Showing posts with label performing arts. Show all posts
Showing posts with label performing arts. Show all posts

01 April 2011

RE: LONG LOST FRIEND!

Indeed, “long lost,” but never in a moment forgotten! Throughout the span of a decade, with a mind tempered (or tormented) by “what-once-was” well-wishing nostalgia, remembrances and a deep longing desire to redeem the unearthly, unending exuberance of youth, I have often found my thoughts drifting towards you, my baby blue-eyed, porcelain-paled, lusciously lipped lil’ lady friend of times far past & gone. Indeed, “friend,” but oh so much and so many things more!

April Manteris, you were my Perestroika as Millennium Approaches; you were one above many of my arch-guardian Angels In America! How fitting that in my later, more recent life, I would battle with disease-induced malediction & delusions of messianic manic psychosis, much like the enlightened torment of Prior Walter told by Tony Kushner in his “Not-Yet-Conscious, Forward Dawning,” damned devilish drama staged as “A Gay Fantasia on National Themes.”


My own, personal, proprietary and unprecedented “Gay Fantasia,” told as follies of the mind and frailty of the body, was rife buttressed by more universal themes. In a demented state of holier-than-thou HIV/AIDS-instigated happenstance and insanity, I foresaw a full faith reconciliation of all conflicting religious around the world; the real-time cultivation of a post-apocalyptic, new-growth Garden of Eden; and my transsexual impregnation as an irrationally self-proclaiming, prophetic “Gift of God” with Christ Child incarnate.

Delusions of near godly grandeur galloped as chariots of fire along the strangely strung-out or awkwardly wrought and wired synapses of my parasitically enslaved psyche toward a new and evermore illustrious Elysian Fields. I was a hopeful, kindhearted and jubilant psychotic; not a criminally paranoid sociopath.

In my lonely, lachrymose, lunatic madness, I believed that all humankind would fall down under the watchful rule & gaze of intergalactic warring Angel/Alien brigades, led by Michael, Gabriel, Beelzebub, and Lucifer, only finally to be throttled full flight into a world far more beautiful, blissful and serene that anyone could have ever imagined before.

Funny thing for me though, during my drug-delayed, disease-induced delusional psychosis, I actually possessed the superhuman scope of mind and intellect to imagine the unimaginable as actual and real! What a harrowingly exhilarating experience! Moreover, you were there with me in spirit, all along the way.

For, I was convinced that you, April: my dream dancing “tell-it-to-snow” Eskimo named Harper Pitt, were suffering from a simultaneously paralleled, prophetic psychosis there, on your side of the world.

In my dreams, I imagined our union as beleaguered, but still sun-beaming and boisterous, biblical brethren, once each of us (and countless other young-spirited saints, psychics and soothsayers) had rightfully sown the heavenly seeds of a new beginning for our separate communities, cultures and societies on this dying-to-life, righteously reincarnate Earth of ours.

So much coincidental quizzicality has shaped the “nefand, sullen languid stories of my last-ditch, last-chance life,” including the serendipity of that first meeting of our two minds.

Our two submedially mature yet still quite sycophantic student souls were somehow, at some point, so mutually confounded, mesmerized and inspired by the truly enlightened intimacy we would go on to share, that we often (if I remember correctly!) smothered each other in self-obsessed, other-opposed & ostracized narcissism.

I fondly reminisce, remember and recall just exactly how we together, as the closest of friends, dealt only in the immaculate intimacy of trusted truth (or truthful trust). Tantamount to our unfettered ferocity of faith in one another, such truth tightly intertwined our hearts & souls together in both telltale-tangled threads of deliberately disgruntled dysfunction or malcontent malaise and sumptuously bittersweet stories of irrational, unreasoned, and misguided boy/girl romance gone awry.

Truth is, all throughout our first two years of undergraduate, I tormented myself terribly in confused and conflicted recognition of the dichotomically opposed binary between mainstream, most fortunate and “full-worth-the-effort” male-female love and its exact opposite: gay love, or “queer” love, since there was nothing “gay” about such love for me, during those years, or even ever after!

Truths is, that one occasion of my coming out that you so fondly remember in email, could have panned out in two very different ways; and trust me, when I say that you would not at all have been pleased by the alternate “outcome” of such proceedings!  WINK! WINK!

Oh! I should scream it from my rooftop! I’M IN LOVE WITH YOU, APRIL MANTERIS! I always have been and always will be! Never once have I not regretted the decision I made to proclaim my homosexuality to the world, because all that led to was me being pigeonholed in to a nasty, putrid, pestilent and perverse segment of society, where I subsequently succumbed to a lifestyle of depression, then deviance, then drugs, then disease, then delusions, then death, then disfigurement.

And, all that’s been done to me without my ever having witnessed once again the trusted truth (or truthful trust) of such mutually equitable & reciprocal platonic intimacy as we once shared, let alone anything remotely resembling the romantic!

So, that said, I’ll conclude in recognition of how immensely blessed I am to have found you meandering back into my life with such a generously opened mind and heart, with such forgiveness of the trifles of the past, and with such dignified poise, to reclaim our friendship from the exact point where we once left it off.

I welcome you into my life with widely opened arms, April! Moreover, I do ever so hope that we can rekindle that platonic intimacy that once existed between the two of us and that defined our very profound and beautiful friendship!  I look forward to a future with you in it, and I hope you do of me, as well…

With fond memories…
And, In fond regards,
Most sincerely…
Your dear friend,

Matt(e)o | QHereKidSF
Matthew D. Blanchard

San Francisco, CA USA
[20110401T223247PT]

19 March 2011

MY BRO' BRAD: Comeuppance as Prodigal Son

When U.S. Navy Musician First Class Bradley Blanchard was in his adolescence, he was a typically rambunctious deviant child who liked to disobey authority at every opportunity he could find and with all the force & fervor he could ever possibly muster. As his younger brother, with a fork scar slashed down my belly to prove it, I often was on the receiving end of the blunt blows of his teenage boyhood violent rage.

YOKOSUKA, Japan (Feb. 1, 2010) - Musician 1st Class Bradley Blanchard of Virginia Beach, Va., plays a trombone during a 7th Fleet Rock Band rehearsal held at Fleet Activities Yokosuka. The 7th Fleet Rock Band, ORIENT EXPRESS, deploys with USS Blue Ridge (LCC 19) and supports events throughout the entire U.S. Navy Seventh Fleet area of operations

February 01, 2010, U.S. Navy Photo by Mass Communication Specialist Mike R. Mulcare; 
(accessed 13:45 UTC March 19, 2011 via http://en.wikipedia.org/wiki/Navy_Music_Program)

Call it angst or anxiety over never having amounted to much as a child, compared to his overachieving brown nose of a brother! Or else, call it simple recognition of & rebellion against the authorities' inability to control, confound or even cajole into question the genius of his intellectual & artistic talents!! Whatever possessed my brother to give up in school, act up at home, fall into miscreant criminal behaviors, or in the very least to joist a fork into me just above my bellybutton, we may never know! But, I do have my suspicions...

You see! It is my understanding (albeit naively biased and begrudged under boyhood battery) that my one-year older brother, Bradley, came across as an awkward, tubby, ill-tempered & tough-taught teenage trouble child by choice, as if simply to cover up his own quite coveted prodigal musical talents, as well as to scoff in the face of his younger brother's exhausting track record of academic excellence & extracurricular achievements from early elementary school through to high school graduation.

As I'd expect to hear from any critic on the matter, it would be inappropriate, pompous & self-conceited of me, that younger "better than, but best unbegotten" brother of his, to venture any conclusion which conceives to acknowledge and/or appraise (however lowly) the pantheonic pedestal upon which I was so uncomfortably perched by parents, teachers, and fellow pupils alike.

A comparison between the idolatrous accolades & aplomb that I received as an academically overachieving adolescent and the unfortunate reputation Brother Bradley earned for being a lower life do-dumb deviant denigrate who didn't know the a-squared from b-squared or c-squared of the Pythagorean Theorem, or else, who didn't care too much to make it known what he really knew for fear of risking his supposed illicit & ill-natured set of mores & morals revealed as quite the opposite, would serve a great injustice against my brother, while only reinforcing my naive bias as his battered, yet so long beloved, younger brother.

For, my big, bold, daring & now quite dapper do-good brother, was then during childhood (just as we all might witness him to be today) quite as prodigal in his musical talents, as I was in my scholastic, artistic & leadership-related achievements. Unlike his young brother, Matthew Blanchard, however, big brother Bradley didn't cringe and crave for the positive affirmations of attention & accolades as a child, adolescent or teenager.  Bradley was kindly humble enough to recognize that recognition & a reputation of positively perfect accomplishment was all I lived for as a student; and, therefore, it seems to me that at an early age, Bradley relinquished any possibility of positive achievement to me, the younger of us two, out of mere kindness of heart and perhaps even in a awkwardly silent attempt to express love to his kindred spirit, his family, who forever so seemed his foe.

Nevertheless, true talent cannot (should not) forever go unnoticed or unappreciated by the masses. For my elder brother, Bradley, recognition & reputation for his prodigal musical gifts came only finally when he made what should have been a quite difficult decision between serving six-to-nine month stints underwater as a nuclear technician of a U.S. Naval submarine or traipsing around the globe on a better-than-average rock star salary as a U.S. Navy Musician First Class and lead vocals of numerous U.S. Navy Rock Ensembles throughout the World.

The decision between the substantially better pay-grade and advancement patterns of an enlisted submarine tech or the hyped up happiness and good humor incumbent upon a career in music for the Navy was instead quite simply a matter of greater-than & less-than logic for my brother, who valued his happiness (obviously) well over his pay rate or the terms of his possible rank advancement. Obviously, my very intelligent, very impassioned musical prodigy of a brother chose love over logic; such was the logic behind his decision to follow the passion which had dutifully & determinedly defined the unfathomably focused good fortune that befell him at every awkwardly successful instance of achievement during his young life, while in the arms of music.

In honor of my elder brother, Bradley D. Blanchard, I am privileged to offer this living testament to the tremendous talents possessed by this one damned terrific young man. Not only is Brad an extraordinary father and husband, much loved by his wife & son, but he is also an ungodly gifted musician, who could, should & will one day take the world by storm; what if not to the likes of America's next popular television talent search or else by the grace of one or two generous celebrity patrons of his art who might promote and make possible an on-air performance by my brother, as lead vocals of the U.S. Navy Commander, 7th Fleet Rock Band (Twitter® - @C7FBand / Facebook® 7th Fleet Band) : ORIENT EXPRESS.

U.S. Navy 7th Fleet Rock Band: ORIENT EXPRESS (August 7, 2010; YokosukaFSD, JAPAN)
"I'm Yours," lead vocal by MU First Class Bradley D. Blanchard
 
It is with great pride that I post this video of my brother singing lead vocals to "I'm Yours," with the U.S. Navy Commander, Seventh Fleet Rock Band: ORIENT EXPRESS. I remember vividly the first time I heard my brother sing. It was on the occasion of my visit from Florence, Italy (where I was studying graphic design, at the time) to Naples, Italy (where my brother was stationed with the U.S. Navy Band, at the time). 

We were both in our mid-twenties. I was reeling from a "GREAT DEPRESSION," brought on by my then relatively recent sero-conversion and diagnosis as HIV-positive, though I didn't muster up the courage to tell my brother this until after the trip down south.  My brother on the other hand was glowing happily, unabashedly in his youth, and tried with all his might to share his happiness with me, to let it roll off his husky, well-built shoulders on to mine.

His manner of sharing was unique to me; I'll say that, in the least.  Bradley invited me as a special guest to a gala performance showcase for his U.S. Navy Rock Band somewhere up the western coast of Italy, near about to Cinque Terre. The band set up amongst the lavish & luxurious decor of the sumptuous entertainment hall at a hanky-spanky swanky five-star Italian riviera hotel, and I was their surrogate helper or stagehand for the day...

Once the equipment was set up, the musicians (not the vocals, i.e., my brother & his female counterpart) began to rehearse. I settled in to a deeply intriguing discussion about my brother's soon no longer to be boyhood lifestyle contrivances with the wife of one of his military cohorts, but was to my astounding delight brashly interrupted by the sweet, melodic, perfect on pitch and in tone sounds of my brother's voice singing "Stand By Me!" That was the cover number with which he chose to open the show, and he honored me in singing it, "I dedicate this song to my only brother... God knows I love ya'Man!!" God knows, I love him, too!!

So, now that I've gone ahead and made this video available to my blogsphere of fans & followers, either via http://www.qherekidsf.com or else via my Facebook Profile Notes at http://facebook.com/mblanchard79, then I hope to receive comments & feedback from all y'all folks out there with opinions on the matter that I might maybe could share with my big Southern Puppy Brother, Bradley!! Please be courteous & kind; although, critical remarks are not uninvited!! I look forward to hearing back from some gentle, tasteful souls!! Cheers! Ciao & Namaste: I bow to the gods with you...

Respectfully submitted,
Matt(e)o | QHereKidSF
Matthew D. Blanchard
matthew@qherekidsf.com
http://youtube.com/qherekidsf
http://www.qherekidsf.com
http://bit.ly/qherekidsf

San Francisco, CA USA
[20110319T07:4513PT]

11 March 2011

PHOENIX a'FIRE: In Rehearsal

When my application was accepted by SINS INVALID A.I.R. Program Director, Nomy Lamm, thus clearing way and confirming my participation in the inaugural 2010 SINS INVALID Artists In Residence (A.I.R.) Program, I found myself immediately embarking upon a long and exceedingly adventurous journey in discovery of perfection in performance-based self-portraiture through storytelling and song.

Little did I know then where it would lead me; however, I must say that truly I enjoyed every subtle step and bounding leap forward down that path I took from mere obscurity toward meager-to-maniacal celebrity, even if only within a very small, intimate community of disability activists and performance artists/aficionados, here in the Bay Area, alone.

The exact date that I happened to happen happily upon the NIEHS Sing Along Songs Children's Website and discovered their substantial collection of musical "midis" (i.e., simple, electronic instrumental versions of the vocal melody of a song recorded without audible lyrics, but rather with accompanying lyrics attached as text), I do not specifically recall.

Yet, I will not forget the tremendously joyous, spontaneous impulse of creative genius and pleasure that came to me when I fell serendipitously upon the musical midi of Alan Menken's "Part of That World," from the Disney masterpiece, LITTLE MERMAID.

Straightway, I knew just want I desired to do with this song. Thus, from that point just about a year ago today, when I did "stumbleupon" this particular melody and its lyrics, I endeavored to do meaningful justice not only to the song and songwriter himself, but also to my own audaciously bodacious and bawdy, unkempt, uncontrolled and unadulterated, quasimodo, quasi-grotesque, imperfect and ugly story of the destructive force of careless sexual device and drug abuse and my almost mythic – certainly, quite blessèd!! – rebirth as a "not hot, not well-endowed," but still quite sexual creature, deservedly so!!

With a spit-bit of pride, pomposity and yes, even perversion, I have the unique honor and privilege to premier a video recording of PHOENIX a'FIRE, a workshop rehearsal version of the song I performed as a live drag-burlesque musical number for the SINS INVALID A.I.R. Show: RESIDENT ALIEN.

Please be advised, as the title credits indicate, this video-recorded song is not intended for all audiences; the recommended minimum viewing age is 17 years. With PARENTAL ADVISORY, the video is given a Content Rating of NC-17, and all youth below that age are urged to seek parental permission before viewing this short webcam recorded musical video.

For those of my fans/followers who are of adequate age to view the film directly, I invite you now to enjoy a curiously compelling retrospective look back at my own creative process at work. And, I also encourage you, please, to share your thoughts on my original lyrics, as well as on the philosophy behind this "Musical Reconstruction," either by emailing me directly at matthew@qherekidsf.com, or simply by commenting directly on this blog post.

Otherwise, you also have the option of visiting my YouTube® Channel, where the video has also been posted for mass audiences and the world public at-large: http://youtube.com/qherekidsf. Please ENJOY!! Comments and feedback are duly encouraged! Thanks...


COPYRIGHT © 2011 QHereKidSF | ALL RIGHTS RESERVED
(recorded: San Francisco, CA USA; September 19, 2010)
PHOENIX a'FIRE
Lyrics: Matthew Blanchard
Score: Colleen Nagle
Presented by SINS INVALID
2010 A.I.R. Performance:
RESIDENT ALIEN

Look at my face! Isn’t it gross?
Wouldn’t you think 
I’m much worse off than most?
What do you think of my grin, 
so grotesque & frightening?
This is my story; secrets revealed…
If I had lips they’d be loose and unsealed.
Looking at me you must think, 
“Shit! He’s lost everything!”
True - - - - - - - - - - - - - - - 
I once had good looks & was handsome.
But, - - - - - - - - - - - - - - - 
I was a barebackin’ tweaker whore.
I often begged for big cocks, 
“Cum inside me!”
Truth be told! Shame on me! 
I want MORE!!
I wanna fuck raunchy, nasty and wild!
I wanna cock raw, wet, deep inside me!
My ugly face would be frightful for
Licking. Sucking. Bareback Fucking!
Wearing a mask I don’t get too far;
Lips are required for kissing, sucking.
Can’t fit my mouth 
‘round a cum-dripping cock!!
Me sucked! Bare fucked! 
Tweaked high! Me DIED!!
 
I smoked Tina first for the thrill;
I smoked her ‘til AIDS came for the kill.
Death had its aim; Meth was to blame!
Still I SURVIVED!!
As the myth goes, from ashes I rose
Like a great big fiery bird.
Nothing may spoil my heart unfurled
I’m a Phoenix a’FIRE!!
No I’m not hot! Not well endowed!!
But next to you, I can laugh & be proud.
Love me dearly! Do not fear me!
Dare just one glance at my pretty ass!
Just tell me… (spoken)
What is desire, and how does it 
What’s the word? – BURN?
Please hold me dear! Kiss me right here!!
My heart’s a Phoenix of DESIRE!!

January 28 & 29, 2011 at Mission Cultural Center
2868 Mission Street, San Francisco, CA 94110-3908
© 2011 QHereKidSF | ALL RIGHTS RESERVED.
Respectfully submitted,
Matt(e)o | QHereKidSF
Matthew D. Blanchard
matthew@qherekidsf.com
http://qherekidsf.com
http://bit.ly/qherekidsf

San Francisco, CA USA
[20110311T010356PT]

25 January 2011

A LOOK BACK @ 18MTHS. OF HOPE!!

A LOOK BACK! At 60DAYS SOBER, ... I once concluded that "I JUST have an UGLY face." However, despite the devastation of disfigurement, I was/am still conscience & cognizant of the fact that my Seventh Chakra shines – Sahasrara : "The Thousand-Petaled Lotus" – "signifying & assuring QHereKidSF of his supreme consciousness & sublime connection to the cerebral, spiritual & physical worlds" (cf. http://youtu.be/gg8mjhUqSpw – below).


At 1YR. CLEAN, I affirmed "BEAUTY!" ... "But, only at God's speed. God willing" : the choice words Director Daniel Cardone & I used to frame the closing of CONSTRUCT, our "epic" (not in length, but rather in magnitude of reverberation & depth) experimental docu-short, filmed as part of The HIV Story Project's STILL AROUND 2010 compilation (Exec. Producer: Jörg Fockele; Producer: Marc Smolowitz), which together feature a day-in-the-life of 15 individual PWA (i.e., People With AIDS) protagonists.

Now, today... At 18.5MTHS. OF HOPE (not dope!), I take the stage in a short time to proclaim how indeed I am finally & once again ablaze with "DESIRE" : red hot & risen, redeemed & reborn; as a "PHOENIX a'FIRE" (cf. "Resident Alien" - the Sins Invalid Artists In Residence Show), who prances, dances and sings poemsongs of Paphian pleasantries, indulgences & delights...

As my Sins Invalid artist bio reads, I am: "grateful for God's boundless love of & faith in [my] own purely imperfect and human desire 'for elaborate beautification & solemn self-betterment" (cf. CONSTRUCT, 2011). "But, then again, I'll be quick to say: We live to die and die to live... Forever! Come what may." (cf. JEER NOT! FEAR NOT!!; "Resident Alien," 2011).

STAY TUNED!! for my "flagrantly unfettered" foretelling of a future full of fortitude, good fortune, and truly "fag-o-licious fabulosity" of face... SUBSCRIBE TO MY YouTube® CHANNEL – mindflux | matt(e)o | mayhem : http://youtube.com/qherekidsf.

Cheers! Ciao & Namaste...
Matt(e)o | QHereKidSF
Matthew D. Blanchard

matthew@qherekidsf.com
http://bit.ly/qherekidsf

San Francisco, CA USA
[20110125T071435PST]

11 January 2011

Alien Annuciation: Unearthing My Sacred Self

The following is a dramatic monologue I prepared for my SINS INVALID Artists In Residence "Resident Alien" Performance Showcase; however, this exact text will NOT be performed the evening's of the show. I therefore am now at liberty to share some of the copious work I have been preparing for performance during the last nine months for review by my peers. Please indulge me with your insights into this work; provide your own critical response and feedback, and I will be happy to take whatever you have to say to heart when considering revisions of the piece for future performance.
ALIEN ANNUCIATION:
Unearthing My Sacred Self
Fuck! Face it!! I’m a fagged-out, ferocious, Fog City funambule Freak Show — or Peep Show, depending on the scene [chuckles] — fabulously fucked in the head — HOLE! — for far too long [laughs outright]. FUN? For sure!! If by chance, you get some crazed, cracked-out, masochistic satisfaction from — OH! SO SAD! — strangely spiritual & surreal stories of catastrophic crystal-lined “Quarter-Life” crises, then maybe I’m your man!!

The mindflux & mayhem of this “MATTO” Matteo manifest as anxiety, manic depression, numerous non-specified personality disorders, coupled with devastatingly detrimental drug dependency and HIV/AIDS disease — BAM! Axes one through five, in no specific order!! My psychiatrists would all be proud. During the long-stretched syndrome of illness, disease & disorder that is my dismal, abysmal life, I was only ever once lost to languid torpor; torpor which turned out tantamount to torturous (i.e., id est… the ten to twelve days I laid unconscious, inactive & still; the skin & bone of my once boyhood beautiful face pressed flat, flush, firm & dying against a putrid, pestilent pillow).

Yet, for a time, prior to my tragically traumatic end, back before my whole “Fuck! Face it!!” mantra came into play, I once touted myself better than plainly pretty & princely. Back before my very real ruination ripped apart my smile; before antipsychotic psychotropics pretty much fucked up, tore down and all but annihilated my lachrymose libido, I spent my days super-speedy, sexed-up & salivating for raucously wild & raunchy “fag-fornication” – E, K, G… Crystal Methamphetamine sure’nough spewing from my sweaty, slimy skin!!

For lack of food, lack of sleep, but with no shortage of insanely over-indulgent fucking, I was led libidinally through a caustic, quixotic, voraciously vivacious and virulent six month schizoid-delusional messianic mania (i.e., id est… “crazed and cracked-out,” I told you!!). Here’s how the story goes…

After twenty-four-plus hours of positively preposterous unguided, temper-tantrumed and tweaked-out tantric yoga, I found myself falling flat on the floor from a backbend. In a glorious instance, I could both hear, feel and fear my mightily tight military neck flicker from firm to flaccid to flat with a couple of cracks and a crunch. 


Then, out of nowhere, but to my tearfully giggled and enraptured delight, the “cycloptic” serpentine energy force of my kundalini uncoiled itself three & 1/2 fold from deep within the pit of my scrotum, as if a cataclysmically massive monster cock was fucking me from bottom-end to top-end entirely. My phallic kundalini snaked its way like speed-lightening straight up my squarely smacked flat spine, erupting explosively through each of my leveled & loosely lain chakras. Past my shoulders. Into my head. All with a sparklingly celestial shudder of glee!!

My voraciously virulent kundalini energy force broke the blood/brain barrier with the cracking and collapsing of my never near too straight again neck, and was free!! At that moment, deep from within a blinding, brilliant light, I saw the rebirth and renewal of all life, the reunification and redemption of retaliatory religions of the World, embodied as a dying leafless triple-branched tree: a familiar scenic device of Beckett’s brain, symbolizing the existential nihilism inherent in “waiting for God…”

But, the tree at the center of my powerfully immaculate vision was quite unlike the grey, lifeless, hollow-trunked, death-determined tree that so thwarted the mindless meanderings of Vladimir and Estragon. The tree at the center of my celestial light budded a new growth, new birth branch with a single, glowing emerald green leaf which dripped dew of heavenly angelic gold from its tip.



Two Men Contemplating the Moon, ca. 1830
Caspar David Friedrich (German, 1774-1840)

Oil on Canas, 13 3/4 x 17 1/4in. (34.9 x 43.8cm)
The Metropolitan Museum of Art, New York,
Wrightsman Fund, 2000 (2000.51)
My kundalini force thrust me thankfully toward my heavenly father – at least, I’d hoped it would – through ungodly, goliath insanity and bliss. Thus began the potent perversion of my intellect, my psyche, as I set off on a profoundly esoteric and spiritually pious six month search for the “One,” Almighty God.

Six days to six weeks, I spent alone, shut up in my sparse, stark and sullen studio apartment, spiraling my insanity into a chaotic hoarded mess, savagely searching for God. No, I didn’t find him…or her…or them. Well, maybe them!! If you’re one to consider the sublime god force a pluralist spiritual entity, then I’m almost certain that my schizoid-delusional miscomprehension of individual life forces, as being all parts of a prophetically benevolent community of angel/aliens who had come calling for me as a veritable “MATTO” Matteo, would have intrigued and enticed both your own spiritual and intellectual curiosity.

So, I didn’t find Him (or “Her”) in my search for the Divine, but I did find my own angelic alien annunciation as a “Gift of God” : Matthew, for I believe with all my kundalini life force that during this six month psychosis, I was being suited by a community of angel/aliens for my god-given, divinely apostolic duty to proclaim to the World the imminent arrival of a purely peaceful, nonviolent, anti-diabolic Armageddon.

I was called upon, or so much I wholeheartedly believed, to return from the “deathspace” transexualized and impregnated with an angel/alien Christ-child to usher in the climactic rebirth, re-growth and cultivation of a global unifying force: a “Garden of Eden,” Elysian Fields, Les Champs Élysées leading into more than just a city, but rather into a World of lights, illumination, rapture!!

I speak of chakras and kundalini sparingly here; even though, these words as psychic phenomena seem to predominate my prose. But, don’t get me wrong! I’m a good faith, good Catholic, Christian boy of Franco-Polish Hebraic descent; therefore, the word “RAPTURE” should make more sense!

You’d sooner find me carving a Cherokee totem disparaging my colonial heritage as self-proclaimed proudly pompous, well-educated elite alum of Jefferson’s own “Alma Mater of Our Nation.” Hell! You’d sooner find me rigging a home-made I.E.D. car-bomb in my Fresno-based meth-lab storage garage while bowing toward Muslim Mecca – No, not GAY MECCA!! – as I pray in istikhara, and offer supplication for divine guidance on how best to cripple and destroy Judeo-American neocolonial forces.

You’d sooner find this white-bred, white trash, euro-mutt, slut, goy-boy American speciously boasting either indigenous or Islamic roots, rather than spiting my own just and good Judeo-Catholic heritage by following blindly the wisdom & stricture of Sanskrit/Hindi yogic faith teachings, if not just as a Eurocentric fad of the intellectual and spiritual post-colonial diasporas…

Yet, sadly still, contrary to my Judeo-Christian biblical heritage and learning – if even as a namesake, merely!! – I did neither see nor encounter my single almighty God, the Father: The Maker of Man, of me, of my mindflux, mayhem and misery. But, I swear on the last remnants of sanity and semblance of beauty that this mad, mad monstrosity of a man may have, I swear…

I saw something! Something real. Unimagined. Something immaculate. Holy. Sublime. In fact, I saw many things, which I remember vividly and in distinct detail, despite near half a decade of dutifully downing each dawn & dusk the fists full of psychotropics my doctors order me to take to keep pace of peace and order in my boyish, good goyish brain.

I could go on and on and on without a single smile – I could, and I should, but I wont! Anyway. – I could catalog… In fact, I HAVE cataloged pages and pages describing the many multitudinous manifestations of my immaculate enlightenment. I could retell my rapture. I could narrate my nirvana; translate my transcendence for you all – I could, and I should, but I won’t! Anyway…

And, why not? Because, trust!! You’d only spurn and scoff at my seemingly spurious, counterfeit, tall, tall torturous tale; even though, it be not torturous, but tender, touching truth!! Unless, of course, you are curious, and have come across us angel/aliens in our own right with open minds and open hearts, then there’d be no point in proclaiming the snippets of specifics of my all too perturbing albeit prophetic schizoid-delusional messianic psychosis.

Respectfully submitted,
Matt(e)o | QHereKidSF
Matthew D. Blanchard

Artist In Residence
SINS INVALID

San Francisco, CA USA
http://bit.ly/qherekidsf
[20110111T235237PST]

WordReference: La honte et l'apprentissage

Façons originales de traduire "CREATE THEATRE," et. al.
En réponse d'une demande de renseignements sur "THEATER" (c.f. MmePitchounette, Senior Member du Forum: Vocabulaire Français/Anglais, de WordReference.com), je vous offre de nombreuses traductions tirées directement de ma propre imagination. Quoique ces exemples soient tous exprimés en une voix formalisée de façon particulière, ainsi qu'en outre le français ne soit pas ma langue maternelle, il n'en demeure quasi pas moins que ces exemples restent valables et pourraient bien vous servir, peut-être. Voici, mes suggestions à vous (par l'ordre de priorité):

DISPLAYS THAT CREATE THEATER & BRING THE BRANDS TO LIFE...

a.) Portant un aura de mystique théâtrale, des étalages en insufflent un nouvelle force aux marques.

b.) Des étalages enveloppés de mystère du théâtre en insufflent une nouvelle force aux marques.

c.) Des étalages qui évoquent l'esprit du théâtre et en insufflent une nouvelle force aux marques.

d.) Des étalages qui créent une sensation théâtrale et en insufflent une nouvelle force aux marques.

e.) Des étalages qui donne naissance au théâtre et en insufflent une nouvelle force aux marques.

f.) Des étalages qui produisent l'effet du théâtre et en insufflent une nouvelle force aux marques.


Comme vous le pouvez voir d'après ces exemples, mon approche ou façon originale d'aborder une propre traduction de votre déclaration écrite comporte multiples tentatives de communiquer le même sentiment en diverses manières, par les activités d'éveil. C'est-à-dire, par le recherche, la découverte, l'expérimentation, le reclassement et le remontage des nouveaux mots de vocabulaire, on pourrait normalement réussir à trouver une belle expression éloquente qui se suffit à elle-même en tant qu'une bonne et propre traduction d'une phrase originale.

Si, dès le début, vous cherchassiez à dire/écrire votre phrase originale de manière le plus convenable: "Displays that create theatre and bring the brands to life," je maintiens une démarche assurée qui suggère que vous deviez tenter d'élaborer d'abord et puis accentuer d'une manière autant inédite que poétique votre usage de la langue française, afin de trouver "une bonne et propre traduction."

Une telle exercice serait non seulement un moyen d'arriver à vos fins, mais elle serait aussi un moyen de profiter de l'occasion d'approfondir l'aisance et la facilité avec lesquelles vous vous exprimez en français.

Voilà, ma philosophie pédagogique vis-à-vis l'apprentissage des langues étrangères:
La bonne pratique courageuse et aventurée d'un langage nouveau et expérimenté auquel on ne soit pas encore tout à fait très bien habitué, permettra aux apprenants d'approfondir leurs connaissances et capacités de s'exprimer en langues étrangères d'une manière la plus éloquente et raffinée que possible.

Il y aura certes quelques-uns parmi vous, les lecteurs et répondants de ce fil de discussion du Forum Vocabulaire Français-Anglais de WordReference.com, qui ne seront pas de tout à fait d'accords ni avec mes traductions suggérées, ni avec ma philosophie et mes conseils, étant donné que le français n'est pas ma langue maternelle.

Au moins je vous aurai fait comprendre et apprécier le résultat efficace, bienveillant et fructueux de ma méthode particulière pour déduire des pseudos belles et bonnes traductions alors que je possède au moins un peu de perspicacité et compréhension uniques et créatives de la manière dont NOUS: Les Anglophones Francophiles, pourrions le plus souvent arriver à très bien traduire une phrase de l'anglais en française (même si le français ne soit pas notre langue maternelle)!!

Bonne chance et bon courage, MmePitchounette... J'espère que tous ce que je viens d'écrire soient pour vous utiles et riches en renseignements. Vous trouverez certes de fautes lexicales et grammaticales partout dans celle-ci, ma petite rédaction sur ma propre méthode à moi d'acquérir et approfondir une meilleure connaissance de la langue française. Néanmoins ou malgré tout, j'espère ainsi que je ne fusse pas arrivé à me plonger dans l'embarras ni à me sentir gêné par mes plusieurs fautes. La honte est surtout l'ennemie de l'apprentissage!!

Cheers! Ciao & Namaste...
Cordialement,
Mathieu/Matt(e)o
__________________
M. Blanchard | QHereKidSF (San Francisco, CA USA)

19 November 2010

Love as MOVEMENT! Love as LIGHT!!

Plato’s Phaedrus & Racine’s Phèdre
When desire, having rejected reason and overpowered judgment which leads to right, is set in the direction of the pleasure which beauty can inspire, and when again under the influence of its kindred desires it is moved with violent motion towards the beauty of corporeal forms, it acquires a surname from this very violent motion, and is called love.
– Socrates (469-399 B.C.), ... in Plato, Phaedrus.
When_desire_having_rejected_reason_and_overpowered_judgment.
Dictionary.com. Columbia World of Quotations, Columbia Univ. Press,
1996. http://quotes.dictionary.com/when_desire_having_rejected
reason_and_overpowered_judgment
(accessed: Nov. 19, 2010)

I'm most familiar with the gut-wrenching, "violent motion" Socrates defines here as the transmutative movement of desire into so-called "Love," through my studies of the French neoclassical tragedian, Jean Racine, and of his exemplar piece of tragic theater: Phèdre (1677), a masterfully theatrical dramatization of similar dialogues on love, the soul, madness, divine inspiration, and the proper forms of art and rhetoric as found in Plato's Phaedrus (c. 370 B.C.).

Plato's use of movement as the main descriptive motif in this passage by Socrates fully respected the corporeal theater traditions (e.g., dithyrambic & choral dancing, pantomime, masks, etc.) of Ancient Greek Theatre. In Racine's Phèdre, however, light (i.e., sunlight, fire, flames, etc.) and darkness (i.e., shadows, veils, blindness, etc.) are the main motifs used to represent the transmutative eclipsing of desire by so-called "Amour.”

Racine toys with our sense of sight and sound, as he explores impassioned sanguine sexual drive, the blood-lust of maternal instinct, and the bloodlines of familial obligation, all through depictions of a furiously tormented tragic heroine who inches closer and closer toward imminent death just when prospects of incest surface as faits accomplis.

The following exerts of poetry from Jean Racine’s neoclassical masterpiece, Phèdre, offer decent textual references to and representations of the aforementioned motifs.

HIPPOLYTE
Il veut avec leur sœur ensevelir leur nom,
Et que jusqu’au tombeau soumise à sa tutelle,
Jamais les feux d’hymen ne s’allument pour elle.
(I.i.ll. 114-116)

In the first citation, HIPPOLYTE — Phèdre’s son by marriage, her peer in youth, and the man with whom she is madly in love — describes how the sole reason that his father, Thésée — king of Athens — took Phèdre on as a matrimonial conquest was “to bury” (ensevelir) the family name of Phèdre’s dead father: Minos.

Hippolyte goes on to explain how his father’s ulterior intention was to be certain that Phèdre submits to “his reign” (sa tutelle) as husband and king “until her death” (jusqu’au tombeau). Agonizing over the infamously vile and incestuous love he shares with his new mother, Hippolyte laments, “Never will the hymen fires shine bright for [Phèdre]” (Jamais les feux d’hymen ne s’allument pour elle).

OENONE
Vous-même, rappelant votre force première,
Vous vouliez vous montrer et revoir la lumière.
Vous la voyez, madame, et prête à vous cacher,
Vous haïssez le jour que vous veniez chercher ?

PHÈDRE
[…] Soleil, je te viens voir pour la dernière fois.
(I.iii.ll. 13-16, 20)

The second passage is a citation of dialogue between OENONE — nurse-maid to the new queen of Athens — and PHÈDRE which illustrates with very direct language the metonymical allusion to “maternity and the act of childbirth” (votre force première), or in the case of Phèdre, the act of breaking the maternal cycle by not being reborn to light again.

Oenone’s passage, which refers at once to “being shown and seeing light” (vous montrer et revoir la lumière): the light of impassioned love, concludes with a frustrated condemnation against Phèdre: “You see it, madame, and ready to hide yourself, / You hate the day for which you had just searched.”

This closing couplet of Oenone’s response to Phèdre’s plight represents an accusation against the new Queen that she is merely like a newborn child who squeezes her eyes shut to brilliant illumination (i.e., passion, life, etc.) in hatred of the day (i.e., daylight, light, life, etc.) that she was in fact just seeking.

Phèdre then responds, after three lines of erroneously omitted text, “Sun, I’m coming to see you for the last time.” In a very pointed and purposed manner, Phèdre renounces the sun (i.e., daylight, light, life, etc.) and essentially commits herself to death (i.e., darkness, blindness, veiled sight, etc.), for fear that her own furiously vile and incestuous passion would only cause her immense suffering in life.

HIPPOLYTE
Ma honte ne peut plus soutenir votre vue;
Et je vais…

PHÈDRE
Ah ! Cruel, tu m’as trop entendue.
(II.v.ll. 92-93)

The citation above is the exchange of dialogue between HIPPLOYTE and PHÈDRE which introduces, incites, and informs that which is perhaps the most masterfully written monologue of dramatic poetry in all of neoclassical theater (Phèdre, II.v.ll. 93-134).

This extrapolated, shared couplet represents the single most evident use of the motifs of sight and sound by Racine in the entire text of Phèdre. Coincidentally, it is the sound of Phèdre’s bellowed beckoning, which triumphs perniciously over Hippolyte’s own failed attempt to conscientiously object to the sight of his new mother-beloved.

I argue that the line: “Ah! Cruel, you have heard too much of me,” would definitely have ensnared the minds, thoughts and attention of any arrogantly aloof and detached aristocratic orchestral audience to the stage play, if played right.

The neoclassical theatre of 17th Century France was envisioned not as a théâtre du tréteau, but rather it was meant to be played on interior proscenium stages whose architecture was adorned with a garishly ornate & sumptuous decor of gold, whose scenic play space was dimly lit by candled footlights, and whose elite socialite & aristocratic orchestral audience was best lit by the brilliant glow from flames of a giant chandelier.

During the reign of Le Roi Soleil (i.e., The Sun King): Louis XIV, much emphasis, attention, admiration and accolades were lavished upon Aristocrats, who pompously paraded as living embodiments of neoclassical perfection amongst stalls of the orchestra and the loges of playhouses, such as Le Théâtre du Vieux Colombier or La Comédie-Française, for example. Rightfully so then, this audience of Aristocrats was cast in the brightest light.

If full attention was not being paid by ear to the languidly illustrious sonorities of Racine's dramatic poetry, then certainly an audience's eyes would be dully enthralled by the dazzlingly resplendent luminosity which cast a sublime glow over themselves. Thus, the carnal theater of la haute culture would play out in seats and aisles of la salle, while dramatic actors bellowed forth beautifully crafted rhymed couplets of dodecosyllabic alexandrins as inaudible room tone, in the shadows of a dimly lit stage.

The theatrical stage à l'italienne of 17th Century France was in all points of fact far more well-equipped than the contemporaneous playhouses of England, German and Spain. In fact, evidence has well been recorded into the timeless tomes of architectural history for the Neoclassical Age that depicts the Parisian playhouses of that period as touting many working innovations of scenic machinery.

One of these innovations, borrowed from the theaters of the Italian Renaissance, would have been ambient lighting overhung above the platform stage and behind the proscenium arch. As for the four state-commissioned theaters of royal Paris, it would have been possible therefore not only to dim and intensify the luminosity of these candled lights; but, with sheaths of heavily wax-coated and flame-resistant, colored paper, stage mechanicals of the time would have been able to create subtle changes in the tonality and hues of radiant light and shadows on stage.

When all was said and done, the théâtre à l'italienne of 17th Century Neoclassical France would have (and did) serve as the perfect creative space in which Jean Racine, Pierre Corneille et Jean-Baptiste Poquelin, dit Molière, could compose sumptuous dramatic poetry perfectly attuned to the stage, scenic & script conventions of that time.

In fact, I would even venture to argue that the poetry of Racine's Phèdre, ripe with allusions to the dramatic interplay of sight & sound, light & darkness, and life & death as representing the transmutative eclipsing of desire by "Love," was written for the specific 17th Century neoclassical lieu théâtrale in which it debuted: a theatrical space dimly lit o'er its actors, but brilliantly beaming o'er its elite socialite, aristocratic audience.

Respectfully submitted,
Matt(e)o | QHereKidSF
Matthew D. Blanchard

San Francisco, CA USA

http://bit.ly/qherekidsf
[20101119T180043PST]

01 October 2010

dot429 | BUSINESSON&OFFLINE™

COMPANY OVERVIEW: 
dot429.com is an exclusive networking community for gay professional men and women to connect with other successful gay people both live and online. Online, dot429.com will create a community featuring member profiles, blogs written by industry leaders, a listing of exclusive networking events, mentoring, and other ways to connect.

One of the things that will make dot429 truly unique, however, is that the community will host live, signature events designed to connect people who will have professional goals in common. We will begin with a monthly networking brunch and a series of intimate dinners around the city targeted at specific interests and professions.

dot429 will be the premier way you meet other interesting gay and lesbian people who can help your career ... we'll put you in good company.


MISSION:
dot429 was created with a simple vision in mind – to create a way for gay mean and women to network in order to help each other with their careers and lives. dot429 wants to make being gay an advantage in the work place.


Copyright © 2010 The 429 Group, LLC | ALL RIGHTS RESERVED.
The 429 Group, LLC | 28 Twin Peaks, San Francisco, CA 94114
TEL. +1.415.564.0429 | FAX. +1.415.651.8747


MATTHEW D. BLANCHARD
Non-Profit

HIV/AIDS Advocacy Professional

http://dot429.com/member/matthewblanchard
http://www.visualcv.com/matthewblanchard
http://www.linkedin.com/in/matthewblanchard
http://qherekidsf.blogspot.com/
http://facebook.com/mblanchard79
http://twitter.com/QHereKidSF
http://bit.ly/qherekidsf




ABOUT ME
QHereKidSF @1/3Life TRY!UMPH!!
I am Man masked madly in mind's eye misgivings... The ubiquity of my ugliness is uncannily ulterior to my beauty beguiled, BeGODS!! Follow me for flagrantly unfettered, frenetic Fog City faggotry: garrulously salacious, in-your-face sycophantism & sophistry...

You'll see!! WINK! — Naw, For REAL! Bet you can't risk (re)telling my untamed, unshamed story of those torturously tragic trials & tribulations that have tentatively turned my thin skin tough again, without tending toward some semblance of sycophantic sophistry...

My serendipitously well-timed Saturn Return @1/3Life TRY!UMPH!! might very well have scratched, scuffed & scarred sanguine scarlet rosy red my reconstructed cheeks, chin & smile for a while, after my 1/4Life CRISIS! came crashing to a cataclysmic end; yet now today, ne'er more may I say I choose to languish & lament over my last-ditch, last-chance, listless, leftover life...

As QHereKidSF @1/3Life, I TRY! "UMPH!!" to truimph, even if success means switch-hitting and missing a swing... Even if victory means voicing my voracious fear of forever falling a few flimsy feet forward as nothing but a ne'er-do-well "fagged-out fräulein funambule freak show" who is vanquished as in a damned near doomsday downfall by disease & disfigurement...

Rather, I'd like to step sure-footed onto a shaky steel iron string to prance and dance in delighted acrobatics...
There, where many miles high above the sky my mindflux, my mayhem, and my mutant monstrosity matter no more...

There, where I am able to impart my many myriad life lessons learned onto those often ill-begotten & forgotten fag-friendly few who too are left to lead ill-fated, infandous & unjust lives of illness, injury, disease, and (damned if it be so!!) disfigurement, LIKE ME = Matt(e)o | QHereKidSF (a.k.a. Matthew D. Blanchard)!!


EXPERTISE
SKILLS/PROFICIENCIES PROFILE:
•  Extensive firsthand involvement with San Francisco NPO Sectors.
•  Knowledge/experience advocating for disadvantaged peoples.
•  Genuinely exceptional desire to affect positive change in World.
•  Highly skilled in coordination of HIV/AIDS Advocacy Programs.
•  Intimate participation in development of HIV Prevention Policies.
•  Trained in Safer Sex Advocacy & HIV Test Counseling Services.
•  Highly advanced/accessible written & oral communication skills.
•  Proven ability to envision, grasp & realize complex plans & ideas.
•  Exceptionally creative in design & development of programming.
•  Near-native fluency in French written & oral communication.


EMPLOYMENT/EXPERIENCE SUMMARY:

Extensive professional experience & training in the following:
1.) FUND-RAISING & DEVELOPMENT 2.) COMMUNICATIONS
3.) PROGRAM MANAGEMENT 4.) STRATEGIC PLANNING
5.) POLICY MAKING & ANALYSIS 6.) GRAPHIC & WEB DESIGN
7.) WEB 2.0 SOCIAL MEDIA MARKETING & NETWORKING
8.) PERFORMANCE PRODUCTION DESIGN & DIRECTION
For Health Services Consumer Advocacy, International Development,
Government Affairs, and Performing Arts Nonprofit Sectors.


View/Download Resume [dot429.com]

ECONOMY CRISIS = ROLLERCOASTER RISING

A Response to Questions on Unemployment


Is it naive of me to think that I may be able to stick out the economic crisis for a while longer and make good of my meek & miserable financial situation by investing every last minute of my free time as an unemployed NPO Management & Development Strategist into volunteerism??

If I can't get paid to cultivate & enhance my professional skills & talents in the for-profit workforce, then why not sign on to volunteer or intern as an upper level technical or professional specialties adviser for a social benefiting charitable organization at the local, state or national level.

Nonprofits of all shapes & sizes are presently faced with ever greater challenges, when valiantly striving to sustain & enrich their programming, in order to fulfill their constantly evolving but always ubiquitously salient mission(s), even when financial support from individual, corporate or government donors in the for-profit sector is painfully slow in coming.

It is in the rank & file lineup of unpaid volunteers & interns for such organizations where my advanced education & skill sets will not only be immensely valued but further developed, and of course, put to good use!

That is why I participate as a volunteer member of the Board of Directors for two NPOs with distinctly different (yet each vitally important!) purpose, goals & missions: one serving the Public Health & Human Services sector of the San Francisco Bay Area, and the other, an International Development nonprofit based in the MetroDC Area that serves the capacity-building needs of the Government of Sierra Leone.

That is also why I participate as a distinguished Artist in Residence with a local, San Francisco Bay Area experimental performance group comprised of disabled LGBTQQI & gender variant artists, as well as disabled people of color. Furthermore, it is why I remain poised to sign on as a volunteer Development Associate for the same disabled persons' performance group, if ever they should need me, and also why I continue to educate & train myself in NPO Management & Development strategies through low-to-no cost skills building workshops & seminars offered by ... yup, you guessed it!! ... Employment Development NPOs.

On a more personal (and eventually, a more allegorical) note, I'd like to explain a little of my back-story & perspective on the economic crisis. While the initial circumstances of my long-term unemployment are quite out of the ordinary, my disabling illness & injury over the past 3-9YRS have earned me access to public health & social welfare benefits that have sustained my illuxurious lifestyle below the national economic poverty line.

However, out of necessity or sheer force of will perhaps, I have learned to benefit considerably from and maximize upon the immense freedom than comes with considering my financial instability as status quo. I've learned to recognize, with my eyes, heart & mind aimed toward optimism, that downward trends in the economy (or in any sector of our society, for that matter!) could never be eternally perpetuated, constant nor unrelenting.

I have breached the threshold of death in the last 10 years more often than I care to acknowledge; although, no matter how degraded & destitute, downtrodden, diseased & depressed I have found myself during the short unsettling span of a mere decade, as most people do -- in fact, as most socio-economic systems do! -- I have rebounded time & time again.

life is a rollercoaster

 Life is a rollercoaster by taranoel, on Flickr®
Copyright © 2010 taranoel | ALL RIGHTS RESERVED.

It is the hills, not the valleys to which I look forward, hopefully. However, I try to remain realistic when the rusty-wheeled wagon of this rollercoaster we call life reaches its low points, remembering that it is our descent downward into those valleys which is most torturously jarring and hypersonic speedily fast. Furthermore, it is our ascent back up to the highest peek of our most goodly fortune that is stupendously suspenseful & slow.

Often, our wagon wheels must lock into a motorized track for assistance getting up these hills. But, eventually, we make it! The closer we are to approaching the sun-crested hilltops and the longer our wagon ride stays suspended in motion at the mountains peak, the happier, more satisfied & content we seem to be. That's the thrill of the ride! Those are the rules of motion!

The rollercoaster of life, just like the wildly raucous & rambunctious swirly whirling sudden dips & dives of our global (yes, GLOBAL!!) economy, is meant to climb very slowly out of stupendously speedy descents. All we can do is pray that the wagon wheels, which pummel life quickly forward toward adventure at every turn, do in fact stay on track, so that we don't suffer a cataclysmic crash!

Hell, then there would be severed limbs, blood, guts & brains strewn or splattered everywhere! Although, even if we ever did succumb to such a terrifying scenario, the lucky few (or many more than meets the eye!) survivors would simply pay homage to the victims, discard their remains, repair & resolve any functional weaknesses of the wagon & its wheels through implementation of carefully charted & planned design innovations, and begin the ride again right from where we were thrown off. That's the thrill of the ride! Those are the rules of motion! This is the adventure we call life, as we (are not necessarily permitted to) chose it!

Is this terribly trite & adolescent literary device of mine making much sense to you all? I guess, what I really want to know is, after reading my written response to unemployment & economic crisis, whether or not your hope & optimism has been rekindled or restored?? Curious to gauge my impact...

Sincere Regards,

Matt(e)o | QHereKidSF
Matthew D. Blanchard
San Francisco, CA USA
http://bit.ly/qherekidsf
[20101001T023713PST]

10 August 2010

Star-Spangled KITSCH, by C. BROWN (1975)

"Camp mocks bad taste..." | Dictionary.com
In short, camp mocks bad taste; kitsch exploits it. Camp arouses our sense of the ridiculous, and we respond with amused tolerance. When we see Bette Davis or Ruth Gordon, fine if sometimes flamboyant performers relax their self-discipline and over-extend their acting technique in a superfluity of ineffective gestures �— finger-twitching and hip-switching, hand-rubbing or hip-protruding — we label the sum total as camp. Mae West, whose nasally provocative delivery, eye-rolling, lip-pursing, and pelvic tics parody the conventional invitation to dalliance, is never out of control and is camp, pure and simple.... Camp was also the stock-in-trade of Carmen Miranda, whose retina-searing Technicolor® get-ups, skyscraper headdresses bearing a season's fruit harvest, clomping platform shoes and garbled English projected in a voice that could be heard on Mars, all came together beautifully in her campy personification of Exaggeration. Had we been blessed with the Brazilian Bombshell's own blazing interpretation of Joan of Arc, the grotesque, if fascinating, result would surely have been kitsch.

CURTIS F. BROWN, "Is It Kitsch or Is It Camp?"
Star-Spangled Kitsch (Universe Books, 1975)

STAR-SPANGLED KITSCH
[Universe Books, 1975]
In his essay entitled, "Is It Kitsch or Is It Camp?" from his collection of short works entitled Star-Spangled Kitsch (Universe Books, 1975), Curtis F. Brown eruditely elucidates the defining distinction(s) between that which is "KITSCH" and that which is "CAMP," all in one cohesively concise construct of written communication, saying, "In short, camp mocks bad taste; kitsch exploits it."

Brown buttresses his thesis with reinforcing remarks and observations about four infamously celebrated female film performers of the early B&W turned Technicolor® era of American cinema: Betty Davis, Ruth Gordon, Mae West and Carmen Miranda.


The "kitsch/camp" theorist discusses in a mellifluously colorful and contemporary manner the conventions of that which is most distinctly "CAMP," pointing out that the flamboyant, quizzically quixotic & chimerical (Oh! Just call it straight up as it is: QUEER!) gesticulations and glaringly gaudy "get-ups" (i.e., accouterments, accessories, costumes, clothing, etc.) of these brazenly garish gals often served as parodic personifications and pasquinade of archetypal character traits, concepts, customs, behaviors or mores.


Mae West, for example, "whose nasally provocative delivery, eye-rolling, lip-pursing, and pelvic tics parody the conventional invitation to dalliance, is never out of control and is camp, pure and simple....," writes Brown, in his deliberately descriptive and constatively conclusive manner.


These parodist-performers personify not real or fictitious characters, personalities or people, but caricature in a conspicuously comedic fashion, with flagitiously flamboyant, frivolous fervor and right raucous, rambunctious repugnance, the conventions contrived of by our own seemingly sophisticated society, thus satirized it/us on stage and screen as "CAMP."


Were the performers actually in fact meant to interpret an historical personage, character or role writ from real life, the resultant (re)presentation would be ultimately defined as "KITSCH." Brown explains this distinct concept explicitly by referencing Carmen Miranda: "Had we been blessed with the Brazilian Bombshell's own blazing interpretation of Joan of Arc, the grotesque, if fascinating, result would surely have been kitsch."


Thus, then, and therefore, Brown describes two definitively dueling depictions of parodic satire "à la burlesque" and deems the two archetypal performance styles either distinctly "CAMP" or distinctly "KITSCH" (i.e., Brown's "kitsch/camp" thesis or theory).


I highly recommend to anyone interested in the study and/or performance of parodic satire "à la burlesque" by the infamously venerated female celebrity actors of the "Old Film" era or otherwise in the dichotomically "camp/kitsch" performances of contemporary female celebrity impersonators (i.e., drag queens!!) of the "Old School," at least to link to this abstracted quotation from Curtis F. Brown's definitive discourse on the dichotomic binary between all that is "CAMP" and all that is "KITSCH."


I myself find that this quotation intrigues the mind enough to motivate the reader immediately to seek out the source-text for further reading. I myself am going straight to the library today to check out
Star-Spangled Kitsch, by Curtis F. Brown, so that I might completely immerse myself in the study of this profoundly erudite performance discourse; thus, then, and therefore, to inaugurate finally my fanatically fervid, right reasonably well-directed and derived research into the art of drag performance and of female impersonators as entertainers, both historically and contemporaneously, or could be possibly even maybe more.... We'll see!!

Thanks Dictionary.com for having serendipitously set my path of discovery in the direction of this dichotomic "kitsch/camp" discourse, so that I might delve deliberately even deeper into the subject matter as it relates to the art(s) of DRAG!! I never knew nor thought that this so easily navigable virtual reference library would spur on my determined effort to educate myself so thoroughly, dutifully and delightfully, all at once...


"In short, camp mocks bad taste; kitsch exploits..." Columbia World of Quotations, Columbia University Press, 1996. 10 Aug. 2010. Dictionary.com http://quotes.dictionary.com/In_short_camp_mocks_bad_taste_kitsch_exploits.
 

Respectfully submitted,
Matt(e)o | QHereKidSF
Matthew D. Blanchard

San Francisco, CA USA
[20100810T094249PST]  

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