep aside Mrs. Kwakk Wakk: “Away, woman away with your gabble and gossip.” (May 25, 1941) Gabble is the perfect word because it denotes both meaningless speech and the low jabber of a duck (which is of course Mrs. Kwakk Wakk’s species).

Two pages from within the Krazy Kat book.

Reference