Arts & Entertainment
Life-long ‘Fan’
Gay writer explores, Aretha, gays in black gospel and more
‘The Fan Who Knew Too Much’
By Anthony Heilbut
Knopf
$30
354 pages
anthonyheilbut.comAretha Franklin concert
Saturday, Nov. 17
7:30 p.m.
DAR Constitution Hall
1776 D Street, NW
$59.50-115.50
ticketmaster.com
Vintage early ’60s promo still of Aretha Franklin during her Columbia Records years. (Photo courtesy of Sony Music Entertainment)
In a roundabout way, there’d be no rock music without gays and lesbians.
That’s the assertion of gay New York-based writer/historian Anthony Heilbut. In a sprawling, juicy tome that’s as gossipy and anecdotal as it is academic, he writes in “The Fan Who Knew Too Much” that there would have been no golden age of black gospel music (roughly1945-1960) without gays. He, and other rock historians also assert there’d be no mainstream rock and roll without classic black gospel influence.
Gay author Anthony Heilbut says Franklin’s underrated work at Columbia Records is her best, contrary to popular opinion, which venerates her later Atlantic Records period. (Photo by Stephen Ladner)
“It means a lot to me that gay people know about this,” Heilbut says during a lengthy phone chat last week. “Gospel is really the most essential American music. Everyone sort of understands that black church singing, it’s really been the center of American singing since the 19th century. It follows through in jazz as well. It’s a great gay contribution.”
Though white and an atheist, as a teen, Heilbut went to hear the great R&B and soul acts of the day at the Apollo in New York. He was often the only white person in the room. He got a heads up from the ushers.
“I think they kind of took pity on this lone white boy,” he says. “They said, if you dig this, you ain’t heard nothin’ yet, the gospel shows are so much better. The showmanship, the vocalism. I came to know almost all the singers and became absolutely enthralled. They were so much more dynamic than their secular counterparts. You just cannot imagine rock and roll and R&B without the influence of these singers.”
Aretha in concert at Wolf Trap, summer 2011, the last time she played the D.C. market. (Blade file photo by Joey DiGuglielmo)
Heilbut’s book, out earlier this year, is a collection of lengthy essays. Subtitled “Aretha Franklin, the Rise of the Soap Opera, Children of the Gospel Church and Other Meditations,” it includes a lengthy essay on how many black gospel legends — figures like James Cleveland, Clara Ward and others were either gay, lesbian or bi. In the essay “Aretha: How She Got Over” he explores how the soul legend — in town this weekend for a concert at DAR Constitution Hall — integrated the styles of the gospel legends she admired as a teen into the hit secular records she later recorded at Columbia and Atlantic. Though Franklin’s gospel roots are well known, Heilbut extrapolates the richness of those influences in unprecedented ways.
Other essays explore writer Thomas Mann (“The Magic Mountain”), the phenomenon of the male soprano and late soap opera maven Irna Phillips.
One senses, however, that despite Heilbut’s many interests and decades — he’s 71 — of following the careers of many, his heart is most deeply rooted in the gospel music of his youth. He eventually produced records for some of his favorites and writes and shares movingly of not only their great talent, but the hypocrisy with which the church has dealt with — often with scorn and outright condemnation — the contributions of its gay musicians.
Typical of many of the “old school” black gospel establishment, Heilbut quotes the legendary Shirley Caesar as “beseeching the ‘sissies and bull daggers’ to ‘come up and be saved,’ and warning that homosexuals were ‘stealing our children.’”
More analysis than biography, though, Heilbut illustrates how a lifetime of following a singer or musical phenomenon can result in an uncanny insight that the subjects themselves are often loathe to discuss — Franklin, as journalists and long-time fans know, is famously prickly and evasive on many topics.
For the record, Heilbut says Franklin and her legendary father, Rev. C.L. Franklin who became a mid-century legend as pastor of Detroit’s New Bethel Baptist Church — were way more accepting of gays than many others in the era.
Cover art of Anthony Heilbut’s new book. (Cover image courtesy of Knopf)
Heilbut says Franklin, though not as vocal as some, has made her gay support known in several ways — from singing at a recent same-sex wedding to inviting gay-welcoming clergy (Bishop Carlton Pearson) to comment during a Whitney Houston tribute she hosted during a concert at Radio City Music Hall while Houston’s mother, Cissy, stuck with old school, anti-gay leaders (TD Jakes, Donnie McClurkin) at her daughter’s funeral.
“Aretha does these little things without really saying a word,” Heilbut says.
Drag artists perform for crowds in towns across Virginia. The photographer follows Gerryatrick, Shenandoah, Climaxx, Emerald Envy among others over eight months as they perform at venues in the Virginia towns of Staunton, Harrisonburg and Fredericksburg.
(Washington Blade photos by Landon Shackelford)
Books
New book explores homosexuality in ancient cultures
‘Queer Thing About Sin’ explains impact of religious credo in Greece, Rome
‘The Queer Thing About Sin’
By Harry Tanner
c.2025, Bloomsbury
$28/259 pages
Nobody likes you very much.
That’s how it seems sometimes, doesn’t it? Nobody wants to see you around, they don’t want to hear your voice, they can’t stand the thought of your existence and they’d really rather you just go away. It’s infuriating, and in the new book “The Queer Thing About Sin” by Harry Tanner, you’ll see how we got to this point.
When he was a teenager, Harry Tanner says that he thought he “was going to hell.”
For years, he’d been attracted to men and he prayed that it would stop. He asked for help from a lay minister who offered Tanner websites meant to repress his urges, but they weren’t the panacea Tanner hoped for. It wasn’t until he went to college that he found the answers he needed and “stopped fearing God’s retribution.”
Being gay wasn’t a sin. Not ever, but he “still wanted to know why Western culture believed it was for so long.”
Historically, many believe that older men were sexual “mentors” for teenage boys, but Tanner says that in ancient Greece and Rome, same-sex relationships were common between male partners of equal age and between differently-aged pairs, alike. Clarity comes by understanding relationships between husbands and wives then, and careful translation of the word “boy,” to show that age wasn’t a factor, but superiority and inferiority were.
In ancient Athens, queer love was considered to be “noble” but after the Persians sacked Athens, sex between men instead became an acceptable act of aggression aimed at conquered enemies. Raping a male prisoner was encouraged but, “Gay men became symbols of a depraved lack of self-control and abstinence.”
Later Greeks believed that men could turn into women “if they weren’t sufficiently virile.” Biblical interpretations point to more conflict; Leviticus specifically bans queer sex but “the Sumerians actively encouraged it.” The Egyptians hated it, but “there are sporadic clues that same-sex partners lived together in ancient Egypt.”
Says Tanner, “all is not what it seems.”
So you say you’re not really into ancient history. If it’s not your thing, then “The Queer Thing About Sin” won’t be, either.
Just know that if you skip this book, you’re missing out on the kind of excitement you get from reading mythology, but what’s here is true, and a much wider view than mere folklore. Author Harry Tanner invites readers to go deep inside philosophy, religion, and ancient culture, but the information he brings is not dry. No, there are major battles brought to life here, vanquished enemies and death – but also love, acceptance, even encouragement that the citizens of yore in many societies embraced and enjoyed. Tanner explains carefully how religious credo tied in with homosexuality (or didn’t) and he brings readers up to speed through recent times.
While this is not a breezy vacation read or a curl-up-with-a-blanket kind of book, “The Queer Thing About Sin” is absolutely worth spending time with. If you’re a thinking person and can give yourself a chance to ponder, you’ll like it very much.
Theater
‘Octet’ explores the depths of digital addiction
Habits not easily shaken in Studio Theatre chamber musical
‘Octet’
Through Feb. 26
Studio Theatre
1501 14th Street, N.W.
Tickets start at $55
Studiotheatre.org
David Malloy’s “Octet” delves deep into the depths of digital addiction.
Featuring a person ensemble, this extraordinary a capella chamber musical explores the lives of recovering internet addicts whose lives have been devastated by digital dependency; sharing what’s happened and how things have changed.
Dressed in casual street clothes, the “Friends of Saul” trickle into a church all-purpose room, check their cell phones in a basket, put away the bingo tables, and arrange folding chairs into a circle. Some may stop by a side table offering cookies, tea, and coffee before taking a seat.
The show opens with “The Forest,” a haunting hymn harking back to the good old days of an analog existence before glowing screens, incessant pings and texts.
“The forest was beautiful/ My head was clean and clear/Alone without fear/ The forest was safe/ I danced like a beautiful fool / One time some time.”
Mimicking an actual step meeting, there’s a preamble. And then the honest sharing begins, complete with accounts of sober time and slips.
Eager to share, Jessica (Chelsea Williams) painfully recalls being cancelled after the video of her public meltdown went viral. Henry (Angelo Harrington II) is a gay gamer with a Candy Crush problem. Toby (Adrian Joyce) a nihilist who needs to stay off the internet sings “So anyway/ I’m doing good/ Mostly/ Limiting my time/ Mostly.”
The group’s unseen founder Saul is absent, per usual.
In his stead Paula, a welcoming woman played with quiet compassion by Tracy Lynn Olivera, leads. She and her husband no longer connect. They bring screens to bed. In a love-lost ballad, she explains: “We don’t sleep well/ My husband I/ Our circadian rhythms corrupted/ By the sallow blue glow of a screen/ Sucking souls and melatonin/ All of my dreams have been stolen.”
After too much time spent arguing with strangers on the internet, Marvin, a brainy young father played by David Toshiro Crane, encounters the voice of a God.
Ed (Jimmy Kieffer) deals with a porn addiction. Karly (Ana Marcu) avoids dating apps, a compulsion compared to her mother’s addiction to slot machines.
Malloy, who not only wrote the music but also the smart lyrics, book, and inventive vocal arrangements, brilliantly joins isolation with live harmony. It’s really something.
And helmed by David Muse, “Octet” is a precisely, quietly, yet powerfully staged production, featuring a topnotch cast who (when not taking their moment in the spotlight) use their voices to make sounds and act as a sort of Greek chorus. Mostly on stage throughout all of the 100-minute one act, they demonstrate impressive stamina and concentration.
An immersive production, “Octet” invites audience members to feel a part of the meeting. Studio’s Shargai Theatre is configured, for the first, in the round. And like the characters, patrons must also unplug. Everyone is required to have their phones locked in a small pouch (that only ushers are able to open and close), so be prepared for a wee bit of separation anxiety.
At the end of the meeting, the group surrenders somnambulantly. They know they are powerless against internet addiction. But group newbie Velma (Amelia Aguilar) isn’t entirely convinced. She remembers the good tech times.
In a bittersweet moment, she shares of an online friendship with “a girl in Sainte Marie / Just like me.”
Habits aren’t easily shaken.
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