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Canadian Olympic swimmer comes out in online essay

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Olympian Markus Thormeyer says “It’s OK to be gay” (Image via Instagram)

An Olympic athlete has come out as gay in an emotional online essay.

Canadian swimmer Markus Thormeyer, who competed in the 4 x 100 freestyle relay team in the 2016 Olympics, posted his coming out story on the website OutSports Wednesday, beginning his narrative by revealing that “the secret I was keeping” was “holding me back” when he began training with his team in Vancouver in 2015.

“Creating these intimate bonds with my teammates was amazing, but it also made me feel guilty at the same time.” the 22-year-old athlete writes. “They were exposing their most raw essence in the pool every day, but I would come to the pool emotionally guarded and not do the same. Following every interaction with my teammates, I would feel a bit sad because they weren’t getting to know the real me, just some surface-level shell I fabricated.”

He goes on to explain, “I wanted to keep it a secret that I was gay for multiple reasons. I was scared they wouldn’t accept me. I did not want to create drama in the training group, I didn’t know how they would react. I was scared of negative responses.”

He also says that he feared his sexuality would “compromise” the team’s chances of making the Olympics. “I didn’t want to take that chance, so I kept my walls up and generally avoided talks about sexuality and dating,” he says.

At first, the swimmer says, he “thought it would be easy” to hide his secret, but “the following months in the closet” were much more difficult than he imagined, and got “progressively harder every day.”

“Some days I dreaded going to the pool in fear that my sexuality would be exposed,” Thormeyer writes. “I’d show up late and leave early to social gatherings and workouts. Some days it would even spiral and I would question why I was swimming and be scared of my own goals.

“Having to deal with that was awful. Every day felt like a threat and not an opportunity.”

In the end, the pressure of keeping his secret led to an emotional breakdown.

“I felt helpless on my bedroom floor, but I also knew that I couldn’t keep living like this,” he reveals. “At this point I knew that I would either burn out and or take control of my destiny. I decided to take control (…) and come out to my teammates. I always wanted them to know I was gay, but now I was ready for them to know.”

Because he is “not a dramatic person,” he says, the swimmer decided to slip the revelation casually into a conversation that came up with his teammates about relationships.

“I casually said that I had never been on a date with a guy before and I was kind of scared of it. That I’d probably be a nervous wreck and ruin it.

“Then, without a sliver of judgment or skipping a beat, my friends told me that I’d probably be fine on a date as long as I just had a good time and just was comfortable being myself.”

The instant acceptance and support changed everything for the Olympic then-hopeful.

“Knowing that I had such amazing teammates supporting me so strongly regardless of my sexual orientation was one of the best feelings in the world,” he says. “There was no drama and it was exactly what I wanted.”

“Feeling safe in my training environment and having no distractions allowed me to push myself to new limits in the pool,” he goes on to add. “My training got better, I got stronger and my technique got sharper. Not only that, but I also broke down some walls between me and my teammates and our relationships flourished. Training with them fostered relationships that will last a lifetime.”

After coming out to his fellow competitors, the swimmer and 6 of his teammates went on to qualify for the 2016 Summer Olympics. Thormeyer himself has enjoyed continued success, winning the gold in the 200-meter backstroke and bronze in the 100-meter backstroke in the FINA Champions Swim Series in China. He plans to join the Olympic trials this Spring in order to qualify for this year’s Summer Olympics in Tokyo Olympics.

He concludes his inspiring story by announcing his decision to join Team Canada’s OneTeam, an organization which promotes LGBTQ inclusion and respect in schools and sport throughout the country.

“I want to share my story and be able to spread the message that it’s OK to be gay. Life is much better when you fully embrace you for who you are.”

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Movies

New music documentary is ‘Velvet’ perfection

A piece of pure cinema that exemplifies its genre while transcending it

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The Velvet Underground (Photo courtesy of Apple TV)

When it comes to great music documentaries – the ones that stick with you after you watch and make you want to come back to them again and again – there is one ingredient that stands out as a common thread: immediacy.

From D.A. Pennebaker’s fly-on-the-wall chronicle of young Bob Dylan’s 1965 tour of the UK in “Don’t Look Back,” to Martin Scorcese’s joyful document of The Band’s final concert performance in “The Last Waltz,” to Jonathan Demme’s thrilling cinematic rendering of the Talking Heads in performance at the peak of their creative genius in “Stop Making Sense,” all of these now-revered films have endured – indeed, even grown – in popularity over the years because they captured the talent, the personality, and the power of their subjects on celluloid and preserved it for the ages, allowing generations of audiences, fans and soon-to-be-fans alike, to feel as if they were there.

But none, perhaps, have ever done it quite so viscerally as Todd Haynes’ “The Velvet Underground.” This is a remarkable feat when you consider that the films listed above, as well as most of the other highly regarded “rockumentaries” of the past, were all concert films, showing the performers at their center in the full bloom of their musical gifts, and Haynes’ film is not that. It’s something else, something singular, a piece of pure cinema that exemplifies its genre while transcending it entirely.

The basic outline of the band’s story is well known, now. Coalesced in the early ‘60s New York art scene around a pair of charismatic geniuses (John Cale and Lou Reed), the Velvet Underground was swept into the orbit and under the wing of Andy Warhol, who turned them into the house band at his famous “Factory,” added to their mix an exotic European chanteuse named Nico, and launched their record career by producing their first album – and designing an instantly iconic cover for it featuring a banana, to boot. They were, for a while, the darlings of the New York underground set, birthing a handful of additional albums across the latter years of the decade; but their sound, which was experimental, rough, and a far cry from the flower-power sound being embraced within the status quo of Middle American music fans, did not catch on. That, combined with the volatility of the relationships at its core, ensured an ignoble and unsung dissolution for the band; though its two front men went on to forge expansive solo careers on their own, the Velvets themselves remained a kind of blip, an ephemeral presence in the history of rock – and the history of New York – remembered by anyone who wasn’t actually on the scene as nothing more than a buzzy band they never actually heard with a catchy name and a familiar album cover.

As one of the voice-over interviewees in Haynes’ movie points out, however, the counterculture wasn’t actually the counterculture – it was the culture. The rest of the world just didn’t know it yet. Decades later the Velvet Underground is credited with, among other things, providing early inspiration for what would become the punk rock movement, to say nothing of influencing the aesthetic palate of (surely without exaggeration) thousands of musicians who would go on to make great music themselves – often sounding nothing like the Velvets, but somehow cut from the same raw, edgy, white-hot honest cloth, nonetheless. Yet in their moment, they were doomed before they had even begun to become a sideshow attraction, hurling performative realness in the face of a curious-but-disinterested glitterati crowd that was already embodying the superficial fakeness that would be so aptly monikered, both as an ethos and a watchword, as “Plastics” by Buck Henry and Mike Nichols in “The Graduate” barely a year after their first album was pressed.

Frankly, it’s the kind of story that makes for a perfect rock ‘n roll legend, and the kind of legend that deserves to be explored in a film that befits its almost mythic, archetypal underpinnings. There’s nobody more qualified to deliver that film than Todd Haynes.

Haynes, of course, is a pioneer of the ‘90s “New Queer Cinema,” whose body of work has maintained a consistent yet multi-faceted focus on key themes that include outsider-ism, dysfunctional socialization, and the fluid nature of sexuality and gender. Each and any of these interests would be enough to make him a perfect fit as the person to tell the story of the Velvet Underground, but what gives him the ability to make it a masterpiece is his ongoing fascination with music and nostalgia. Beginning with his controversial debut short “Superstar: The Karen Carpenter Story,” the musical landscape of his formative years has been inseparable from his milieu, and films such as his glam-rock fantasia “Velvet Goldmine” or his post-modernist Dylan biopic “I’m Not There” have dotted his career like cornerstones. Likewise, his painstaking recreation of the past in period pieces like “Far From Heaven,” “Carol,” or “Wonderstruck” has proven his ability not just to capture the look and feel of a bygone era, but to transport audiences right back into it.

In “The Velvet Underground,” it’s more like he transports the era to the audience. His comprehensive chronicle is not just the story of the band or its members, but the story of the time and place that allowed them to exist, in which a generation waking up from the toxic artificiality of their parents’ “American Dream” took creative control of the future through an unprecedented explosion of art and culture. Art was a by-any-means-necessary endeavor that now demanded a fluency across various forms of media, and a blending together of any and every thing that worked to get the message across. And yes, sometimes the media itself was the message, but even within that depressingly superficial reality was room for an infinite layering of style and substance that could take your breath away.

That description of the era in which the Velvet Underground thrived, in which Andy Warhol turned the shallow into the profound (whether he knew it or not), in which music and film and photography and poetry and painting and every other form of expression blended together in a heady and world-changing whirlwind, is also the perfect description of Haynes’ film. Yes, there are famous veterans of the age sharing their memories and their insights, yes there is copious archival footage (including the godsend of Warhol’s filmed portraits of the legendary faces in his orbit), yes we get to hear about Lou Reed’s struggle with his sexual identity – and it’s refreshing that Haynes makes no effort to categorize or finalize that aspect of the rock legend’s persona, but merely lets it be a fact. But even though “The Velvet Underground” checks off all the boxes to be a documentary, it’s something much more. Thanks to Haynes’ seamless blend of visuals, words, history, and – always and above all – music, it’s a total sensory experience, which deserves to be seen in a theater whether you subscribe to Apple TV or not. It puts you right in the middle of a world that still casts a huge shadow on our culture today.

And it’s unforgettable.

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Photos

PHOTOS: Best Of LGBTQ DC party

Blade’s 20th annual awards celebrated at Hook Hall

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Cake performs at the Best of LGBTQ D.C. Awards Party on Oct. 21. (Washington Blade photo by Michael Key)

The Washington Blade presented the 20th annual Best of LGBTQ D.C. Awards at a party at Hook Hall on Thursday, Oct. 21. To view this year’s winners, click here.

(Washington Blade photos by Michael Key)

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Arts & Entertainment

First Trans Amazon introduced by DC Comics In ‘Wonder Woman’

DC Comics-Warner Brothers became more LGBTQ+ inclusive with the introduction of the character of Bia, a Black trans woman

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Courtesy of DC Comics-Warner Brothers

BURBANK – The world of DC Comics-Warner Brothers became more LGBTQ+ inclusive this weekend as the venerable comic book franchise of Wonder Woman expanded with the introduction of the character of Bia, a Black trans woman, in the first issue of the series Nubia & The Amazons.

Earlier this month on National Coming Out Day, the canon of the Superman series changed for the life of Jon Kent, the Superman of Earth and son of Clark Kent and Lois Lane, taking a bold new direction. After initially striking up a friendship with reporter Jay Nakamura, he and Jon become romantically involved, making Kent an Out bisexual character.

In this latest offering, Stephanie Williams and Vita Ayala, writers and creators confirmed that Bia is a Black Trans woman. They stressed that she “isn’t a box to tick … [she] is important to her community. Just as Black trans women are important to us in real life.” 

Of special significance to the introduction of the character in the DC Comic worlds was the endorsement of actress Lynda Carter who played the title role of Wonder Woman on television based on the comic book superheroine, which aired on ABC and later on CBS from 1975 to 1979. Earlier in the week Carter tweeted her support of Trans women;

Writing for the DC Comics-Warner Brothers website blog, co-creator Stephanie Williams said;

It’s been a dream to work with the likes of Vita Ayala, a non-binary Afro-Latinx comic writer who has been making quite a name for themselves. And then there is the illustrious and widely talented and dedicated Afro-Latina artist Alitha Martinez who is already in the comic hall of fame for all-time greats. Her passion for Nubia is unmatched. It shows in every cover and panel from Nubia’s Future State story written by L.L. McKinney, her Infinite Frontier #0 story written by Becky Cloonan and Michael Conrad, and now the Nubia and the Amazons miniseries written by myself and Vita Ayala.”

Courtesy of DC Comics-Warner Brothers

I’m so excited about the history we’re creating, adding to, and remixing. The foundation has always been there, but needed some TLC. As Nubia embarks on this new journey as Queen of Themyscira, I hope her rebirth will be met with open arms and the desire to keep her always at the forefront. Nubia, now being queen, is poetic in so many ways, but one that stays on my mind is the very personal connection I feel. As I help to add to her legacy, she’s opened the door wider to my own,” Williams said adding:

Long may Queen Nubia reign, forever and always.”

Nubia and the Amazons #1 by Stephanie Williams, Vita Ayala and Alitha Martinez is now available in print and as a digital comic book.

Along with co-writing Nubia and the Amazons, Stephanie Williams writes about comics, TV and movies for DCComics.com. Check out more of her work on Den of Geek, What To Watch, Nerdist and SYFY Wire and be sure to follow her on both Twitter and Instagram at @steph_I_will.

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