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    ‘Wham!’ Documentary Had an Unusual Choice for a Director

    The director Chris Smith was not a fan of the ’80s pop band when he decided to take on the project about George Michael and Andrew Ridgeley.Two young Londoners — one of Greek Cypriot origin, the other of Egyptian descent — set up a pop band in the 1980s that goes on to sell more than 30 million records. They break up several years later, at the pinnacle of their fame, when the two hit the ripe old age of 23.That, in a nutshell, is the story of Wham!, the British pop duo, and its two stars, George Michael and Andrew Ridgeley. It’s a story that the director Chris Smith tells in a Netflix documentary, which is nominated in Sunday’s EE British Academy Film Awards, known as the BAFTAs.Other contenders in the documentary category include “Still: A Michael J. Fox Movie,” about the actor’s battle with Parkinson’s disease; and “American Symphony,” a year in the life of the musician Jon Batiste.Smith previously directed the Emmy-nominated 2019 documentary “Fyre: The Greatest Party That Never Happened,” about a fraudulent music festival that landed its organizer in jail.Two years earlier, he directed “Jim & Andy: The Great Beyond,” on the making of the 1999 movie “Man on the Moon,” in which Jim Carrey played the entertainer Andy Kaufman.Smith said that he was approached to shoot “Wham!” by its producers. There is no narrator: The tale is told using documentary footage of the duo during their career, paired with audio excerpts from interviews with the two pop stars themselves, which are voiced over — Michael died in 2016 at 53.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    A Radio Station’s Call Letters Announce Its Purpose: KGAY

    KGAY in Palm Springs is geared toward Gen X and older gay men who enjoy Rihanna but still worship Donna Summer.Fog clouded the San Jacinto Mountains recently as Brad Fuhr approached the headquarters of KGAY, a radio station in an undistinguished Palm Springs, California, strip mall. Fuhr, the station’s chief executive, was tuned to KGAY in his all-electric Volvo, and the morning’s soundtrack included “Bad of the Heart,” George Lamond’s 1990 freestyle cri de coeur about getting dumped, and “Lucky Star,” Madonna’s 1983 dance hit of bouncy adoration.KGAY’s call letters aren’t a fluke but a savvy marketing tool. While there are streaming stations devoted to gay audiences (like iHeart’s Pride Radio and Gaydio out of Britain) and gay-themed talk shows and dance formats have thrived on commercial and nonprofit radio for decades, KGAY is still one of a kind. It’s the only terrestrial radio station in America geared toward L.G.B.T.Q. listeners and their allies, where gay personalities broadcast in person, “WKRP in Cincinnati”-style, at least part time. (There’s WGAY, a “party station” in the Florida Keys, but it doesn’t market itself as gay.)KGAY covers the Coachella Valley with its FM signal at 106.5 and is simulcast with KGAY AM 1270; it can be streamed globally at KGAYPalmSprings.com. Its two full-time D.J.s are Chris Shebel, the old-school, no-nonsense program director and weekday afternoon personality, and the wisecracking John Taylor, who covers mornings. Three other D.J.s — Eric Ornelas, Galaxy and ModGirl — provide the station with homemade mix shows that play around the clock.Born on Dec. 25, 2018, KGAY replaced KVGH, an oldies station, with a playlist that rotates over 900 pop songs, disco anthems and dance remixes from the ’70s through the latest releases.“It’s an entertaining, mass-appeal radio station first,” said Fuhr, 65.Shebel at work as a D.J. at KGAY.Michelle Groskopf for The New York TimesKGAY serves primarily the clubby slice of the queer music pie. There’s no Barbra or Bikini Kill, no American songbook showstoppers or lesbian breakup ballads. There’s no rap or country, although it does play Lil Nas X and dance versions of songs by Dolly Parton, Tammy Wynette and other country divas.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    The Musical Force Behind the Communal, Queer ‘Bark of Millions’

    Matt Ray is a prolific songwriter and the musical nexus of New York’s alt-cabaret scene. His next project: Taylor Mac’s latest marathon performance.“It’s the last hour, and I’m feeling the energy draining,” Taylor Mac, the performing arts polymath, announced near the end of a recent rehearsal at the Brooklyn Academy of Music.If the artists — an ensemble of a dozen singers, as well as several instrumentalists — were exhausted, it was because of the sheer scale of what they were working on: “Bark of Millions,” a show by Mac and the musician Matt Ray, which has its American premiere on Monday at BAM’s Harvey Theater. Essential to that scale is Ray’s score of 55 original songs that add up to four hours of performance.That would be enough to fill several albums by any recording artist, and yet it’s business as usual for Ray. He has been not only the musical core of Mac’s recent shows — the daylong marathon “A 24-Decade History of Popular Music,” for which he arranged over 240 songs with the purpose of queering the American canon, and “The Hang,” for which he wrote 26 — but he has also been the force behind much of New York’s alt-cabaret scene, with collaborators including Justin Vivian Bond, Joey Arias and Bridget Everett.“This is a community of risk-takers and rule-breakers,” Everett said in an interview. “It’s a really exciting, vital scene. And there’s one person who’s the musical nexus of that. It’s Matt. His heart is beating at the center of all of it.”The performer Justin Vivian Bond called Ray “such a sensitive artist,” and said, “for being a consummate Leo, he’s just great at letting other people shine.”Sara Krulwich/The New York TimesRAY, 51, has had expansive taste in music since his childhood growing up on the East Coast. Whether as a player — he started learning the piano when he was 2 years old — or as a listener, he never limited himself to any one genre. “I really admire monochromatic types of work,” he said, “but I just don’t work that way.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    The Queer Kids Are All Right. And Now They’re Making Me Better.

    Here’s a list of every openly queer person I knew when I was 15:That’s it. None. Not even myself.Oh sure, Paul Lynde and Liberace were flouncing on television; closer to home, a boy I kept my distance from decoupaged his notebooks. But even if they really were what people whispered or snarled about them, it was not then an identity they would dare to acknowledge.Nor would I. Unable to see through their closet doors to the truth of what their lives might be, I did not have the benefit of their stories, which meant not having the benefit of my own.Cut to today, 50 years later. Another 15-year-old boy — like me intense, unathletic and bullied — is the lead character on “Heartstopper,” a hit teen romance. But this boy, Charlie, knows all about queerness. He is, after all, growing up in the 2020s and, more to the point, in 2020s pop culture. In that magical land, also known as Netflix, adolescence for people like him is not only survivable but often a lovefest, all closet doors blown off their hinges.And I do mean all. Charlie (adorkable Joe Locke) is happy to be gay, and why not: When he crushes on a dreamy and apparently straight rugby player, the rugby player promptly comes out as bisexual. Their romance is supported by a cute teenage lesbian couple they hang out with. Also in the group is a bookish nerd who realizes he’s asexual — or “ace,” as he explains, pinning a fun new name on that identity. Even the straight boy, vastly outnumbered, gets a queer love story when he falls for his best friend, a beautiful trans girl.Welcome to the classic lifeboat plot, checking boxes on a diversity agenda. But this time it’s mostly calm seas and clear sailing.Do I sound envious? I am. Also slightly embarrassed.Don’t get me wrong: My husband and I devoured the first two seasons. (The third is expected in the fall.) I’ve also been watching, with or without him — for these are guilty pleasures — a slew of other queer youth stories, all the while trying to sort out my feelings.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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    How ‘All of Us Strangers’ Hit Close to Home for Its Director

    Andrew Haigh wanted to infuse “All of Us Strangers” with elements from his own life, which included shooting it in his childhood residence.“I got called a gay elder the other day,” Andrew Haigh said. This title, bestowed by a group of younger gay men, initially rankled him. It’s true that Haigh — the director of acclaimed films like “45 Years” and “Weekend” — had recently turned 50, but he still found that landmark age hard to believe.“I’m looking older,” he told me, “but it’s a strange thing to think that I’m not young anymore.”That uncanny feeling is a key theme in Haigh’s latest film, “All of Us Strangers,” which he adapted from the 1987 novel “Strangers” by Taichi Yamada. Andrew Scott stars in the film as Adam, a screenwriter in his late 40s with a whole lot on his mind: As he entertains a tentative romance with his neighbor Harry (Paul Mescal), he returns to his childhood home and finds it somehow inhabited by the parents (Claire Foy and Jamie Bell) who died when he was young. Though this reunion summons Adam’s inner child to the fore — a transformation Scott sells with heartbreaking subtlety, even when dressed in Christmas pajamas — there are still tricky adult conversations to be had with his parents about his sexuality and lonely middle age.“I knew that for this film to work, I had to throw myself into it on a very personal level,” Haigh said. “So much of the things they’re talking about and the memories that Adam has of being a kid are my memories.”That commitment even extended to filming much of the movie in the house where Haigh grew up, a notion that astounded many of his actors.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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    Donald Wildmon, Early Crusader in Conservative Culture Wars, Dies at 85

    He founded the American Family Association, which became a juggernaut in the Christian right’s campaign against sex and gay themes in art, television and pop culture.Donald E. Wildmon, a conservative activist whose alarm over indecency on television spawned a national organization, the American Family Association, a once powerful cog of the Christian right, and who led boycotts over sexuality and gay themes in some of America’s most popular TV shows and in the arts, died in Tupelo, Miss., where he lived, on Dec 28. He was 85.The cause was Lewy body dementia, according to a statement posted by the American Family Association.Mr. Wildmon’s crusades beginning in the 1970s against boundary-pushing trends in popular culture and the arts — including high-profile attacks on the National Endowment for the Arts — were an early thunderclap of the culture wars that have moved from the fringe of the Republican Party to its mainstream.A former pastor in the United Methodist Church, Mr. Wildmon became a lightning rod for liberals, who attacked him for bigotry and stifling free speech. In 1981, the president of NBC, Fred Silverman, a champion of socially conscious television, said that Mr. Wildmon’s threats to boycott advertisers were “a sneak attack on the foundation of democracy.”“A boycott,” Mr. Wildmon responded in an interview with The New York Times that year, “is as legal and as American as apple pie.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

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    What to Know About ‘Maestro’: A Guide to Bradley Cooper’s Bernstein Biopic

    Now on Netflix, the movie tracks the life of the American conductor and composer and his wife, the actress Felicia Montealegre, played by Carey Mulligan.Pop quiz: Who wrote the score for Bradley Cooper’s new Leonard Bernstein biopic, “Maestro”?Trick question: Bernstein. But you might not realize it, or learn of some of his more lasting accomplishments (“West Side Story” erasure!), even after watching the entire film, which focuses on the personal life of the prodigiously talented musician.Which is to say, the film — which Cooper directed and starred in, and which is now streaming on Netflix — does not hand-hold. It assumes some basic familiarity with one of America’s most storied conductors and composers. Here’s a guide to help you get up to speed.His careerWhat is Bernstein best known for?One of the rare virtuosos to compose for musical theater, write classical music and conduct august bodies like the New York Philharmonic, Bernstein is probably best remembered as the composer of the 1957 musical “West Side Story.”The Manhattan-set tale of urban gang warfare in New York City, based on “Romeo & Juliet,” includes standards like “Tonight,” “I Feel Pretty” and the aching, wistful “Maria.” The classic show, a collaboration with Arthur Laurents, who wrote the book, and Stephen Sondheim, who penned the lyrics, won two Tony Awards in its original incarnation.In his day, Bernstein was known first and foremost as an animated, passionate conductor. After his spectacular fill-in debut at the Philharmonic at age 25 in 1943 — on just a few hours’ notice, because the scheduled guest conductor fell ill — Bernstein would be affiliated with the orchestra for four decades and conduct symphonies around the world.He also wrote classical music, including three symphonies, “Jeremiah,” “The Age of Anxiety” and “Kaddish,” and made the classical realm accessible to ordinary Americans through his Young People’s Concerts. Those televised lectures, which ran on CBS for 14 years, covered a broad range of subjects including humor in music, and the composers Gustav Mahler and Igor Stravinsky.What is Tanglewood?Tanglewood, the summer home of the Boston Symphony Orchestra and its training academy in the Berkshire Hills in Massachusetts, is where Bernstein studied with Serge Koussevitzky, then the director of the ensemble. The two met in 1940, when Koussevitzky selected a 22-year-old Bernstein as one of three inaugural conducting fellows for the Berkshire Music Center, now known as the Tanglewood Music Center.Bernstein went on to teach and perform there nearly every summer for 50 years, becoming the head of orchestral conducting at Tanglewood after Koussevitzky died in 1951. In 1990, Bernstein led the final performance of his life there — a gripping account of Beethoven’s Seventh Symphony.How much of the film’s score is Bernstein’s music?That cue you hear when Bernstein finds out he’ll be making his conducting debut at the New York Philharmonic? That’s from “On the Waterfront,” the 1954 Marlon Brando drama for which Bernstein wrote the music. That spiky, horn-filled composition that signals tension when Bernstein and a male lover arrive at the family’s Connecticut home? That’s the prologue from “West Side Story.”In fact, most of the music you hear was written by Bernstein. (Also see if you can spot classical excerpts from his ballets “Facsimile” and “Fancy Free,” his opera “A Quiet Place,” and parts of his second and third symphonies.)His personal lifeWas Bernstein gay or bisexual?Though he was married to his wife, the actress Felicia Montealegre (Carey Mulligan), for 26 years, he had numerous relationships — with both men and women — before and during their marriage, and after her death in 1978.The film focuses on two of them — his dalliance with the clarinetist David Oppenheim (Matt Bomer), whose bottom Bernstein slaps at the beginning of the film, and the musician Tom Cothran (Gideon Glick), whom he steals kisses with at a party and brings to his Connecticut home.What was society’s attitude toward gay people at the time?Anti-gay prejudice was rampant in America in the 1940s and 1950s, and the Lavender Scare — a fear that homosexual people had infiltrated the federal government and were a threat to national security — led to the dismissal of gay and lesbian employees, and those assumed to be, en masse. Gay, lesbian and transgender people — particularly public figures — faced intense pressure to conceal their identities, and Bernstein worried that the public revelation of his sexual orientation would hurt his conducting prospects.Did Montealegre know Bernstein was gay or bisexual when she married him?Yes, according to a letter she wrote to him the year after they were married, which the couple’s children discovered after her death. “You are a homosexual and may never change,” she wrote, adding later, “I am willing to accept you as you are, without being a martyr.” She went on to tell him, “Let’s try and see what happens if you are free to do as you like, but without guilt and confession.”Was Bernstein open about his affairs with men?At first, he was discreet, heeding Montealegre’s request to not embarrass her publicly. But, as “Maestro” shows, he became “sloppy” later or, rather, decided that he no longer wanted to hide what he viewed as a fundamental part of himself amid society’s changing attitudes.In 1976, he briefly left Montealegre to live openly with his boyfriend, Cothran, though he returned to her a year later when she learned she had lung cancer and cared for her until she died at age 56.What did Bernstein say about his sexuality?Nothing, at least, publicly. But privately, he suffered through years of therapy, apparently in the hope that he could be “cured” of his attraction to men. That desire lasted a lifetime: “I have been engaged in an imaginary life with Felicia,” he wrote in a letter to his sister, Shirley, from Israel in 1950, “having her by my side on the beach as a shockingly beautiful Yemenite boy passes.”Did Bernstein love his wife?Bernstein was “a gay man who got married,” his “West Side Story” collaborator Arthur Laurents once said in response to the assumption that Bernstein, who had three children with Montealegre, was bisexual. “He wasn’t conflicted about his sexual orientation at all. He was just gay.”But what is clear, from their children’s memories and from Bernstein’s own letters, is that he and Montealegre had an abiding affection for one another, and that their relationship was built on tenderness and mutual respect.“Bernstein absolutely loved her — there was no question about that,” Paul R. Laird, the author of “Leonard Bernstein,” a 2018 biography, recently told Time magazine. “It was as sincere a marriage as you’re going to get between a male homosexual and a woman at a time when a lot of male homosexuals married women.”Bernstein’s oldest daughter, Jamie, has spoken about her parents’ friendship. “They were really great friends, and probably that counts for the most in the long run, that they could still make each other laugh,” she said in a 1997 PBS interview.How did Bernstein die?He had received an emphysema diagnosis in his mid-20s — he would struggle with addiction to cigarettes and alcohol for most of his life — and died on Oct. 14, 1990, at 72, of a heart attack caused by lung failure.He was often depressed in his later years, intimidated that he would be best remembered as a conductor, resigned to the fact that he could never live up to the success of “West Side Story,” and guilty about his wife’s death from cancer, which he held himself responsible for. More

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    Jinkx Monsoon and BenDeLaCreme Make the Holidays a Drag

    It was half past 3 the day after the Rockefeller Center Christmas tree lighting, and a pair of America’s most famous drag queens strode up to the spruce’s formidable footprint, chatting about abundance.“I don’t like being inundated with anything,” Jinkx Monsoon announced as holiday music jingled loudly nearby.“She has this conversation about Christianity,” BenDeLaCreme started to explain, before Jinkx resumed her gripe: “Christianity, the Kardashians and ‘Star Wars,’” she chimed back in. “All things that I have never asked to know about, but I know everything about.”The reason for their visit, however, was indeed the season. For the fifth year, the duo — both alums of the TV competition “RuPaul’s Drag Race” — are presenting a live Christmas show filled with dancing candy canes, glittery gowns and songs about trauma. (In 2020, Covid forced them off the road, so they made a movie.) What began in small standing-room-only clubs has grown into a 30-city theater tour that kicked off mid-November in Glasgow and wraps in Vancouver, British Columbia, on Dec. 30. The day after the queens’ stroll, on Dec. 1, their show hit Kings Theater in Brooklyn, a former movie palace that seats 3,000.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More