Role models of greatness.

Here you will discover the back stories of kings, titans of industry, stellar athletes, giants of the entertainment field, scientists, politicians, artists and heroes – all of them gay or bisexual men. If their lives can serve as role models to young men who have been bullied or taught to think less of themselves for their sexual orientation, all the better. The sexual orientation of those featured here did not stand in the way of their achievements.

Tuesday, November 18, 2014

Dave Kopay



Former NFL player Dave Kopay


In a 2008 column that appeared in the University of Washington alumni newsletter, Jon Naito wrote a feature on Dave Kopay (b. 1942), a veteran National Football League player who had been an All-American running back at the University of Washington in the early 1960s. Kopay, who had relocated to Seattle after spending decades in the West Hollywood area of Los Angeles, had recently announced his intention to leave a $1 million endowment to the university’s Q Center, a resource and support center for gay, lesbian, bisexual and transgender students and faculty. The value of this bequest amounts to half of Kopay’s estate.

While a running back for the Washington Redskins (1969-70), Dave Kopay had a relationship with teammate Jerry Smith, a star tight end for the team. In 1975, three years after his career in football had ended, Kopay gave an interview to the Washington Star newspaper in which he declared his homosexuality. He is believed to have been the first professional athlete to do so. It was while playing for the Washington Redskins under legendary coach Vince Lombardi that Kopay and Smith had their affair. Subsequently, Kopay disclosed that many of their Redskins teammates knew about their relationship. In a January 1998 Kopay profile in GQ magazine, David Kamp wrote:

...You had to comport yourself a certain way as a gay man on the Washington Redskins. When I ask Kopay how well-known it was among the 'Skins that he and Smith were gay, he takes me over to the 1970 team portrait that hangs on his foyer wall. "Walter Rock—he knew. Vince Promuto—he knew. Len Hauss—he knew. Pat Richter knew; he's now the athletic director of the University of Wisconsin. I'm sure Brig Owens knew—he was Jerry's best friend on the team. Larry Brown knew. Ray Schoenke knew. They knew and had ways of making me know they knew. I was always being kidded about it by Walter Rock: 'Where are you and Jerry going tonight? Anyplace we can go?' "...

In 1977 he wrote his autobiography, “The David Kopay Story: An Extraordinary Self-Revelation,” currently in its 5th printing. To this day the book remains a perennial favorite with people coming to grips with their sexual identities.

Kopay told the cable sports network ESPN about his relationship with Jerry Smith, calling it his “first real coming-out experience.” Although Smith died of complications from AIDS in 1987 at age forty-three, Jerry never publicly acknowledged his homosexuality.


Above: Artful image of Kopay by noted gay photographer George Dureau*, who died of Alzheimer's disease earlier this year.


*See separate post on George Dureau in sidebar

At the Gay Games VII in Chicago (July 2006), Kopay was a featured announcer in the opening ceremonies. Currently active as a motivational speaker, Kopay still receives hundreds of letters from fans of his book who received understanding, support and inspiration from his life story.

Kopay had grown up in a strict Catholic family, serving as an altar boy. He was tormented with guilt over his sexual attraction toward men, which drove him to enroll at a junior seminary while in his teens, hoping to “cure” himself by becoming a priest. Instead, he found himself intensely attracted to his fellow seminarians. He transferred to a Catholic high school, where he became a football player. At the University of Washington, where his brother was also on the football team, Kopay became a star running back, culminating in a 9-season professional career in the NFL.

While a member of the Theta Chi fraternity at the University of Washington, Kopay had a clandestine relationship with a fraternity brother. The two slept together on the porch of the frat house, usually after dropping off their female “dates.” His fear and insecurities led to major bouts of depression, and it would take more than a decade for Kopay to begin to confront his big secret.

In the meantime, Kopay entered into a marriage that ended in divorce.  He took measures to mislead others about his sexual orientation, feigning interest in women. Because he wasn’t like the stereotypical gay man, he did not think of himself as a homosexual, and the conflicts and personal torment continued.


Finally, after coming out to a reporter for a Washington, DC, newspaper three years after his professional career ended, he wrote his landmark autobiography, The Dave Kopay Story, which subsequently led to many opportunities as a public speaker and gay rights activist. Unfortunately, it also ended his hopes for a career as a coach. Kopay feels that he was effectively blackballed from the sport of football.

After reconnecting with his alma mater, however, Kopay has been given the recognition and support he had long sought. During halftime of a Huskies' game, he was honored by being named a “Husky Legend.” The crowd roared as he crossed the field, and the moment resonated with him. He was finally one of them.

At the time he wrote the Kopay profile for the UW alumni newsletter, Jon Naito was a reporter for the Seattle Post-Intelligencer newspaper, where he worked on the city desk. The link to his alumni newsletter feature can be found here:

http://www.washington.edu/alumni/columns/dec08/kopay.html

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Friday, November 7, 2014

Edgars Rinkēvičs

41-year-old Edgars Rinkēvičs, the Foreign Minister of Latvia, publicly declared that he is gay in a tweet on Thursday, November 7, thus becoming the first openly homosexual cabinet member in the Baltics. He followed up a tweet in Latvian with an English-language version: "I proudly announce I am gay... Good luck all of you...” He went on to say, “Our country has to create a legal status for all kinds of partner relationships, and I will fight for this. I know that there will quickly be mega-hysteria, but #proudtobegay.”

This is a major political statement, because Latvia is one of just a few EU countries with a constitutional amendment (2005) that prohibits same sex marriage; some additional anti-gay legislation has already passed, with more in the works.

While Paris, Hamburg and Berlin have had gay mayors, and Belgium a gay Prime Minister, the former Eastern Bloc countries of the EU remain staunchly conservative, including their views on homosexuality. In Latvia there is open hostility toward gays, who are often attacked on the streets. Thus gays holding positions of influence there generally remain steadfastly closeted.

Latvia is set to assume the rotating presidency of the European Union on January 1, 2015, so this gives Mr. Rinkēvičs an ever higher profile platform for acceptance of homosexuals. He is one of Latvia’s most popular politicians and is a member of the ruling Unity political party. Latvia held elections in October, and Mr. Rinkēvičs’s post as Foreign Minister was just confirmed the day before his twitter reveal. He has served as Foreign Minister of Latvia since 2011.

Wednesday, November 5, 2014

George Dureau

King of the New Orleans Art Scene




New Orleans based painter, sculptor and photographer George Dureau (1930-2014) died earlier this year from complications of Alzheimer’s disease. His black and white photographs, charcoal sketches and arresting paintings captured the spirit of New Orleans at its highest and lowest levels. Many of his art works were strongly homoerotic in nature, and he favored nymphs and satyrs, as well as live male models who were dwarves and amputees. His art was placed all over New Orleans, in restaurants, bars, museums and outdoor public spaces.

Dureau was a larger than life character, often seen on his bicycle or black Jeep cruising through the old quarter. His unkempt long hair and beard, coupled with his booming bass voice spewing forth bawdy comments, led some to label him Mephistopheles. Dureau called himself a “neo-classical homosexual,” a reference to elements depicted in his paintings. He had a rare talent for being able to paint outsiders, often picked up off the streets, in a way that elicited no pity. There was always a dignity in the expression of his subjects.

George was a legend in his own time, and seemingly every citizen of New Orleans knew who he was. While it would have been to his professional advantage to relocate to NYC, he stayed put, reigning over his home town art scene. In fact, Dureau managed to forge a national and international reputation while staying home.

He had a vibrant personality and sharp wit, and he was a great entertainer. His buffet spreads looked like still life paintings, everything arranged just so. He youthful work as a window dresser was evident. Dureau’s apartment/studios were a riot of “arranged” clutter, a delight to the eye, which joyfully darted from one surprise and treasure to the other.

When recent medical costs led him to sell artworks and furnishings, his friends rallied and made sure the bills got paid. They were more than willing to give back to a local denizen who had brought such quirky interest and joy to their lives.



Thursday, October 23, 2014

Herbert List



















Gay German photographer Herbert List (1903-1975) was the son of a prosperous family that ran a coffee brokerage business. List received a classical education in literature at the University of Heidelberg but apprenticed at his family’s coffee company, which afforded him travel to Brazil, Guatemala and Costa Rica. He began taking photographs during these business trips, and his legacy became black and white homoerotic photographs of young men.

In his earliest photographs List shot portraits of friends and composed still lifes with a Rolleiflex camera, using male models, draped fabric, and masks – along with double-exposures. He had a fascination with Surrealism and Classicism. List explained that his photos were "composed visions where my arrangements try to capture the magical essence inhabiting and animating the world of appearances.”

In 1936 List left Germany to take up photography as a profession, finding work in Paris and London. He was hired by magazines to shoot fashion photography, but he soon returned to still life imagery, producing photographs in a style he called "fotografia metafisica", which pictured dream states and fantastic scenes, using mirrors and double-exposure techniques.



During the late 1930s he traveled in Greece, where he took photographs of ancient temples, ruins, sculptures, and landscapes that were published in books and magazines. However, in 1941, during World War II, he was forced to return to Germany, but because one of his grandparents was Jewish, he was not allowed to publish or work professionally. In 1944 he was drafted into the German military, despite being homosexual and of partly Jewish ancestry. During the war he served in Norway as a map designer. A trip to Paris allowed him to take portraits of Picasso, Jean Cocteau, Christian Berard, Georges Braque, Jean Arp, Joan Miró and other international celebrities.

While working as art editor of Heute (Today) magazine he joined Magnum, a cooperative of photographers founded by Henri Cartier-Bresson, among others. For whatever reason, List contributed only sparingly from 1951 until the mid 1960s.

For the next decade he concentrated his work in Italy, where he began using a 35 mm film camera and telephoto lenses. In 1960 he shot portraits of Marino Marini, Paul Bowles, W. H. Auden and Marlene Dietrich (shown). Soon thereafter he gave up photography to concentrate on drawings, recently displayed at Berlin’s gay museum (Schwules Museum, Mehringdamm 61). Although List died in Munich in the spring of 1975, his style lives on in the work of Herb Ritts and Bruce Weber, particularly.



Trivia: In 1988, Stephen Spender published The Temple, a roman à clef of his pre-war years in Germany; the novel includes a character named Joachim, who is based on Herbert List.











Tuesday, October 7, 2014

George Edward Kelly

If you are of a certain age, you know that Grace Kelly (1929-1982), who became the Princess of Monaco when not yet twenty-six years old, was a stage, television and film actress in her youth. She made her acting debut in The Torch-Bearers in 1949 at the Bucks County Playhouse in New Hope, PA. This popular satiric comedy was written in the early 1920s by her uncle, George Edward Kelly (1887-1974); the play takes pot shots at the egos and foibles of community theater. Apparently Princess Grace adored her uncle, and the two visited often – George accepting invitations to Monaco and Princess Grace visiting her uncle at his home in California. Many biographers relate that George was partly responsible for his niece’s becoming as actress.

Three years after writing The Torch Bearers, George Kelly won the Pulitzer Prize in 1926 for the play Craig’s Wife, subsequently made into three film versions. An earlier play, The Show Off (1924) had been nominated for the Pulitzer Prize.

Gregory Kelly (husband of Ruth Gordon) portrayed Joe Fisher, and Louise Brooks was Clara, the girl next door, in the 1926 silent film version of George Kelly’s famous play, The Show Off, nominated for the Pulitzer Prize. 








What few people knew at the time was that George was a gay man. He maintained a 55-year relationship with his lover William E. Weagley (sometimes spelled Weagly), who was often referred to as Kelly’s valet. That Kelly was gay was a closely guarded secret and went unacknowledged by his family – to the point of their not inviting Weagley to Kelly’s funeral in Pennsylvania. Weagley quietly slipped in and took a seat in the back at St. Bridget’s in order to attend the service. Worse, the Philadelphia Kellys, who seldom missed an opportunity to pass moral judgment on others, forced Weagley to eat in the kitchen with the servants when George and William were visiting, thus reinforcing their acknowledgment that William was regarded as nothing more than George’s employee, a valet. While it’s true that William often cooked, typed, and performed secretarial services for George, William was much more than a traveling companion and valet. The couple were loyal, devoted partners who were deeply in love.

When George and William hosted dinner parties at their home in Laguna Beach, California, the two men sat at opposite ends of the table as equal co-hosts and partners. Subsequently, many of the Kelly clan of righteous Irish Catholics refused invitations from George.

Caricature of playwright George Kelly (at right):

George and William met in 1919, when George maintained a suite at NYC’s Concord Hotel. At the time, George was a vaudevillian actor and skit writer, as was his brother Walter. The story goes that William was working as a bellhop at the hotel, and the two became lovers within a short time after meeting. George educated William in the rules of etiquette so that the two could appear in high society as social equals.




Kelly’s play Reflected Glory (1936) was also about theater people, and it was the vehicle for Tallulah Bankhead’s first major NYC role, that of a woman’s difficult choice between marriage and a career.

In a profile published at the peak of Kelly’s fame, it was revealed that George had some quirky habits:

At first he insisted on directing his own plays, and he enacted every role.

He went out very little and often stayed at home for days, because he hated publicity and celebrity.

His writing desk had to be maintained in perfect order. An out of place piece of paper bothered him.

He often worked at writing plays at the typewriter in marathon 18-hour stretches.

He loved to travel, but he hated trains, preferring boats.

He collected watches by the drawer full.

George was an expert at horseback riding, bridge, tennis and golf.

He seldom attended the theater, going out to a play about once a year. He never saw his own plays from the house – he watched them while standing in the wings.

He had a remarkable memory and knew every line of all his plays by heart. Once he jumped into the lead role of his play Behold the Bridegroom (1927) with only five minutes’ notice.


Monday, September 22, 2014

Samuel Steward: Renegade Professor...

...tattoo artist, writer, masochist & Thornton Wilder's lover

Steward (1909-1993) is the subject of a lurid and fascinating biography penned by art scholar Justin Spring: Secret Historian: The Life and Times of Samuel Steward, Professor, Tattoo Artist, and Sexual Renegade (published September, 2010). 478 pages. Print and kindle editions available.

The title is not the half of it. Steward was the polymath to end all polymaths. He was a poet who made a career in academia, teaching English at DePaul and Loyola Universities (Steward held a PhD in English), but used the name Phil Sparrow when he began a career as a tattoo artist (he used a pseudonym so as not to jeopardize his teaching position). Steward became addicted to the use of pseudonyms. As the author of gay S&M pulp fiction over a period of more than 30 years, he went by Phil Andros (among many others), providing eager readers with astonishingly literate porn. When the Hells Angels in Oakland, CA, used him as their official tattoo artist, they called him Doc Sparrow. Readers of his articles in underground newspapers and magazines knew him as Ward Stames (an anagram of Sam Steward). And most of these circles of friends were completely ignorant of each other. Suffice it to say that the Hells Angels were unaware that their resident tattoo artist had once been Thornton Wilder's lover.

To a close circle of prominent artistic friends like Paul Cadmus, Gertrude Stein, Alice B. Toklas, Christopher Isherwood, photographer George Platt Lynes and the like, he was known as Sammy. Thornton Wilder drafted the third act of Our Town during a brief affair with Steward in Zurich, Switzerland, upon their first meeting. Steward had a fling with avant-garde writer James Purdy when Purdy was still in his teens. In the early 1950s Steward made pornographic drawings, many of them based on his own Polaroid photographs, and some of his work was published in the trilingual Swiss homosexual journal Der Kreis (The Circle). Oh -- forgot to mention that he played a mean piano.

What a life this man led. As a teenager he seduced Rudolph Valentino (and kept some of the silent film actor’s pubic hair as a memento*), made love to a much older Lord Alfred Douglas (providing an amorous link to his hero Oscar Wilde), bedded Andre Gide’s Arab lover (with Gide’s full consent), and put the moves on Rock Hudson in a department store elevator. Steward kept a card file of every single sexual dalliance, complete with statistics and descriptions of acts performed. Steward was a protegé of Albert Kinsey, who flew in a partner to engage Steward in S&M sexual activity so that Kinsey could film it (assisted by Kinsey's wife!). In his spare time Steward reveled in abusing alcohol and drugs. By the age of 26, while he was a professor at Loyola, Steward was drinking more than a quart of alcohol a day, all the while never missing a class or appointment.

Spring’s book jumps to no conclusions and is assiduously non-judgmental. He simply relates what he discovered among the 80 boxes full of drawings, letters, photographs, sexual paraphernalia, manuscripts and other items made accessible to him by the executor of Steward’s estate. Included was that infamous green metal card catalog labeled “Stud File,” which contained meticulously documented index cards on every sexual partner that Steward had enjoyed over a 50 year period.

It is possible to purchase new and used erotic paperback copies of Steward's pulp porn from amazon.com (search "Phil Andros"), but the prices are staggering: $30-$60-$90 and up for a used paperback, in the hundreds of dollars for new, uncirculated  copies. The Advocate magazine called the Phil Andros erotic novels "the Rolls-Royce" of gay porn. When Justin Spring (author of this biography) passed along several of them to a Pulitzer Prize-winning playwright, she stated that it was the "happiest, most well-adjusted pornography" she had ever read. My personal reaction (I read one only for researching this post, I swear!) is that you might think that only if your taste runs toward rough sex (and mine does). Enjoy this biography, and try to get your hands on a Phil Andros paperback, many of them replete with covers illustrated by Tom of Finland (see photo at beginning of post).

In an interview by Owen Keehnen in the last year of Steward’s life, Keehan described Steward as "a charmingly smutty Auntie Mame, only instead of life's being a banquet, it was a gay orgy in a tattoo parlor." Steward told Keehan why he gave up teaching English: "I was teaching a freshman class, and I had a little trick of firing a lot of questions at the class to find out what their background was. One of the questions was 'Who is Homer?' It was a mixed class of forty, and not one of them had ever heard of Homer. Can you imagine? Then I asked how many knew how to change a sparkplug, and about thirty hands went up. So that day I decided that maybe it was time for me to think about leaving higher education. I wanted to get as far away as I could. That was tattooing. The mysterious and dark side of tattooing attracted me as well."

*This incident is worthy of its own post. Rudolph Valentino, the silent film heartthrob of countless women, had been called a "pink powder puff" in the Chicago Tribune, a reference to his effeminate mannerisms. Valentino headed to Chicago by train to challenge the reporter to a duel (the writer never showed up) and was then on his way back to California when he stopped for an overnight at a hotel in Columbus, Ohio (July 24, 1926). Valentino was registered incognito, under his real name. Steward, who was living at his aunt's boarding house in Columbus, was an avid collector of autographs, and he got tipped off by a friend who worked at the hotel. Steward, who had celebrated his 17th birthday the day before, knocked on Valentino's door and got his autograph. Their collective gaydar must have been working overtime, because Valentino asked Steward, "Is there anything else you want?" Steward replied, "Yes. You!" Valentino obliged, and Steward kept a scrap of Valentino's pubic hair in a monstrance(!) by his bed for the rest of his life. Steward had not yet converted to Catholicism (1936; he left the church 18 months later, when he came to realize that no one with honesty could be both a Catholic and a homosexual); he was raised Methodist, and his father had taught Sunday School in a Methodist Church for 20 years. Tragically, within a month Valentino died of a ruptured appendix at age thirty-one. Steward's first published book, Pan and the Fire-Bird (1930), a collection of poems and short stories, contained Steward's tribute to Valentino, a poem titled "Libation to a Dead God."

Friday, September 12, 2014

Hartford Gunn, Public Radio & Television Pioneer

Hartford Gunn was the founding president of the Public Broadcasting Service (PBS), but he was most proud of his success in putting into place the system that connected the PBS network by domestic satellite.

A pioneer in educational television, Gunn (1927-1986) was responsible for getting WGBH radio on the air in Boston in 1951, followed by WGBH-TV in 1955. The station flourished during the 1960s, and Gunn was chosen to head the new Public Broadcasting Service in 1970. Gunn had come to WGBH fresh out of Harvard Business School, at the age of 25, following military service. It was his first civilian full-time job.

Gunn (photo at right) as a new hire at WGBH Boston.

In the dozen years he led the Boston station, Gunn moved it into the front ranks of public broadcasting, positioning it to be one of the nation’s top two public stations. In the course of those years, Gunn created the first interconnected regional network (Eastern Educational Television Network, 1960) while working to assist communities in activating their public broadcasting licenses. He goaded National Educational Television (1954-1970) into adopting higher technical standards, including a major shift into color television.

While at PBS he led the planning for the satellite distribution system that is in place today. While others concentrated on programming, Gunn pushed for more sophisticated technical expertise to bring public television into the living rooms of every American.

Gunn  laboriously testified before state legislatures and the U.S. congress to get a public television network off the ground. During his presidency of PBS, he survived some acrimonious confrontations with the Nixon administration. The hiring of Sander Vanocur and Robert MacNeil* as principal correspondents for NPACT (National Public Affairs Center for Television) greatly disturbed President Nixon, who saw it as "the last straw" and demanded that all funds for public television be cut immediately. It was Gunn and the folks at PBS who prevailed. Note: The influential “MacNeil/Lehrer Report” aired until MacNeil retired in 1995; it lives on as the PBS NewsHour, and MacNeil is still one of the primary producers.

Gunn was a true “techie” and a serious audiophile, indulging his lifelong interest in classical music. While serving as senior vice-president and general manager of KCET in Los Angeles, he kept a 42-ft. Westsail (the twin of a sail boat owned by his colleague Walter Cronkite) at Marina Del Ray, CA. It was my great fortune to spend extended time on this boat, listening to Gunn as he regaled me with stories of the early days of public broadcasting. Note: the sound system on that boat could have filled a movie palace! A lifelong bachelor, Hartford lived a quiet, discrete homosexual private life.

Gunn went on to serve as vice-president of program development for COMSAT, based in Washington, DC. During that time he moved to nearby Annapolis, MD, where he built a waterfront home with a dock for his sailboat. The equipment to supply the media for his home in Annapolis occupied an entire room, an extravagant indulgence in the early 1980s. At COMSAT, he was largely responsible for setting up the first national satellite-to-home television network in the United States.

Unfortunately, it was discovered that he suffered from a rare form of thyroid cancer, which was treated by radiation, chemotherapy and unsuccessful surgery. He died in Boston at the age of 59, on January 2, 1986. His legacy was carried on by the Hartford Gunn Institute, first based in Illinois, which assisted in developing fundamental plans for building the second generation of public telecommunications.
   
The 21" Classroom goes on the air at WGBH-TV:

From left – Hartford Gunn, Michael Ambrosino, Bill Kiernan (the Massachusetts Commissioner of Education), Gene Gray (everybody's favorite science teacher on TV), and Norman Harris (Science Director, Boston Museum of  Science). The 21-inch Classroom (the name referenced the measurement of a TV screen) first aired in 1958, with programs on the French language, music, literature, social studies and science.

*Robert MacNeil, who has a gay son, famously took part in a panel discussion of news anchors for the 1993 convention of the National Lesbian and Gay Journalists Association. MacNeil, who was once an aspiring actor and playwright, enjoys following the career of his son Ian (born 1960), a set designer who recently won a 2009 Tony Award for Best Scenic Design of a Musical for Billy Elliot: The Musical. In a 1994 episode of The MacNeil/Lehrer NewsHour, father and son openly discussed their relationship.

Sunday, August 31, 2014

Charles-Camille Saint-Saëns: 1835-1921

When his father died when he was only three months old, Charles-Camille Saint-Saëns was raised by his mother in Paris and continued to live with her until her death. He became one of the world’s most famous composers in his day, and he was a homosexual possessed of a complicated private life, which often revealed his dark side.

Saint-Saëns was a child prodigy (on the level of Mozart), and made his debut as a concert pianist in 1846, before his eleventh birthday. As an encore, Saint-Saëns offered to play any of Beethoven's 32 piano sonatas from memory. Word of this incredible experience spread across Europe and as far as the United States, where it was mentioned in an article in a Boston newspaper. Having all 32 of Beethoven’s sonatas in ones fingers, ready for concert performance, was an unheard-of feat (then as now), all the more astonishing when offered by a ten year old.

By the age of 13, Saint-Saëns was attending the Paris Conservatory. He soon gained recognition among his peers as an organ virtuoso, eventually attaining the highly coveted position of chief organist at the Madeleine Church in Paris, a post he held from 1858, at the age of 23, until he was 42 years old. His weekly organ improvisations captured the attention of all Paris. As a composer, he was highly versatile, writing operas, symphonies, concertos, much chamber music, masses and other choral works, songs and solo literature for organ and piano. His opera Samson et Dalila still ranks among the standard repertoire of opera houses all over the world. His music was wildly popular during his lifetime, and he was well-connected with other composers, particularly Hector Berlioz and Franz Liszt. Gabriel Fauré, who was Saint-Saëns's favorite pupil, soon became his closest friend.

His now popular Le Carnaval des animaux (The Carnival of the Animals, 1886), for two pianos and orchestra, was intended as a private entertainment for friends, and Saint-Saëns forbade its public performance during his lifetime. The part of the narrator, now frequently included during performance, was added by others after his death. It is a little-known fact that Saint-Saëns had the distinction of being the first noted composer to write a musical score for a motion picture, The Assassination of the Duke of Guise (L'assassinat du duc de Guise, 1908), featuring actors of the Comédie Française in Paris.

Once called a second Mozart, Saint-Saëns soon made many enemies, who were envious of his stellar success and disdainful of his biting sarcasm. Later in life he was declared to be a “composer of bad music well written.” In old age he came to be mocked for his rabid conservatism, his dislike of modern music, the campaigns he mounted against French composers Claude Debussy and Cesar Franck, his shocked disapproval of Stravinsky's Rite of Spring (allegedly infuriated over what he considered the misuse of the bassoon in the ballet's opening bars) and his insistence, during World War I, that all German music be suppressed. He was never shy with opinion.

Saint-Saëns was a true polymath. In addition to conquering the world of music as composer, conductor, critic, teacher and concert organist and pianist, he excelled in the fields of geology, archaeology, botany, mathematics and lepidoptery. He held discussions with Europe's finest scientists and wrote scholarly articles on acoustics, occult sciences, ancient theatre decoration, and early musical instruments.  Saint-Saëns wrote a philosophical work that spoke of science and art replacing religion, and his pessimistic and atheistic ideas foreshadowed Existentialism. Other literary achievements included poetry and a successful farcical play. He was also a member of the Astronomical Society of France, giving lectures on mirages; he had a telescope made to his own specifications and planned concerts to correspond to astronomical events, such as solar eclipses.

The private life of Camille Saint-Saëns was filled with turmoil. He was homosexual but realized how much marrying would bolster his reputation. Understandably, he showed little outward sign of wanting to marry. However in 1875, at the age of almost 40, he began an affair with nineteen year old Marie-Laure Truffot, which led to marriage. Immediately after their wedding, Saint-Saëns declared that he was too busy for a honeymoon and took Marie straight home to live with his mother. Thereafter the composer treated his wife with deep disdain, until the arrival of children brought out a more sympathetic side. But tragedy intervened when both children died within six weeks of each other in 1878. André, aged two, fell from a fourth floor window, and soon afterward his baby brother Jean became ill and died. Saint-Saëns blamed Marie for the children's deaths, and a short time later he walked out on her in the middle of a holiday trip. Though there was no divorce, Marie never saw him again.

Saint-Saëns was solitary and secretive, prone to disappearing for weeks at a time. He could also be a remarkable host, often entertaining friends lavishly at his Paris home, where his performances in drag were well-known among his circle, particularly his impersonation of Marguerite, the female soprano lead in Charles Gounod's opera Faust. He is reputed to have danced in ballerina tutus for the entertainment of fellow gay composer, Tchaikovsky.

After abandoning his wife, Saint-Saëns traveled extensively. He began spending winters in French-speaking Algeria, which became a favored holiday spot for European homosexuals who enjoyed the adolescent male companionship easily available there. He was quoted as saying, "I am not a homosexual, I am a pederast." Saint-Saëns died of pneumonia in Algiers, at the age of 86, on December 16, 1921.

Have a listen to his hugely popular orchestral work, Danse Macabre. I’m sure you’ll recognize it.
Trivia: Pianist Franz Liszt made an astonishing piano solo transcription of this piece.

Wednesday, August 27, 2014

Stephen Hough

Openly gay poet and pianist

Paderewski: Nocturne (encore at Carnegie Hall recital)



Openly gay classical pianist Stephen Hough was born in England in 1961, although he has held dual citizenship with Australia since 2005 (his father was born in Australia). Hough holds a particular interest in unusual works by pianist-composers of the late nineteenth century, of which this video clip is an example. He plays with wit, charm, sophistication, humor, lyricism and generous doses of style.

Hough also composes and arranges transcriptions for piano solo, and often features his own works in recitals. Of late he has branched out into chamber and choral music. As well, he is a noted writer and researcher, publishing essays and writing album liner notes. He is something of a renaissance man, fully indulging his interests in painting, photography and blogging.

Hough has recorded over fifty CDs, and in 2008 he won the sixth International Poetry Competition*. Hough has spoken, written and blogged about his homosexuality and its relationship to his music-making.

Instead of limiting what we know about him, as is the custom of most classical musicians, Hough is quite open about his weaknesses, about moments when he’s deeply questioned his career choice as a touring musician, about battling ego issues, fighting nerves, and overcoming moments when he says he fails to reach his own high standards. Hearing him talk so openly and honestly about his vulnerabilities opens many to his art. I am a pianist myself, and I regard Hough as one of the top pianists of our time.

*Excerpt from "Early Rose", a prize-winning poem by Stephen Hough

...To the garden, awake,
Tiptoe, quick, go
Slick-stairs down the
Steps to the pre-dew
Night morn before the
Dawn's birth is born.
Follow to the foliage where,
Hidden as the future's
Fall or rise, the rose –
Petals closed – will bud-burst
A billion atoms of beauty...

Tuesday, August 12, 2014

Composer Manuel de Falla (1876-1946)

Manuel María de Falla y Matheu was born into a prosperous family in Cádiz, Spain. His father was Valencian, his mother from Catalonia. Falla studied piano and composition with private tutors before entering the Real Conservatorio de Música in Madrid. His early compositions, written for small ensembles, were heavily influenced by Spanish folk music. He even wrote six zarzuelas (Spanish folk operettas).


In 1907 Falla moved to France, where he was influenced by the impressionists, especially Debussy and Ravel. During this time, he composed the well-received Trois mélodies, based on texts by the homosexual poet Théophile Gautier. His first work of importance, the one-act opera La vida breve (The Brief Life, first  performed in 1913) was followed by the gypsy gitanería (ballet) El amor brujo (Love, the Magician, 1915) and the folk ballet El sombrero de tres picos (The Three-cornered Hat, 1919). The latter was written for Diaghilev’s Ballets Russes and premiered in London with sets and costumes by Pablo Picasso and choreography by Diaghilev’s gay lover at the time, Léonid Massine. Falla’s most ambitious symphonic concert work, Noches en los jardines de España (Nights in the Gardens of Spain), a nocturne for piano and orchestra, dates from 1916. This work, which became enormously popular, celebrates the bygone sensual and erotic atmosphere of Islamic Spain.

Manuel de Falla was homosexual, and it was widely rumored that he was involved in a menage à trois with French composer Maurice Ravel and Spanish pianist Ricardo Vines. Falla and Ravel were both closely guarded, private and extremely closeted homosexuals, leaving behind no written trace of their liaisons. Only their contemporaries related the relationship to future generations. However, the elegance, sensuality, and erotic suggestiveness of Falla’s music are interpreted by many as overt expressions of de Falla’s homosexuality, better than any written word.

The cultural center of Cádiz, the port city where Falla was born, is today called Gran Teatro Falla, in his honor. It is a magnificent Moorish-revival concert hall (1910) facing Plaza Manuel de Falla.


Significantly, the start of World War I forced his return to Spain. Soon after settling in Madrid, Falla met Federico García Lorca, the gay poet and a future collaborator, who was to become a close friend (see sidebar). In 1919 Falla moved to Granada for more peace and quiet to compose. During this time his home was a celebrated meeting place for Spanish gay intellectuals and artists. He and García Lorca worked on several collaborations, although only a few minor works resulted from their efforts.

Falla’s deep ascetic religiosity led him to be courted by Franco’s Nationalists, whom he saw as a check to the anti-religious sentiment of the Left. Falla was living with his sister when he was appointed President of the Institute of Spain by Franco in 1935. However, despite the high esteem he enjoyed in the eyes of Franco’s Nationalists, the composer was unable to prevent the 1936 execution of his friend and collaborator García Lorca, by then a successful homosexual poet with an international reputation. Falla, disillusioned by the homophobia of the Franco regime, dove even deeper into the closet and resigned his post in 1938. A year later he emigrated to Argentina, where he had been invited to conduct concerts at the Teatro Colón in Buenos Aires. Falla remained in Argentina, settling in Alta Gracia in the Sierra Córdoba region, where he was looked after by his sister until his death there in 1946. Franco's government offered him a large pension if he would return to Spain, but he refused. However, his image appeared on Spanish currency notes for many years.


By far the most recognizable Falla composition is Ritual Fire Dance, from El amor brujo (1915). First composed as a chamber piece, it is here played as a piano solo by Sebastien Koch.



By contrast Jota (from Siete Canciones Populares Españolas), written the same year as Ritual Fire Dance, is based on a popular Andalucian song to which Falla added an original harmonic accompaniment, to great effect. Acclaimed Israeli mandolinist Alon Sariel performs this piece with young pianist Nadav Herzka.




An excerpt from Nights in the Gardens of Spain, for piano and orchestra, here performed by legendary pianist Alicia de Larrocha (Orchestre Symphonique de Montréal with Charles Dutoit, conductor). Filmed at the Alhambra in the late 1980s (Larrocha died in 2009). En los jardines de la Sierra de Córdoba (3rd movement): Click this link (embedding disabled).
http://youtu.be/TY8o6_7G_Uk

Tuesday, August 5, 2014

Leonardo da Vinci

Because Leonardo da Vinci was born out of wedlock in 1452, he was denied both an education and a lucrative profession. Despite the stigma of being a bastard son of a notary and peasant girl, Leonardo went on to master anatomy, astronomy, architecture, botany, cartography, engineering, mathematics, music, poetry, science, optics, sculpture, sketching, geology and, last but not least, painting. The polymath of all polymaths, he also designed machines and drew plans for hundreds of inventions.

When he was 15, Leonardo moved from the village of Vinci to the city of Florence, known both as a great center of art and as a flourishing community of homosexual men (in those days the German word “Florenzer” [Florentine] was the term for a homosexual). When he was 24, Leonardo and three other youths were arrested in Florence on a sodomy charge. An anonymous tip alerted the magistrate of the city that a 17-year-old male was a gay prostitute, and Leonardo was listed as one of four patrons. No witnesses appeared against them, and eventually the charges were dropped. However, two months later Leonardo was again accused and this time jailed for two months, until an uncle arranged for his release. Leonardo never married, had any children or showed any interest in women, and he wrote in his notebooks that male-female intercourse disgusted him. Leonardo dealt with this controversy by leaving Florence to settle in Milan.

Thereafter Leonardo took pains to keep his homosexual life private, but he nevertheless always surrounded himself with attractive men. Although he started writing his journals in code, his art reflected his love of male beauty, and the models he used were sexually desirable young men. His relationship with the beautiful curly-haired Gian Giacomo Caprotti da Oreno (note Leonardo's painting of Caprotti at beginning of post), a former pupil, lasted twenty five years. For the last ten years of his life, Leonardo’s companion was a much younger nobleman, who would later serve as the executor of Leonardo’s estate.

When Leonardo died in 1519, Caprotti (better known as Salaì, meaning “little Devil”) inherited half a vineyard and several works of art, among them the Mona Lisa painting, now regarded as the world’s most famous portrait. Although Leonardo described Salaì as "a liar, a thief, stubborn and a glutton," Leonardo kept him in his household for more than 20 years, eventually training him as an artist. If Salaì had merely been a servant or pupil, he would have been dismissed.  Although Salaì stole from him on numerous occasions, Leonardo spent lavishly on clothing for his “kept” boy, even purchasing the 24 pairs of shoes the lad desired. What we do for love.

Many art historians believe that Salaì was the model for Leonardo’s homoerotic painting of John the Baptist. Salaì, a painter of modest talent, even created a nude version of the Mona Lisa, known as the Monna Vanna (shown at right). A page of drawings by Leonardo includes a sketch depicting Salaì from behind, pursued by a horde of penises on legs. I’m not making this up. We might have more of these had a pious priest not destroyed the bulk of Leonardo’s erotic gay sketches.

Leonardo eventually sent Salaì on his way, replacing him with a very young nobleman, Franceso Melzi, who described Leonardo’s affections as “a passionate and most fiery love.” Public knowledge of Leonardo’s homosexuality extended beyond his lifetime. In 1563, a book by Gian Paolo Lamazzo included a fictional dialogue between an interviewer and Leonardo. When being queried about the nature of Leonardo’s relationship with Salaì, Leonardo was asked, “Did you play the game from behind which the Florentines love so much?” Leonardo replied, “And how! Keep in mind that he was a beautiful young man, especially when about the age of fifteen.”

Undisputedly, Leonardo possessed the greatest mind of the Italian Renaissance. He wanted to know the workings of what he saw in nature. His inventions and scientific studies were centuries ahead of their time. He was the standard of ingenuity, and his intellectual inquisitiveness was the epitome of the Renaissance spirit. Six centuries later, the world is still in awe.

The following is from Serge Bramly's 1991 great biography of Leonardo:

No other personality was so intimidating, no other career so difficult to encompass, so biographers often resort to the assumption that Leonardo embodied some superhuman quality: "il divino". Vasari (a contemporary biographer of Leonardo) wrotes "there is something supernatural in the accumulation in one individual of so much beauty, grace, and might. With his right hand he could twist an iron horseshoe as if it were made of lead. In his liberality, he welcomed and gave food to any friend, rich or poor." His kindness, his sweet nature, his eloquence (his speech could bend in any direction the most obdurate of wills) his regal magnanimity, his sense of humor, his love of wild creatures, his terrible strength in argument, sustained by intelligence and memory, the subtlety of his mind which never ceased to devise inventions, his aptitude for mathematics, science, music, poetry. What's more, Leonardo was himself a man of physical beauty beyond compare.

Leonardo trivia:
He slept a paltry two hours a day.
A left-handed dyslexic, he tried to paint with both hands.
He was a stern self critic, destroying most of his work.

Monday, July 14, 2014

Frank M. Robinson

Openly gay San Francisco resident Frank M. Robinson (1926-2014) wrote science fiction novels, thrillers, magazine columns and political speeches. Born in Chicago, in 1973 he migrated to San Francisco, where he met Harvey Milk, the first openly gay American elected to a prominent public office (San Francisco city supervisor). Milk asked Robinson to be his speech writer, and Frank later found himself working on Milk’s famous “You’ve Got to Have Hope” gay pride speech: "We will not win our rights by staying quietly in our closets.... We are coming out to fight the lies, the myths, the distortions.... I am tired of the conspiracy of silence."

Frank became such a valued advisor to Harvey Milk, that Milk designated him as his successor in 1977 by way of a recording filed with Milk’s attorney (Milk was well aware of the possibility of his own assassination). Director Gus Van Sant persuaded Robinson to play himself in a cameo role in the 2008 film, Milk. When Sean Penn, in the role of Harvey Milk, stood in front of San Francisco’s city hall, just as Milk had done 30 years previously, Robinson was again in the crowd. “When I heard Sean say those words [almost verbatim] that I had helped write, I was so proud," Robinson said.

Unlike Milk, however, Robinson remained closeted for for many years for fear of not being able to keep his job or get new work. Little did the straight readers of Playboy magazine’s sex advice column (Playboy Advisor) realize that the columnist was a closeted gay man. Playboy had earlier published some of Frank’s fiction. Robinson also wrote for other magazines – Gallery, Cavalier and Rogue.

Three of his novels were made into films: The Glass Inferno (co-written with Tom Scortia) became The Towering Inferno (1974), The Power was made into a 1968 film starring George Hamilton, and The Gold Crew became an NBC miniseries retitled The Fifth Missile (1986).

Robinson was inducted into the First Fandom Hall of Fame (2001) for contributions to the field of science fiction, won an Emperor Norton Award* (2004) and received a Moskowitz Archive Award (2008) for significant achievement or contributions to Science Fiction/Fantasy/Horror fandom. He was named the recipient of the Special Honoree Award by Science Fiction Writers of America (SFWA) earlier this year.

*Google this award. Unbelievable back story.

Robinson died a few weeks ago on June 30, at age 87, following a long illness. A public memorial service will be held at 7 pm on August 8 in San Francisco.

Monday, July 7, 2014

Harold Stevenson

Openly gay artist Harold Stevenson Jr as born in 1929 in Idabel, southeastern Oklahoma near the Texas border, where he decided to be a painter while still in the second grade. At age ten he opened a painting studio right in the middle of town, painting portraits (and selling them). Even while later living abroad, he maintained an  address in Idabel, where he lives today in a log cabin just outside of town. The artist incorporated his own hometown history into his painting when he created one hundred portraits of residents of Idabel for The Great Society (1967–68). Recently Stevenson sold his estate in the Hamptons and returned to reside in Idabel, where he still works.

Mitchell Algus, Harold’s gallery representative since 1992, recalls asking Stevenson if he was teased for being gay while a schoolboy. Harold replied, “Honey, I owned that school.” Stevenson’s longtime partner was Lloyd Tugwell, a Choctaw art teacher who died in 2005 after a fall down the stairs at their Hamptons home. He is buried in the Stevenson family plot in Idabel.

In 1949 Stevenson moved to New York to pursue a career in art and almost immediately became the darling of international high society – Stravinsky, Cole Porter, Elizabeth Arden, Tennessee Williams, the Duke and Duchess of Windsor, Truman Capote, Kitty Carlisle, Gloria Swanson, Christian Dior, Salvador Dali and the like. He was part of the avant-garde movement and befriended Andy Warhol, who would make Stevenson the subject of Warhol’s first film, Harold, and would include him in the pop artist’s video Heat (1972).

In 1959, Stevenson relocated to Europe, where he resided in France and Italy and exhibited regularly in galleries for nearly twenty years. During a career of nearly seven decades, the nude male figure always dominated his works, but the artist’s most iconic works were products of the 1960s.


The New Adam (1962)
Painting by Harold Stevenson Jr.; Model, actor Sal Mineo (1939-1976)

In early 1963 visitors to the Galerie Iris Clert, Paris, were hardly prepared for the painting that greeted them, a colossal 8-foot-tall by 39-foot-long male nude, precisely and sensually rendered in full anatomical detail. In Paris (and later in New York, Chicago, and L.A.), the work was greeted with “shock,” recalls self-taught Harold Stevenson, who conceived The New Adam as an homage to his lover, Lord Timothy Willoughby d’Eresby – although he used the actor Sal Mineo as his model. In an interview, Harold said of Mineo, “He was a sweetheart person, and kind of stupid.” Lord Willoughby (1936-1963), who was the grandson of Lady Astor, went missing at sea with his crew in 1963 on the way to Corsica, shortly after Stevenson had painted a portrait of him in 25 pieces, displayed in Paris in 1962. Stevenson had been invited along for the sailing, but declined.

Spread over nine linen panels and initially installed as a three-wall wraparound, The New Adam presented a vast, seemingly unbounded ocean of flesh. This work engaged a much older tradition in art, recalling countless female odalisques, as well as Michelangelo’s iconic image of Adam, whose pointing gesture Stevenson redirects inward, toward the body. Over 40 years later, the Guggenheim Museum New York was honored through an anonymous gift to have this landmark of art history join its permanent collection in 2005, but it has not been displayed since 2006.


Eye of Lightning Billy (1962), Stevenson’s large-scale painting of the close-up of a human eye, was included in the pivotal exhibition The New Realists (1962), which also featured artists like Robert Rauschenberg, Andy Warhol, Robert Indiana and many others. The following year, Stevenson exhibited a 48-foot-high painting of the matador El Cordobas at the Eiffel Tower. In the 1980s, while living in Key West, he incorporated references to Greco-Roman and Egyptian archetypes into his works. In the last decade, Stevenson has focused on sensuous paintings of the young model Christopher John.

Sources: Ron Clark and Ted Mann

Sunday, June 29, 2014

Joseph John Bertrund Belanger

This photo booth portrait was taken in California in 1953, at a time when laws allowed police to target homosexuals, who could be arrested for holding hands in public or wearing clothing of the opposite sex. A photo such as this could have gotten the men arrested.

Time magazine recently reported that the man shown on the right was J. J. Belanger, a Canadian born in 1925 who served in the Royal Canadian Air Force from 1942 to 1944. He then moved to California, where he was one of the founding members of the Mattachine Society, an early LGBT organization which originated in 1950 in Los Angeles. Their initial name of Society of Fools was replaced by Mattachine Society, after Medieval French secret societies of masked bachelors who, through their anonymity, were empowered to criticize ruling monarchs with impunity. The name change was meant to symbolize the fact that gays were a masked people, unknown and anonymous.

During the 1970s Belanger became the Los Angeles coordinator of the Eulenspiegel Society, the oldest and largest BDSM (Bondage, Discipline, Sadism, Masochism) education and support group in the United States. During the next decade Belanger became involved with three LGBT organizations, the San Francisco chapter of the Stonewall Gay Democratic Club, Project Inform and the Quarantine Fighter’s Group.

Throughout his lifetime, Belanger was a devoted collector of historical LGBT artifacts and materials. This photograph of him is now part of the ONE National Gay & Lesbian Archives at the University of Southern California Libraries (Los Angeles), the largest repository of LGBT materials in the world, which includes letters, notebooks, and audio recordings owned by Belanger. Many of Belanger's effects relate to gays in the military and AIDS activism.

Kyle Morgan, of the ONE Archives at the USC Libraries, recently wrote, “Here, in the midst of the 2014 (gay) pride season, what remains so remarkable and moving about this particular image is how quietly radical it feels all these years later. Belanger and another man have found a private safe space in the unlikeliest of places, an ordinary photo booth, where they felt so at ease...(that) they could kiss each other far from the prying eyes of a disapproving public.”

Sources: Time Magazine and Wikipedia

Sunday, June 22, 2014

Hutch Hutchinson: Gigolo extraordinaire

When the hit television series Downton Abbey* added Jack Ross, a jazz cabaret singer, to its cast, few viewers on this side of the pond realized that the role of Jack Ross was based on a real-life personage, Leslie “Hutch” Hutchinson (1900-1969), an immensely talented black man who made a fortune as a cabaret singer and pianist, while insinuating himself into the upper echelons of high society in Paris and London. He moved about in a chauffeur-driven Rolls Royce to and from his grand house in Hampstead, exquisitely dressed in custom tailored finery. Equally spectacular was his crash landing after falling out of favor, ending his life on the cusp of penury.

*I must be the last person on earth who has not seen a single episode.

Hutch was a philanderer, seducer, gigolo and a pathological liar, constantly reinventing himself and overstating his credentials. He was also handsome, talented, devastatingly charming and notoriously well endowed – not to mention rabidly bisexual, possessed of a voracious sexual appetite. Among his male lovers were Cole Porter and Ivor Novello; among females he was intimate with Tallulah Bankhead and Merle Oberon, not to mention nobles, royals and the merely rich, but it was his torrid affair with Countess Edwina Mountbatten (wife of bisexual Lord Louis Mounbatten*) that brought him down. Afterward, although Edwina’s name was cleared (the plaintiffs wrongly assumed that the Negro with whom she was having sexual relations was singer Paul Robeson), Buckingham Palace refused to have Hutch participate in Royal Command performances, and Lord Beaverbrook insisted that Hutch's name was never to be mentioned again in any of his newspapers. As a result, Hutch’s professional and social decline was precipitous.

*Lord Louis was involved in extramarital affairs of his own and was none too particular about the gender. Behind his back his whispered nickname was "Lord Mountbottom."


Leslie Hutchinson was born of mixed parentage on the island of Grenada, making him a British citizen. He attended the best schools and was celebrated as a piano prodigy. While in his mid teens his father sent him to study medicine in Nashville, TN, at one of the few schools that allowed black students, but his heart was not in it. He stole away to NYC, settling in Harlem, where he became a successful stride pianist; soon Fats Waller and Duke Ellington were included in his circle of friends, and among his patrons were the Vanderbilts, who hired him to play piano for private functions. One of the reasons he was not well known in the US is that he departed from NYC after a stay of only five years.

Hutch left New York for Paris, where he started his climb to the world of high society, but it was in London that his career reached its peak during the late twenties and thirties. Primarily just a pianist prior to settling into London, he began singing while accompanying himself on the piano. As a cabaret singer, he reigned supreme, much like Bobby Short in NYC a generation later. Hutch became a favorite cabaret singer and protégé of the then Prince of Wales (later King Edward VIII) and was regularly heard on BBC radio.

Although Hutch had a wife and child at home, most visitors assumed that the woman of the house was his servant. A black Anglo-Chinese woman, wife Ella was always excluded from Hutch’s professional and social life, which tended toward scandal. Hutch fathered seven more children with six different mothers, all of them white. And that's not counting the lovers who elected to have abortions.

Few entertainers could blow through money at the pace set by Hutch: houses, cars, sartorial finery and a decided bent toward betting on the horses. Accustomed to being pampered and gifted by legions of high-born women, his finances took a nose dive after his fall from society. After the changes in musical style and tastes that took place after WW II, Hutch eventually had to live on receipts from occasional jobs in small venues, and he often had to borrow money to pay his bills. He let himself go physically and drank way too much, thus his trademark slim physique and good looks were forever lost. During the 1950s he had a comeback of sorts in India, where his homosexual inclinations once more rose to the forefront.

After Hutch died from pneumonia in 1969, only 42 mourners attended his funeral service. Ironically, it was Lord Mountbatten who offered to pay for the burial costs.

High Society’s Favorite Gigolo, a one-hour documentary on the life of Leslie Hutchinson, was broadcast on British television in 2008, and Hutch, a biography by Charlotte Breese, was published in 1999.

His incomparable rendition of The Way You Look Tonight (music by Jerome Kern with lyrics by Dorothy Fields):



Cole Porter wrote I'm a Gigolo for -- and about -- Hutch Hutchinson, who delivered the first ever performance of the song in 1929:



Thursday, June 19, 2014

Kander and Ebb

After studying music composition at Oberlin and Columbia, John Kander (b. 1927), at left in photo, settled in New York City, where he worked as an arranger, accompanist, and conductor. He met lyricist Fred Ebb (1928-2004), at right, in 1963, and they formed a four-decade-long song writing team that produced such stage hits as Cabaret (1966) and Chicago (1975), both of which were made into award-winning films.

In 1965 Kander and Ebb joined forces with Harold Prince and George Abbott on a show called Flora, The Red Menace, which made a star out of nineteen-year-old Liza Minnelli, who won a Tony Award for her performance. In fact, Miss Minnelli and Chita Rivera went on to debut much of their material. The rest is Broadway history: The Happy Time/1968, Zorba/1968, 70, Girls, 70/1971, The Act/1977, Woman of the Year/1981, The Rink/1984, And the World Goes 'Round/1991, Kiss of the Spider Woman/1993, Steel Pier/1997 and The Visit/2001. Most of their collaborations were shows that explored the dark side of relationships, and few resulted in a happy ending.

Their contribution to the film score of Martin Scorsese's New York, New York/1977 yielded one of their most celebrated songs, sung by Liza Minelli in the film; however, it is Frank Sinatra’s cover that has become the most enduring interpretation.

Kander and Ebb – their two surnames were indivisible – it was impossible to say one without the other. Both were openly gay, and it was wrongly assumed by many that they were long-term lovers. In 2003, Kander, who has lived for nearly thirty years with Albert Stephenson (a choreographer and teacher) addressed those rumors in an interview in which he described the nature of his non-professional relations with Ebb as "his 40-year partner in creativity but never in domesticity, much less romance."

Marvin Hamlisch said of Kander and Ebb, "All I can remember is that working with Fred Ebb was a lot of fun. You know, John Kander and Fred Ebb wrote as a team. So, most of the songs that were written when we usually worked with Liza (Minnelli) were written by them. However, when it came to doing arrangements and working on Liza with a Z and putting things together, I loved working with Fred Ebb. We had the best time. He and I were really good friends. It was just delightful. He was a very, very smart man. And he was very funny. And he was very caustic. I think he probably wrote for her better than anyone in the world could have written for her. He just understood her so well."

After Ebb succumbed to a heart attack in 2004, Kander continued working on the unfinished collaboration Curtains/2007, a murder mystery musical for which David Hyde Pierce won a Tony Award for best actor in a musical. Rupert Holmes supplied additional lyrics to complete the work. Alas, Curtains was not A-list Kander and Ebb. Nevertheless, Kander, who is entering his late 80s, continues to work at his life-long profession. His most recent musical is The Landing/2013, with book and lyrics by Greg Pierce.

Update: July 28, 2014

John Kander was present at the White House to receive a prestigious award presented by President Obama, who spoke these words:


The 2013 National Medal of Arts (is given) to John Kander for his contributions as a composer. For more than half a century, Mr. Kander has enlivened Broadway, television and film through songs that evoke romanticism and wonder and capture moral dilemmas that persist across generations.