22 FEBRUARY 9-15, 2023 westword.com WESTWORD | MUSIC | CAFE | CULTURE | NIGHT+DAY | LETTERS | CONTENTS | Rainbow Beacon THE DENVER WOMEN’S CHORUS SHARES QUEER HISTORY IN “P.S. I LOVE YOU.” BY JUSTIN CRIADO The Denver Women’s Chorus has a long his- tory of providing politically progressive mes- sages through the power of song. Since 1984, the trans- and nonbinary-inclusive chorus, which currently comprises approximately 150 LGBTQ+ singers and dedicated allies, has always embraced diversity, equity and intersectional feminism, promoting change with music throughout the Denver area. “We have a fi ery bunch that’s really gung- ho about pushing forward and progressing on social issues,” says Dr. Clelyn Chapin, who was appointed artistic director of the chorus in 2021. “What we do get is a lot of gratitude from members who say, ‘I’m so blessed to be a part of this community, be- cause I know you understand and that we are one another’s allies. I’m so glad to have that as a part of my life.’” Following the U.S. Supreme Court de- cision to overturn Roe v. Wade last June, chorus members focused on three “My Body, My Voice” performances in an effort to pub- licly share their point of view. For this year’s spring concert, climate action is the theme. But before that happens, the chorus has been busy putting together a two-part Valentine’s Day weekend series titled “P.S. I Love You,” which shares the stories of jazz composers Cole Porter and Billy Strayhorn, who were both members of the queer community. The shows, which include seventy choral singers and a jazz trio, take place on Friday, February 10, at Brighton Armory, and Saturday, Febru- ary 11, at Wellshire Presbyterian Church. Choral member Gloria Price Moser says that highlighting these two musical greats is just as timely and relevant as the other subjects the chorus tackles. “Just acknowledging that there isn’t one type of love — all love is love — is always a timely message. And acknowledging that there are gay Black men who are incred- ibly infl uential and talented and people should know more about — that’s always a timely message, also. From what I’ve learned, there’s even more stigma in the Black community about being a gay man than there is in the white community. Representation matters. Getting it out there in any way that we can is important. This is one of the few ways that the Denver Women’s Chorus can get that message across — that there are powerful gay Black men that deserve our respect and attention,” Moser says, particularly regarding Strayhorn. Strayhorn is best known for his longtime musical collaboration with Duke Ellington, who became one of the genre’s greats behind songs co-written by Strayhorn, including “Take the ‘A’ Train,” “Chelsea Bridge” and “Lotus Blossom.” A quiet and reserved in- dividual, Strayhorn didn’t always mind that Ellington received most of the spotlight. “He purposely kind of hid in Duke Elling- ton’s shadow in order not to bring attention to himself as a gay man. What would his life be like now? Would he still live in the shadow of a more prominent straight Black man? Or would he be able to, in this society, be more on his own and be just as successful?” Moser muses. “It’s something I’m really passionate about. Representation mattering is always timely. There are very incredibly talented gay Black men who really haven’t been ac- knowledged as gay Black men.” Meanwhile, Porter — who was married for 35 years to his wife, Linda Lee Thomas, who knew and accepted that he was gay — lived a more extravagant life in the public eye as the creator of such songs as “I Get a Kick Out of You” and “Anything Goes.” Chapin, who also serves as the associ- ate director of choirs at the University of Northern Colorado, believes it’s impera- tive to highlight the jazz of these men in order to educate not only the singers, but also audience members who might not be familiar with their stories and their impact on popular music of the 1930s and ’40s. “I think it’s really important with Cole Porter, because he was out telling that story. If you were a gay person or a person who was up on lingo at that time, for instance, there’s this lyric in one of his songs: ‘But if, baby, I’m the bottom, you’re the top.’ That was already slang back in Cole Porter’s day. People knew what he was writing about,” she says. “He was kind of pushing some boundaries of appropriateness in the eyes of Hollywood and the censorship that happened during that era. People saw him getting away with pushing the boundaries because he was so clever and catchy; the music was so charming that he was able to open doors for later musicians to push boundaries, as well. “It’s crucial. It’s not as if inequity is com- pletely absent from our society today. We still have discrimination in the music world. We still have an outsized majority of composers who identify as white straight men,” she continues. “When we choose to specifi - cally highlight queer composers or minority composers, that is what tells the world that this music is every bit as good as the music that was written by Mozart or Beethoven.” The “P.S. I Love You” concerts also allow singers to step out of their comfort zones and sing solos in a genre they might not be as famil- iar with. Jessica Donovan-Massey, who joined the group four years ago, is one of those singers; she took the opportunity to audition for a solo, which is something she’s always wanted to do. “I never, ever would have had that oppor- tunity if it wasn’t for Clelyn and the Denver’s Women Chorus. … It’s terrifying. I’m telling you, I was mortifi ed that I got the solo,” she says, adding that she’s been following the Rule of Six P’s — “Proper preparation prevents piss poor performance” — and is dedicating her solo to her husband as a thirtieth wedding anniversary gift. “It’s such a great opportunity. It’s a blessing to have the chance to be feeling this way.” Like Moser, she shares the sentiment that love should be celebrated in all its diversity. “I love their stories, and I love that the music refl ects it in its style, slyness and in- nuendo. The idea that no matter what, it is what it is. We can’t help but delight in it. In spite of whatever the rules were at the time, love is love. It can’t be anything else. It is what it is,” Donovan-Massey says. “They lived their truth, and I’m going to live mine, too. I would like everyone to have the chance to sing along to those songs and enjoy it. You can’t help but feel it. For them, it was hidden — it had to be on the down low or under the curtain of night. But you can’t ignore it. The way you feel when you’re in love is the way it is, and it’s a wonderful thing.” The singers also commend the Denver Women’s Chorus for maintaining an inclu- sive community built on trust, support and assurance. “Just having a safe space is always so important. … Knowing that we’re all safe in our expression of sexuality or identity is of such paramount importance. Straight people feel safe in their sexuality wherever they go. The grocery store is a safe place for them; it isn’t necessarily for the rest of us,” Moser points out. “Having a place we can go for even a few hours and just be absolutely, 100 percent safe and authentic and open is freeing, and it helps boost self-love and self- care. It means everything to me.” “In so many ways, it’s proven to be foun- dational to my mental health, emotional health, sense of well-being and sense of joy,” Donovan-Massey adds. “As a woman, it’s a place. As an LGBT person, it would be a place. As a singer, it’s a place. It’s a place for everybody. I have never in all of my years of existence found a place that’s more accepting. Everyone has a place where they’re accepted, no matter what their story is.” “P.S. I Love You,” 7:30 p.m. Friday, February 10, Brighton Armory, 300 Strong Street, and noon and 7:30 p.m. Saturday, February 11, Wellshire Presbyterian Church, 2999 South Colorado Boulevard, $15-$50, denverchoruses.org/dwc. MUSIC “P.S. I Love You” shares the stories of Cole Porter and Billy Strayhorn. COURTESY SETH MCCONNELL
