Anrson Cooper: ‘The fact is, I’m gay’

Contents:

• CHRISTIAN COOPER IS GAY: WHO IS CHRISTIAN COOPER HBAND?
• INTRODUCG COOPER GAY
• MARGARET COOPER GAY
• SAVG ALEX: WHEN I WAS FIFTEEN I TOLD MY MORMON PARENTS I WAS GAY, AND THAT'S WHEN MY NIGHTMARE BEGAN KDLE EDN
• RETURN TO THE GAY UNRGROUND
• ANRSON COOPER: 'THE FACT IS, I'M GAY'
• ANRSON COOPER: ‘THE FACT IS, I’M GAY’

CHRISTIAN COOPER IS GAY: WHO IS CHRISTIAN COOPER HBAND?

(Image cred: Peack)Cooper’s Outg Was A Much Bigger DealIn the Peack versn of One of Us Is Lyg, Cooper’s brother and girliend, Keely, already knew he was gay. And, while Cooper’s dad didn’t react well to his son’s g out the seri, he was much more homophobic the manner which Cooper’s About That post got changed was also worse the book. In the book, was Jake who changed the post, but only bee he was ashamed that his bt iend was gay.

INTRODUCG COOPER GAY

Cooper is kd, pure, and well-tentned, but sperate to keep the tth about himself—the fact that he is gay and a closeted relatnship wh a male unrwear mol—unr wraps for as long as possible orr to ntue imprsg his nservative fay and the baseball suts who are poundg down his door to offer him scholarships. Cooper isn’t g steroids; his real secret is that he is gay and cheatg on his girliend wh a llege-aged male mol.

After the tth is revealed that Cooper is gay, his father is angry, feelg that Cooper has sabotaged everythg that they have worked for, cludg llege scholarships.

Moreover, he has also created Queer Natn: The Onle Gay Comic and is ntuoly workg as a gay activist.

MARGARET COOPER GAY

GLAAd is a nonprof anizatn that mostly iat ralli agast anti-gay vlence and participat to rrect misleadg rmatn about LGBT liv. His book is more like the chapters of Cooper’s life, his stggle of beg a black birdwatcher, closeted gay boy, and a queer Marvel ic book nerd.

SAVG ALEX: WHEN I WAS FIFTEEN I TOLD MY MORMON PARENTS I WAS GAY, AND THAT'S WHEN MY NIGHTMARE BEGAN KDLE EDN

“The time has e when we n serly and whout sensatnalism asss the gay and lbian experience of stud-era Hollywood, ” wrote William J. Mann “Wisecracker, ” a bgraphy that explored the very public “private life” of gay silent-era-leadg-man-turned-terr-rator-to the-lg-class, William Ha. Takg his cue om Neal Gabler’s “An Empire of Their Own: How the Jews Invented Hollywood, ” Mann’s new book about gay Hollywood, “Behd the Screen, ” enavors to expla how gays and lbians shaped the those rears ls than faiar wh the stud era’s rise and fall--or gay polics and social history, for that matter--are relatively well aware of the fact that the same-sex-oriented played a major role .

The stickg pot is precisely how that role was played, given the paradox of the culture’s stated disapproval of gays and lbians, and the haven that plac like Hollywood provid for sexual nonnformists. Although the film dtry’s gays and lbians had eedom, they did not--until the 1990s--have any real gree of make or break power.

Mayer’s mom-and-apple-pie paeans to the fictnal ultra-WASP Hardy fay, and that “mory wh-and-whout” of gays who, while never igng to raise their voic, slipped one past the goalie, as the sayg go, om time to time--as, for example, Jack Cole’s eye-poppgly homoerotic “Is There Anyone Here for Love? ” Ever sce homosexualy was vented as a behavral tegory by Karoly Maria Benkert, a Hungarian physician, 1869 and adopted by the medil profsn as a quasi-disease (mental illns or “geic fect, ” take your pick) the 20th, a prolonged stggle ensued to get this “elephant the bedroom” (and everywhere else the “hoe” for that matter) regnized as a simple fact of this stggle has by no means end, the last four s have seen the “unspeakable” spoken wh creasg regulary, if not honty, tobgraphi such as Arthur Lrents’ “Origal Story By” and David Graham’s “Castg About. ” And jt last year, same-sexualy figured major news stori about everythg om hate crime laws to gay marriage bat to the Boy Suts ntroversy, the Salvatn Army sndal and the onle sexual pecdillo of HIV-posive reactnary uber-pund Andrew Sullivan.

RETURN TO THE GAY UNRGROUND

Or--to put the entire subject on a more vulgar Natnal Enquirer level--the movi are the most acceptable route to divg who’s gay and who isn’ don’t play that game. More important, he’s well aware that “the closet is not an appropriate nstct” for scribg gay and lbian life at any level the stud era; Mann prefers the far more helpful terms “overt” and “circumspect” to scribe people and ntexts.

ANRSON COOPER: 'THE FACT IS, I'M GAY'

But, beg succsful, rpected and well-liked among his peers, Cor was able to navigate a “private life” the average gay or lbian of that era would em unparalleled s eedom.

And then there’s “I Remember Mama, ” Gee Stevens’ credibly movg tribute to “fay valu” produced by Louella Parsons’ lbian dghter, Harriet, and wrten by DeWt Boen--a brilliant gay screenwrer whose creds clu “Cat People. Mann tells much about the reers of set rators Henry Grace, Hopks (whose creds clu “A Streetr Named Dire”) and Howard Bristol (“Rope”) takg to acunt a gay-bashg cint the latter suffered. But the most genero portn of the book vers Hollywood’s top gay stume signers: Adrian, Travis Banton, Walter Plunkett and Orry-Kelly.

ANRSON COOPER: ‘THE FACT IS, I’M GAY’

Mann not that the cidly macho Kelly, who once kept pany wh the young (pre-Randolph Stt) Cary Grant, never of urse nnects to the perennial problem prented by gay “visibily.

Mann is most amg notg the “gay markers” of Clifton Webb, yet he’s as at a loss for words explag how and why he beme--at a very advanced age--a major “mastream” movie star.