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“ ‘ Demented 1 is Waters
the way we like him-
spiked with laughs and
served with a tw ist”
<_i
Continued from Page 1
“There is no chorus here this week that
can sing better than you can,” he said.
“They’re going to love you!”
And then it was time. The hall was almost
full, and we walked onto the stage to thunder
ous applause. Our leader took the micro
phone, explained the history of “Millennium
Mosaic” and introduced the composer, David
York, in the audience.
And then Mensel explained how these
songs about queer youth had special signifi
cance in Oregon. He informed the audience
about the current Oregon Citizens Alliance
initiative and how it would ban any mention
or expression of homosexuality in our schools.
Suddenly, we all understood what this con
cert was truly about. It was about giving voice
to the hopes, dreams and struggles of our
younger gay generation— a voice the O C A
wants to silence.
The energy in the chorus was electric as
we began the first piece— and the most diffi
cult one— “Cold Stone.” Perfection! We never
sang it so well! And we knew from that point
on this concert would he our best.
Song after sting just flowed, and we finally
came to the one piece that particularly
addressed the O C A and its initiative: “W here
Everyone Is Free.” The song, which speaks of
the hatred toward gays in society and especial
ly in schools, starts with, “They heat us up in
buses or behind the schtxil yard gate.”
We couldn’t restrain our voices. We were
singing for all the gay youth of today, for our
selves when we were that age and for our sons
and daughters.
It was like a cyclone of energy whipping
through the stage, out into the audience and
back to us again. We finished the concert with
the last song, “Truth Under My Wings,” and the
final words, “I am living free,” ringing in the hall.
The audience catapulted to their feet with
deafening applause. We had tears in our eyes,
and our hearts were filled with joy.
Mensel gave the chorus a smile— a very
special, very bright smile that said: “You did
good. 1 told you they’d love you!”
-Peter Travers, ROLLING STONE
“ The funniest
movie this year.”
-Tim I
, CNECKOVT.COM
“John Waters takes
all of Hollywood
hostage in the
jolly ‘Cecil B.
Demented’!”
Travel diary
tracks the
Portland Lesbian
Choir as it makes
a splash in
California
-Richard Corliss,
TIME HNfAIWf
Melanie Griffith
Stephen Dorff
Written and Directed by John Waters
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Soundtrack Available on BCA Wocordt
www.dementedforever.com
E x c lu s iv e E n g a g e m e n t
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August 18th
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RoseOtyMtg. c o m
by
A manda S mith
s a member of the Portland Lesbian Choir,
I attended the GALA Festival 2000 last
month. W hat a lineup: 140 choruses, 11
workshops and 169 concerts— all put together
by the oldest gay and lesbian choral organiza
tion in the country.
Day One. Master of ceremonies Harvey
Fierstein tells sad jokes, sings sadder stings and
basically delights everyone. He and Kristin
Chenoweth put a new gender-bending spin on
the Fiddler on the Roof song “Do You Dive Me?”
to great applause. The highlight of the evening
is the introduction of all the choirs. As each
group takes its bow, its name and founding date
flash on two rear-projection screens. The Melo
Men of Paris win— not surprisingly— the most
fashionable award of the night with their straw
boaters, suspenders and rainbow ties.
Attempting to hail a cab at the nearby
Hilton, Girlfriend and I see keynote speaker
Kate Clinton, who bemoans her lack of fancy
dress compared to Chenoweth’s plunging black
evening gown. I compliment the comic on her
sensible shoes: well-worn black loafers.
Day Two. The Festival Women’s Chorus
rehearsal comes far too early for me, so I skip to
sleep in. I never do go to rehearsal and wind up
dropping out of the chorus. Nine other Port
land Lesbian Choir singers, three from Bridges
Vocal Ensemble, stick with it. I rationalize that
someone has to be in the audience to hear them.
As if to make up for sleeping in, Girlfriend and
I attend two choral blocks (usually five choirs
singing for 30 minutes each) that day.
Day Three. The Turtle Creek Chorale joins
the Dallas Women’s Chorus.. .and joins.. .and
joins. Hundreds of them stream through the
aisles to get on stage. After one song together,
the women leave. The men sing a hysterical
Esther Williams number complete with synchro
nized swimmers and pink bathing caps. Outside,
we see the first religious protester. He leaves
A
PLC
Director
Terri
Beemer
(left) and
Amanda
Smith
camp it up
with the
Ethels
of Seattle
when a woman attempts to have her picture
taken with him. Two days later, he is back. This
time, members of Lavender Light: The Black
and People of All Colors Dsbian and Gay
Gospel Choir surround him and sing “We Shall
Overcome.” He appears relieved when the San
Jose police arrive to escort him away.
Day Four. I go through GALA Expo,
where gay vendors hawk their rainbow wares.
The Dallas women seem to be everywhere, eas
ily recognizable by their big hair. My mother
clues me in later that the wedding cake hairdos
are to combat the fierce Texas wind.
The festival choruses fill much of the
evening blocks. Portland Lesbian Choir soprano
Nancy Otis starts “Pentatonic Alleluia,” a five-
part harmony song. Director Teri Beemer, the
queen of “blend with your neighbor,” is heard
singing over the rest of the mixed chorus.
Day Five. Comedy night with Suzanne
Westenhoefer. Her joke about taking “the
hover” position when peeing in the wtxxls is
overshadowed by her sign language interpreter,
who steals the show when he acts out the gag.
Later, the Cincinnati Women’s Chorus joins
the Portland Lesbian Choir in an impromptu
pool party.
Day Six. Girlfriend does her best to calm
fears and nerves as two choir members, includ
ing myself, get ready. I try to find my inner
diva. And my black concert socks. We head
out into the 90-plus-degree heat, cursing our
black concert wear. Upon arrival, we discover
two of our members are stuck on the road from
Santa Cruz. As we rehearse, the absence of
three from the middle ranges is felt keenly. At
showtime, feeling incomplete, we go on stage.
Just before the second-to-last song, the lost
members rush on stage. The sting is the best of
the set, and we finish triumphant to a standing
ovation. We are met outside by a tide of well-
wishing Portland Gay Men’s Chorus members.