Make Americans, and Canadians, Free Again

Make Americans, and Canadians, free again: homeschooling.

Ethiopia's Children

Photo from PM Abiy Facebook page
One tree sapling at at time

PM Abiy instructs Million by planting one tree sapling at a time, to re-forest Ethiopia, and to secure the rain that grows the wheat for the daily bread for his future.

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PM Abiby, of the historic, and biblical, country of Ethiopia, released recent photos of his newly adopted son, Million.

Million is a relatively common Amhara name, but it doesn't make it any less poetic.

Ethiopia has been the centre of international adoption for many years, with rural, impoverished women giving over their infant children to beckoning western women who cannot have children of their own (age, anyone?). Of course, there is also the "third world saviors" syndrome, as was the case for the most famous Ethiopian orphan adoptee, Anjelina Jolie, who found a vulnerable mother to give up her infant daughter.

Million's adoptive mother, PM Ahmed's wife Zinash, saw him in a local orphanage in Addis Ababa, held him in her arms, and immediately started adoption papers. He, PM husband, accepted her decision.

It was as much a political move as a personal, familial one. Let Ethiopia's children stay in their own country. Let them grow up to be Ethiopians.

Earth Day: The COVID-Coincidence?

Spring Landscape Study, Ontario, Canada, April 2020
Edward Burtynsky

(Photograph on Globe and Mail article by Burtynsky, April 22, 2020: "On Earth Day, we must reflect on our duty as stewards of nature."

This photograph is from a new body of work Edward Burtynsky is creating while in isolation, focused on natural landscapes, with proceeds going to support the arts in Canada)

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The global call to action against COVID-19 is a test run for our inevitable fight with climate change – and that time is looming.
Edward Burtynsky

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This is a slightly edited version, for privacy and grammar, of an email I sent a friend after I attended a program organized by the Ryerson Image Centre in April 2019:

That's when I saw the other Ryerson affiliate Ed Burtynsky, sitting quietly in the back row, who takes disaster photographs "aesthetically," now more recently in African countries in order to, I'm sure, destabilize leaders with "Climate Change" and "The Environment" from doing reasonable large scale programs.

Burtynksy is must be very wealthy, and has projects/books/tv documentaries/lectureships all over the place, all the time. (I've attached a photo from his facebook/instagram page on his visit to a school: "So fun engaging with aspiring artists and sharing stories...What a special opportunity letting them play with some of the things they're working on an avara media [Burtynsky is part of this also] and hearing their unique, intelligent perspectives..." Comment: valeriedurantvancouver: Shaping young minds for the future. So important...)

Catch them while they're young.

I continue

He [Burtynsky] is very impressive. But my admiration was short-lived. He is part of the elite global leftist artists whose mandate is to show how terrible the world is: Global Warming/Climate Change/Environmental Destruction. Of course they are not incorrect, where our civilizational responsibility is to use the world in a Godly manner, but we USE the world and its resources, not let them stew useless in their quarries.

And

[T]hese elitist Western photographers and professional artists dictate the course of "global" culture through their disaster imagery.

COVID must be a godsend for the likes of Burtynsky, especially since it coincides with Earth Day (which was April 22, by the way).

It feels a little surreal to be commemorating the 50th anniversary of Earth Day in the middle of this unprecedented global crisis...

writes Burtynsky, in an April 22 article for the Globe and Mail, which is also available here, and which I've posted below.

He continues:

My first trip to China in 2002 took me to Wuhan en route to photograph along the Yangtze River, where entire cities and landscapes were being commandeered and flattened to make way for the building of the Three Gorges Dam. So, when the pictures first emerged of the coronavirus lockdown in Wuhan months ago, never did I imagine seeing cities being shut down in this new and devastating way – or that we would soon experience this contagion all over the world.

Finally, his China disaster photographs and world apocalypse have conjoined, and given him a re-invigorated mission, where

...isolated at home, with a new pathogen determined to wreak global havoc...[m]y hope is that during this time in isolation I am able to create a suite of images looking at nature, with proceeds going directly to support the arts sector in Canada.

The government is tanking because of a fake emergency, people are set to lose everything, home, job, savings, and his contribution is to print a few prints and sell them for the proceeds for those "starving" artists.

One has to conclude that even these elites realize that the COVID is a big scam. A couple of prints from Ed, and all will be well! What's wrong with that picture?

The future of life on this planet rests in our hands...

doom talks Burtynsky. What a lofty ordeal!

Below is the article, which Burtynsky wrote for the Globe and Mail (available here, and a version of it here), on COVID-19, and for Earth Day. He writes, and prints his charity photographs, from the comfort of his "cottage," his rural home by a lake and in the woods, somewhere in northern Ontario, far away from the urban apocalypse that ordinary folk are experiencing.

------------------------------------------------

On Earth Day, we must reflect on our duty as stewards of nature

It feels a little surreal to be commemorating the 50th anniversary of Earth Day in the middle of this unprecedented global crisis. Admittedly, I had envisioned this day much differently, yet with COVID-19 forcing us all into isolation, the message of Earth Day seems more urgent than ever.

My 40-year career as an artist has taken me on a journey around our planet in search of the largest examples of human systems expressed upon the land and sea. I have been to many places that very few of us have any reason to go – the places where we wrest out the things we need from nature to propel our human destiny. My first trip to China in 2002 took me to Wuhan en route to photograph along the Yangtze River, where entire cities and landscapes were being commandeered and flattened to make way for the building of the Three Gorges Dam. So, when the pictures first emerged of the coronavirus lockdown in Wuhan months ago, never did I imagine seeing cities being shut down in this new and devastating way – or that we would soon experience this contagion all over the world.

There’s no doubt that the ravenous human appetite to conquer nature has compelled us to encroach on natural habitats and biodiversity in an ever-expanding way, and that this has led us to where we are today – isolated at home, with a new pathogen determined to wreak global havoc. It seems the paradigm has shifted: Where humans once had our collective boot on nature’s neck, we now find ourselves with nature’s boot firmly pressed against ours.

On this 50th anniversary of Earth Day, I find myself in northern Ontario. This familiar landscape has become hugely important to my career. It’s the place where I recalibrate and consider nature, and where I first came to understand that we do not own this land – we merely serve as its steward, taking care of it and passing it on to the next generation. It has become an inflection point for me, a stark reference for when I’m able to go out into the world and see humanity shaping nature at scale through industry, urban sprawl and the sheer impact of the nearly eight-billion-large human population dominating our planet.



Rural Canada has taught me many things, and as I reflect on humanity’s impact on the planet, the most profound lesson now is that our reach into nature has gone too far. The global call to action against this virus is a test run for our inevitable fight against climate change. And that time is looming.

Over the past few weeks, I have been inspired to go back to my origins of photographing in these natural landscapes – viewing nature as a kind of painting. Looking at abstract expressionism and trying to find that place through photography. Going back to the shrubs and bushes of the forest. Going back to my home, nature.

My hope is that during this time in isolation I am able to create a suite of images looking at nature, with proceeds going directly to support the arts sector in Canada. The arts have taken an oversized hit during these times and will continue to suffer enormously because of this crisis. And yet, it is the artists, musicians, filmmakers and performers to whom we are all turning for catharsis, relaxation, distraction, entertainment and, perhaps most importantly, hope. As the great artist Gerhard Richter once said, “Art is the highest form of hope.” Artists now need our support as much as we need theirs.

There will be a lot of pain felt out there over the next months, as we regroup, as we try to gather in spaces and share them together again. I don’t know what those next few months will bring, but in this time of isolation and contemplation, I can be assured of one very important thing: The future of life on this planet rests in our hands. There might one day soon be a vaccine for this virus, but there’s no vaccine for climate change.


Landscape Study #4, Ontario, Canada, 1981
Edward Burtynsky
(Photograph on Globe and Mail article by Burtynsky, April 22, 2020: On Earth Day, we must reflect on our duty as stewards of nature)

Family Photos

Peter Brimelow of Vdare with wife Lydia Brimelow
Photo for their 2018 end-of-year donation drive for Vdare
with a letter signed by Lydia Brimelow

Note: All photos are from Vdare or Brimelow's twitter page, unless otherwise noted

---

Here is a linked article I originally found through James Perloff's tweet (via Henry Makow's tweet - thank God for hyperlinks!) referring to an article from Slate "Is It OK to Be This Annoyed About Older Men Who Date Much Younger Women?"

I'm not sure about annoyed, but rather "creeped out" might be the right phrase. The Slate article uses the childish word "ick" to describe "May-December frolicking" as an "ick-factor."

Why care that two consenting adults are canoodling when a demagogue is about to take the White House? (Donald Trump, for the record, is 24 years older than his wife Melania, and each time he’s gotten married, it’s been to a younger woman. But anyway.) It’s just so transparent, watching one of these paragons of fragile masculinity take his male privilege out for a spin and realize he can date someone so young she won’t know how inappropriate it is. High five! Why not father a child you’ll be too old to raise properly while you’re at it? The exact ages and differentials vary, but each one reinforces one important point: Women get less valuable as they age, while men just get to enjoy the ride.

The article continues:

...different experiences and life stages are inevitably going to make it harder to relate. Attention from an older man might feel flattering, but do your future self a solid and ask: Why isn’t this guy interested in people his own age?

[...]

...if someone wants you to be the May to their December or vice versa, don’t let ‘em. In the end, this is no time to be a traitor to your generation. Instead, find someone your own age who’s even hotter. Get you a man you can talk about Pokémon Go with—or get you a woman you can talk about the Carter administration with.

The writer has it just right. But more than that, such a disparity in age will most likely (most certainly, I would say) results with children who will probably never see their father live to see them through to their late-teenage and young adulthood years, usually the age when most offspring need a strong father figure holding court at home even (and these days it becomes more apparent, especially) young women. The mother is the court-holder and home regulator for both boys and girls through their childhood and early teens. At those later ages, when both boys and girls are ready to take on the world, they require and need the presence of their stabilizing father.

There is a psychological theory out that boys are the ones who need their dads most at these early ages. But I disagree. The promiscuity, the feminism-induced "girl-power," and other modern blights we see in young girls is a direct result of released anger at a father who didn't (couldn't) fulfill his role.

The individual decision between such couples to marry and have offspring now becomes a societal problem of adults in arrested psychological development, searching perennially for their stability.

Perhaps the best these May-December couples can do is simply not have children. But that would be terribly unfair to the younger (much younger) of the couple and often the one with no prior children, who has to sacrifice decades of child-bearing age to be in a marriage and a husband who most likely will not be around to support her.

The best they can do is not marry at all.

I made a similar judgment years ago in 2010 at my blog Camera Lucida: A Picture is Worth a Thousand Words. And Two Pictures?. I've posted the full article below the photos:



September 2018, with Brimelow's two older children from his previous marriage (with Maggie Laws Brimelow who died of cancer in 2004), and newer family


Daughters in December 2017


With Son and Infant Daughter in 2015

---

Camera Lucida
November 20, 2010
A Picture is Worth a Thousand Words. And Two Pictures?


Mr. and Mrs. Brimelow, with infant child in tow.
(Photo from the H.L. Mencken Club Club Conference in 2010)

I've been debating whether to post these photos. But, they are on public sites, and are obviously meant to be looked at and commented on.

Look at the first photograph, with Peter Brimelow as a "new" (old) father but closer in age to being a great-grandfather. He's with his new wife, Vdare contributor Lydia Sullivan who writes under the pen name Athena Kerry, who is holding their infant child. From what I've read at Brimelow's site Vdare and what Wikipedia tells me, his new wife is forty years younger than him! Still, Sullivan has a hard glint in eyes like someone that goes after what she wants, and gets it. Such character doesn't discriminate by age.

The top photo was taken at the 2010 M.L. Mencken conference where Brimelow presented a paper. He took the infant girl along. I presume he did this to show her. But why that awkward expression, as though he's in the wrong place, with the wrong people, at the wrong time? Also, he shows a strange deference towards Sullivan, the way he's leaning a little too humbly towards her and the infant. Usually, a new father stands proud and straight next to his family, especially in a public setting.

Didn't Lydia Sullivan, a.k.a. Athena Brimelow, have any family members, a concerned and conservative mother who said "under no circumstances" at the prospect of this marriage? Brimelow is close to seventy. Some father he will be to a young child. Was there no one thinking of the ensuing babies, who was concerned by the prospect that they might be born, and endure such a life?

Such is the case with "conservatives" these days, who really behave like liberals. But Brimelow is an avowed libertarian, so his motto is, "I'll do what I wish, and apres moi le deluge." Yes, the whole thing is as pompous as Louis XV's famous phrase. At least his excuse was that he was King of France. What does Brimelow have? And look what happened to Louis and his reign. Or more like, what Louis wrought.


L-R: Genevieve Sullivan (sister), Grandmother Von Talbot,
Mother Deonne Sullivan, and Lydia Sullivan

The second photo is of Sullivan with the female members of her family: her grandmother, mother and sister. Sullivan is at the far right. Again, I am struck by the hard edge in her eyes. Her sister is on the far left. What a difference. One would have thought that the grandmother, who looks strict and principled, might have been the one to rein things in.

The Snake, the Little Girl and the Prayer

I was nine years old. I called my poem “The Raggle Taggle Snake” and I am sure it was some kind of class assignment. But, mine was not only a poem, it was a visual piece as well. The poem curves and swerves as I describe my encounter with a snake, shaping its sinewy body with my words.


I am concerned with the snake’s aesthetics. It may be wiggly waggly, but it is also ugly. Surely snakes cannot be beautiful?

I end the poem with:

This is a snake I know from the Bible, which was in the Garden of Eden before Adam and Eve. I’m bowing my head mimicking what I’ve seen countless of times do those pious Christian Ethiopian women, who pray to God in great humility to deliver them from whatever evil is before them, with their kind heads bent in supplication.

My prayers, in that moment at least, were answered. The snake’s poison, which would have fallen over me, is replaced by the syrup of happiness. My bent head saved me from evil.

The Snake and the Little Girl

I was nine years old. I called my poem “The Raggle Taggle Snake” and I am sure it was some kind of class assignment. But, mine was not only a poem, it was a visual piece as well. The poem curves and swerves as I describe my encounter with a snake, shaping its sinewy body with my words.


I am concerned with the snake’s aesthetics. It may be wiggly waggly, but it is also ugly. Surely snakes cannot be beautiful?

I end the poem with:

This is a snake I know from the Bible, which was in the Garden of Eden before Adam and Eve. I’m bowing my head mimicking what I’ve seen countless of times do those pious Christian Ethiopian women, who pray to God in great humility to deliver them from whatever evil is before them, with their kind heads bent in supplication.

My prayers, in that moment at least, were answered. The snake’s poison, which would have fallen over me, is replaced by the syrup of happiness. My bent head saved me from evil.

Tots and Pederasts

Image from the Art Gallery of Mississauga's Facebook page

Event publisized on the AGM website: ‎Fay and Fluffy's Storytime at AGM Tot Spot:

Friday, September 21, 10:30-11:30 am
We are sooooo very excited for our next AGM Tot Spot! Join us on Friday, September 21 from 10:30 - 11:30 am for lotsa laughs through storytelling with our very special guests. Drag stars Fay Slift + Fluffy Soufflé invite you and the kids in your life to a special event with books and fun! Fay & Fluffy's Storytime is great for kids and adults of all ages.

From Fay and Fluffy's website:

JP (Fay) + Kaleb (Fluffy) are both drag performers and experienced child educators. By day JP is an educator with the TDSB. Kaleb is currently an independent Cultural Producer, but is also a child care provider, has worked as a “manny” for years, and had his own home daycare called the Trail Mix Playgroup (cuz we’re a little nutty but we’re good for you). [Source: Fay and Fluffy's Storytime: Reading is FUN -damental]

From my series "Promoting Homosexuality as Multiculturalism"

The Lesbian Vs. God and Other Stories

Hernandez (middle) performing Future Folk with her
Sulong Theatre Collective, which is a play based on:
"The experiences of Filipino women who come to Canada to work as nannies.
They send their wages back home, and hope after 24 months of employment
to become citizens and bring their own families to Canada."[Source]

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Our Neighborhood Filipina Story Teller portrayed in my recent post Catch Them When They're Young has quite a resume writing for "minors":

Kilt Pins

In a Catholic high school in Scarborough, Ontario, amidst low-income housing, difficult race relations, and poverty, a young woman struggles to find her sexual identity. In this sincere portrayal of high-school kids pitting the voice of God and thousands of years of scripture against the voice of their own bodies, Kilt Pins cheekily asks “Is your kilt pin up or down?”

Scarborough

Scarborough is a low-income, culturally diverse neighbourhood east of Toronto, the fourth largest city in North America; like many inner-city communities, it suffers under the weight of poverty, drugs, crime, and urban blight. Scarborough the novel employs a multitude of voices to tell the story of a tight-knit neighbourhood under fire: among them, Victor, a black artist harassed by the police; Winsum, a West Indian restaurant owner struggling to keep it together; and Hina, a Muslim school worker who witnesses first-hand the impact of poverty on education.

And then there are the three kids who work to rise above a system that consistently fails them: Bing, a gay Filipino boy who lives under the shadow of his father’s mental illness; Sylvie, Bing’s best friend, a Native girl whose family struggles to find a permanent home to live in; and Laura, whose history of neglect by her mother is destined to repeat itself with her father.

And more on Arsenal Press

Arsenal Pulp Press is a book publisher in Vancouver, Canada with over 300 titles currently in print, which include literary fiction and nonfiction; cultural and gender studies; LGBT and multicultural literature; cookbooks, including vegan; alternative crafts; graphic novels; visual arts; and books in translation. We are interested in literature that engages and challenges readers, and which asks probing questions about the world around us.

Of course these welfare artists insist that they get their financial sources from tax payers money courtesy of the Canadian Government (don't let the meek word "suggests" deceive you):

Catherine Hernandez suggests several strategies to redress...deep-seated inequities: hiring more diverse teaching staff; educating teaching staff in anti-oppressive values; implementing a “much more aggressive diverse application process to ensure the student body is multicultural”; and diversifying the curriculum beyond the canonical (white) narratives that dominate it [Source].

Here is one such publisher which has produced Hernandez's children's book, that petitioned successfully to get LGBQT children's books into the school curriculum through the Toronto District School Board:

"Flamingo Rampant is a micro-press with a mission – to produce feminist, racially-diverse, LGBTQ positive children’s books. This is an effort to bring visibility and positivity to the reading landscape of children everywhere. We make books kids love that love them right back, bedtime stories for beautiful dreams, and books that make kids of all kinds say with pride : that kid’s just like me!" tells us the publisher

Hernandez has had a lot of practice with her own daughter who is now around thirteen years old. Hernandez appears to have been married to a male from whom she separated soon after her daughter's birth. She writes: "I parented Arden with little to no help from friends, family and my spouse at the time." She says that her children's book M is for Mustache: A Pride ABC Book was inspired by her daughter.

"Based on my many marches with my own child during what she called “Rainbow Time”, the book will follow in an ABC format, a small child as she gets ready to march alongside her mama at Pride.“

Previously-married-to-a-male Hernandez has a daughter now thirteen

Just shy of Arden’s 12th birthday, she approaches my partner, Nazbah, in the kitchen. “I’m so glad you’re my stepparent,” she says. Nazbah considers spearing a fork into their own heart in order to stop the tears of joy.[Source]

Catch Them While They're Young

M is for Mustache: A Pride ABC Book
Written by Catherine Hernandez
Illustrated By Marisa Firebaugh

The Friendly Neighborhood Lesbian Storyteller is coming to a gallery near you!

The Art Gallery of Mississauga hosts regular "story telling" session for toddlers.

Here is information on the upcoming session at the gallery's website:

AGM TOT SPOT!
with Guest Storyteller Catherine Hernandez
NEXT SESSION: FRIDAY, JUNE 16, 10 - 11 AM
Art Gallery of Mississauga | 300 City Centre Drive | FREE & Open to the Public

Monthly on Fridays, 10 - 11 AM, join us at the gallery for an hour of stories, movement and imagination!

Catherine Hernandez is a proud queer woman of colour, radical mother, activist, theatre practitioner and the Artistic Director of b current performing arts. Her one-woman show, The Femme Playlist, premiered at Buddies in Bad Times Theatre as part of the afterRock Play Series, co-produced by b current, Eventual Ashes and Sulong Theatre. Her children’s book, M is for Mustache: A Pride ABC Book was published by Flamingo Rampant in 2015.
The AGM recommends 1 parent for every 2 children at Tot Spot!

Below is the accompanying image:



Listen to the animated lesbian-Filipina-Canadian story-teller Catherine Hernandez tell the tale of the girl with the 'stache.



From Hernandez' website:

Catherine Hernandez is a proud queer woman of colour, radical mother, activist, theatre practitioner, burlesque performer, writer, the Artistic Director of Sulong Theatre Company and the owner of Out and About Home Daycare.

Yes: the owner of Out and About Home Daycare.

Here is is Hernandez performing The Boy and the Bindi by "transgender" "artist" Vivek Shraya (also an Art Gallery of Mississauga presenter).

And here she is in her pretty pink dress protesting Charlottetown Junior Public School's last minute cancellation of her book reading for preschoolers. This was her daughter's former school in Scarborough, a suburb of Toronto.



But your friendly neighborhood daycare story-teller isn't as pleasant as she looks.

" />
Catherine Hernandez: Ethnic Lesbian
Twitter prole photo

Nor as Canadian as she seems

Dancing at the Kapisanan Philippine Centre for Arts & Culture

My hubs got permanent residency to Canada today! We are so damn happy. #marriedanamerican #welcome #wantadonut pic.twitter.com/YE99TeMyUU

— Catherine Hernandez (@theloudlady) March 18, 2017

#marriedanamerican should really be #marriedanamercanindian

Sing a Song of Sixpence

Illustration Four and Twenty Blackbirds Baked in a Pie
By Scott Gustafson
From: from "Sing a Song of Sixpence"
Illustration for Favorite Nursery Rhymes: Mother Goose Collection

Sing a song of sixpence

Sing a song of sixpence,
A pocket full of rye,
Four and twenty blackbirds
Baked in a pie.

When the pie was opened
The birds began to sing
Wasn't that a dainty dish
To set before the king?

The king was in the counting-house
Counting out his money,
The queen was in the parlor
Eating bread and honey,

The maid was in the garden
Hanging out the clothes.
Along came a blackbird
And snipped off her nose.

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Laura Wood at The Thinking Housewife writes:

In his 2011 book, School-Induced Dyslexia and How It Deforms a Child’s Brain, the late author and education reformer Samuel L. Blumenfeld argued that the whole language or “progressive” method of reading instruction had caused a massive increase in illiteracy, especially among blacks, and a skyrocketing number of diagnosed cases of “dyslexia.”
Elementary school children in public schools are taught to read today by memorizing a few dozen “sight,” mostly one-syllable, words. The traditional phonics method involves sounding out the letters and gradually progressing to bigger words.

I don't think it is just a reading problem anymore. All of childhood "education" has been diluted to make children "feel good."

Feisty children are created from feisty stories.

For some reason, I thought of "Sing a Song of Sixpence" when I read Laura's post. Perhaps it is the melody of the nursery rhyme, or it is the lovely little birds that I hear along my way to the bus stop or the store, hiding between the leafless tree branches.

Or it is the blackbirds themselves. Who has sympathy of blackbirds that are baked in a pie? If it were: "Four and twenty sparrows baked in a pie" it might conjure up a more sympathetic feeling. Blackbirds, even ones I see and try to photograph, don't get my sympathy.

So I think the purpose of nursery rhymes is to subtly, and sometimes less subtly, teach young children about the "pecking order" of the world. That there is good and that there is evil. Even in the animal world. That some are strong and others weaker.

It is interesting that the two characters of "power" in Sing a Song of Sixpence, the king and the queen, display this order so very clearly.

The king was in the counting-house
Counting out his money

and

The queen was in the parlor
Eating bread and honey

How frivolous to eat a sweet snack and alone and separate. How indulgent!

Of course the king could be some megalomaniac only interested in his gold coins, but he is the one charged with the important role. He has his kingdom's wealth to be concerned with.

Such clearly defined roles of men and women and our position in the natural world, with few niceties (we can bake blackbirds in a pie) might cure our disoriented and insipid youth which pledges its time and intellect on "equality/environmentalism/anti-racism" and any number of "global causes" of its strange belief that all is about niceness (not necessarily goodness).

And even those blackbirds surmounted the heat of the oven and came out chirping, alive and well.

Young and Lesbian: An Epidemiology?

Photo from article: "Why Are So Many Girls Lesbian or Bisexual?"
From: Psychology Today, April 3, 2010
By: Leonard Sax, M.D., Ph.D.
These look just like the "college best friends" I write about below

Camille Paglia would be intrigued, and horrified, at this epidemiology of young lesbians, cheerfully "coming out."

Ellen Page

A few days ago, a young and pretty Canadian actress, Ellen Page, declared herself to be a closeted lesbian, that is until that moment when she dramatically announced to whomever bothered to listen: I am gay. She's twenty-six years old at this announcement, but according to her testimony, had been "gay" for years.

I found her video on New York Post's online magazine. It was hard to miss on the side column, with a large photo of her, and the headline: Tired of Hiding: Actress Ellen Page Comes Out as Gay.

Page is claiming that her "coming out" is "a personal obligation and a social responsibility [direct quote from the Youtube video here around the 6:15 minute point]", and is otherwise a "traumatic event."

It is interesting to see that "coming out" in the 21st century is such a traumatic event. I thought we had taken care of stigmatizing gays and had built such a "gay-friendly" world that people were declaring their "true selves" left and right.

Well, not so, apparently. Page tearfully declares: "I suffered for years because I was scared to be 'out'." Didn't Ellen DeGeneres, pernicious model for this young Ellen, present us with her "secret" in a similarly tearful declaration seventeen years ago? Her career hasn't diminished one bit, and in fact has climbed since then.


Page with "girlfriend"

Page was brought up in Eastern Canada, in Nova Scotia. Her parents divorced when she was very young, and her father remarried. She lived with her mother. At about fifteen, Page enrolled herself into a "Buddhist" school, with no academic structure, which emphasized "the arts." And her parents let her do this! Divorce is hard on any child, but a structureless one must be harsh. And worse, letting a young teenager decide on her intellectual and spiritual development is bizarre and cruel.


This is the best I could find of Page with her father.
Notice the impish quality of the father, who looks like he's out with his young son.
But then, what young boy would cling to his father like that?
Such is the ambiguous world of tomboys.


Page with her mother, looking dishevelled and tomboyish.
It looks like they were both out at some film premier,
where Page should be the star, but is upstaged
by her glamorous mother instead.

But homosexuality is still a social stigma, if "celebrities" have to make such a spectacle about their revelations. Normal, ordinary people, those that pay the films and shows to keep DeGeneres and Page in the business, will momentarily forget a gay person his abnormality as long as he entertains well. And if homosexuality is still a social stigma, despite all these efforts to normalize it, then it will always remain a social stigma.

And just in time for Obama's homosexual agenda of equality, the PBS program To The Contrary "for women, by women, about women" (my quotations), recently included on its panel an articulate black women, Danielle Moodie-Mills. I wondered who she was, with her caked make-up and twisted stringy hair.


Moodie on the PBS program To The Contrary, which aired a couple of weeks ago

I found her profile all over the internet, since then. She is a black lesbian, whose "marriage" to another black woman was profiled in the black magazine Essence. They "married" in 2010, Mills at 32 and Moodie 31, and had "been together" for six years before that, which means they started this "relationship" when they were in their early twenties.


Danielle Moodie, on the right, is:
Advisor, LGBT Policy and Racial Justice
Center for American Progress
Nonprofit; 201-500 employees; Think Tanks industry
(LinkedIn Profile)

and Ayisha Millis is:
...a Senior Fellow and Director of the FIRE - Fighting Injustice to Reach Equality - Initiative at the Center for American Progress, where her work explores the intersections of race, class, and sexuality.
(Center for American Progress profile)

They both have those fluffy jobs just right for the Obama administration.

There must be dozens around of these "lesbians" around. Girls walking around the mall, chattering and laughing: are they "young lesbians"? Two young women eating in a restaurant, fancily dressed: are they on a date? A couple, women, picking up a young child at school or at a day care: are they "two mommies"? And so on.

I won't go into the pshychological, sociological, cultural, School of Camille Paglia, analyses of what I'm seeing here, so here's my take, at least on Page, Moodie and Mills.

There is very little information forthcoming from Moodie or Mills. I've gleaned what there is available from various websites and their limited profiles in their professional biographies.

Danielle Moodie

Danielle Moodie's only reference to her parentage (from searches around the web) is a photo of hers which appeared on Essence magazine's profile of her "marriage" to Mills. Here, she is standing with a white man, named as Michael Newton, with the caption:

Dance with my father:
Danielle’s dad Michael Newton was close to tears as he danced with his daughter on her momentous day.

Below is the photograph:


(Source: Essence)

I can only assume that she is adopted. Where is the mother (adoptee)? Why isn't she included in this wedding photograph? Is she white, black, other? What kind of life does Moodie live where she has to call a white man as her father? How hard was this for her as a young girl (assuming she was adopted young)? How much harder did it get as she became conscious of her surroundings? How did the "black identity" culture affect her identity? How does she relate to whites, and to the ominous White Male?

Aisha Mills


Mills posted this photo collage on her Twitter page

Mills was raised by her grandmother. She says: "My entire life, I have been a variety of 'others'." According to this post, her mother had "Asian" roots, but she was raised by her Black Southern Baptist grandparents, as the photos above indicate. The young, light-skinned boy in the photo collage could be her brother. Or is it her dressed in a suit and tie (as a young boy)? Yes! It is her, dressed as a young boy! So there you have it.

And here below, she is with her MIU (Missing in Upbringing) father at her "wedding."


Source: Essence
Caption reads:

Proud Father
Aisha's father James Mills kisses his baby girl and wishes her well on her big day

The Mills-Moodie "elegant affair" of a wedding included baskets of chopsticks. The ominous absence of her Asian mother must make even the most mundane of Chinese objects into bouquets of roses.


Chopstick elegance: Reaching for some ephemeral roots
Chopsticks, from the wedding album by Essence
The caption reads:
Cocktail Hour:
"The entire wedding was an elegant cocktail affair," Aisha explained.

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So what is it with these young women?

- A chaotic home life?
- A dearth of masculine young men?
- Feminism pushing young women into competitive and masculine roles, where they clash with young men, both the feminized ones, and those standing their ground and refusing to give in easily to a woman-centric environment?
- Black men, unavailable, either through their dropping out of society, their criminality, or their immaturity?
- Men refusing marriage, for fear of repercussions by feminism, and feminist women and wives?
- Men refusing to mature, and instead delaying marriage and family?
- The culture pushing, through mass media, that marriage is not necessary?
- Divorce rates, and divorce costs, high, especially (uniquely?) for men, so many opting out of marriage?
The "otherness" of the other becoming too much to deal with for young people these days, who are not used to natural competitions, and eventually some awe for differences.
- The desire by contemporary people to make everyone the same, to avoid this natural alienness or otherness of people?
- The desire to make everything "nice" and non-combative?

In any case, this "best friend" type of coupling is well suited for girls in college and high school. Under normal conditions, these girls will find staunch mothers or grandmothers who will diminish that seductive environment, give them the education they need, and place them in situations where they can lead a normal life, including building their future families.

The women I've described above are traumatized orphans, both in society and in family. They have been dealt with difficult beginnings. Since their families didn't come through for them, then it should have been up to the larger society to see that they didn't normalize their ambiguities and abnormalities. Now, as adults, they are seeped in their iniquities, and will only further terrorize society. Our job now is to see that they don't do that, and that they don't amass more vulnerable innocents along their way.
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Posted By: Kidist P. Asrat
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Arms Akimbo

This is an image posted at Laura Wood's The Thinking Housewife, on a post about a mother who lets (or wishes that) the inner gayness of her child manifest itself. In fact, the story is about how this mother was so disappointed that her heterosexual son revealed to her that he is indeed heterosexual.

The photograph is from the Huffington Post, with this title: My Son Wore a Dress for Halloween.

There are many evils that emanate from this image:

- What young boy makes an independent decision to "do" anything? The ultimate arbitrators and judges are the parents. "No, you cannot wear that costume for Halloween." "You will eat your porridge, or no breakfast." "I'm not paying for that toy/DVD/popsicle/school trip. When you earn your own salary, you can buy whatever you want."

- What mother will plaster photos of her children on the internet, for all to see, judge, and even plan a trip to her home to find this fairy child?

- What mother (and father, because the father is presumably in agreement, even if his wife didn't initially consult him, since everyone will tell him about that photograph) wants her son to be a daughter (or a boy-child to be a girl-child?)

One other strange and disturbing aspect of this image is that this mother doesn't want her son to be any kind of girl (although she's playing around with the theme of a "fairy").

She has her son standing with his arms akimbo, in a sexualized pose.

What young girl stands with her arms perched on her (non-existent, immature) waist?

I suppose the falseness of the scenario manifests itself in that exaggeratedly sexualized pose. This boy reconstructed as a girl by the evil mother has to exaggerate, and corrupt, femininity in order for his transformation to be credible.

All children like to play dress-up. Somehow, this evil mother convinced her young son that it was ok to dress as a fairy girl. And as with all children, he used his imagination to play that role to its fullest. Where did he learn to use his imagination to that fullest?

Of course, it is not just the evil mother who builds these scenarios for her son: she has a whole army of complicits, from the school teachers, television personalities, politicians, and really almost everyone else that is now in our liberal world.
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Posted By: Kidist P. Asrat
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