Wednesday, March 4, 2009

My Diva - At a bookstore near you soon!


I'm terribly excited that my essay on The Marx Brother's comedienne Margaret Dumont is coming out this month! Check it out!

My Diva
65 Gay Men on the Women Who Inspire Them
Edited by Michael Montlack




“There is something about these larger-than-life stars that represents our yearnings for vindication, in which we see ourselves transcending the difficulties a gay man faces in this world.” —Edward Field, on Gloria Swanson



From Elizabeth Taylor, Bette Midler, and Diana Ross to Queen Elizabeth I, Julia Child, and Princess Leia, divas have been sister, alter ego, fairy godmother, or model for survival to gay men and the closeted boys they once were. And anyone —straight or gay, young or old, male or female —who ever needed a muse, or found one, will see their own longing mirrored here as well.


These witty and poignant short essays explore reasons for diva worship as diverse as the writers themselves. My Diva offers both depth and glamour as it pays tribute with joy, intelligence, and fierce, fierce love.



Michael Montlack is professor of English at Berkeley College in New York City. He has published two chapbooks of poetry, Girls, Girls, Girls and Cover Charge. This book was inspired by his love for Stevie Nicks.



A sampling of contributors and their divas include:

Virginia Woolf by Brian Teare

Margaret Dumont by Christopher Murray

Bessie Smith by Sam J. Miller

Lotta Lenya by David Bergman

Marlene Dietrich by Walter Holland

Grace Paley by Mark Doty
Eartha Kitt by D. A. Powell

Anna Moffo by Wayne Koestenbaum

Rocío Dúrcal by Rigoberto González

Liza Minnelli by Jason Schneiderman

Laura Nyro by Michael Klein

Ricky Lee Jones by Timothy Liu

Margaret Cho by Kenji Oshima

Princess Leia by Christopher Hennessy

For more information regarding publicity and reviews contact our publicity manager, Chris Caldwell, phone: (608) 263-0734, email: publicity@uwpress.wisc.edu

New Groups!

I'm enrolling now for three groups to start at the end of March, 2009.

-A 10-week Life Coaching Workshop I'll co-lead with Jack Bethke (www.jackbethke.com).

-A 10-week psychotherapy group for gay men in their 20s and early 30s.

-A 10-week psychotherapy group for gay men in their 20s and early 2-0s living with HIV.

Please contact me via www.christophermurray.org if you are interested or would like more information.

Thank you!

Wednesday, September 17, 2008






Healing the Homos

By: CHRISTOPHER MURRAY
09/11/2008

Of gay people experiencing physical pain and stresses, chiropractor George Russell warns, "If we bury our history… then it generally bites us in the ass."


LGBT/ Q&A

Do we have gay bodies? George Russell has some interesting insights, not to mention clinical experience, about that question.

A chiropractor, Russell has grown a unique practice melding his medical training, his background in dance, and his interest in spirituality. His practice, while not exclusively targeted to gay people, has informed his perspective about gay bodies and the emotional forces that affect them.

Russell graduated from Wesleyan University with a major in intellectual history and dance, then earned a masters degree in movement studies from the same institution. Afterward, he choreographed and danced in modern dance companies in New York and taught college-level dance courses.

In his 30s, he returned to school for his chiropractic degree, graduating with honors from the University of Bridgeport in 2000. Russell sees clients in an airy office off Union Square and is an instructor at the Swedish Institute and the Kripalu Yoga Center in Lennox, Massachusetts.

He's also a guest choreographer and dance master at the De Facto Dance Company in New York City.


CHRISTOPHER MURRAY: What happens in your examination room, for goodness sake?
GEORGE RUSSELL: You never know! My work varies greatly depending on the patient's issues. This week I released muscles and joints in a frozen shoulder and helped a woman to move her arm more efficiently and fully. I did bodywork on a man with chronic pain and gave him imagery for coping with his pain and relieving it; and I helped a yoga teacher discover why she has lost hip mobility. I released muscles and coached her poses until she could sit in a full lotus position again.

And one college-aged patient remembered that she had surgery on her big toe as a child, which explained why I had noticed she twists her spine and takes a short step when she walks on the left foot. I fitted her for orthotics that would allow her gait to normalize and her spine to be even.

CM: Do people usually come with something clearly busted or in pain?
GR: Yes, I'd say so. Injury - be it mental, physical, spiritual, ecological, economic - is usually the intersection of long-held habits with an unfortunate event. In the case where the woman remembered the surgery in childhood, it was new back pain from sitting at a desk that made her decide to get help. But it was her gait that had to be corrected so she wouldn't be vulnerable to re-injury. Of course I treated her back as well.

My simple job is to provide relief from the pain. My complex and ultimately more important job is to identify the habits and the stressors that underlie them, and to help patients adapt their lives to make their systems more resilient.

CM: How do you understand the spirit/body connection?
GR: Well, the two words are two ways of approaching the same phenomenon. Science tells us that energy and matter are actually the same thing, but even scientists are having trouble catching up with that idea. And we barely have words in our language for talking about how the soul - if you want to call it that - and the lower back, for example, are always influencing one another.

I mean, there's a reason why feelings are called feelings - they happen at a physical level. And so trauma - or ecstasy, for that matter - at any level will manifest on all the others. We talk, and we generally approach injury and pain, as if the body were merely physical. But we all know intuitively that it isn't really so. In my work, I help people bring it all together.

CM: Are LGBT people any different in this? Do you see a lot of LGBT folk?
GR: I'd say the process is no different, but LGBT people generally have a history - or a present, alas - of trying to deny aspects of ourselves as they manifest in our bodies. And the habit of holding a space between our spontaneous sexuality, gender, and social orientation really dies hard, no matter how much we've come out. It forms a part of our subcultures, our psyches, and, certainly, the way we hold and move our bodies.

Imagine the way you walked down the hall in eighth grade. The awkwardness, the hiding, the pretending, the sense of disconnect between what's required to survive and our spontaneous impulses have effects that often last throughout life.

Did you ever see a big bodybuilder - and when you looked closer you could still see the frightened scrawny kid inside the shell of muscle? Sometimes what looks like our strength is really our armor, and a suit of armor is heavy to carry around. Of course, the way we've overcome adversity also provides us with tremendous physical and character strength as well.

CM: So you think people physicalize homophobia and transphobia.
GR: Oh, definitely. And it doesn't all wash away. We start with a certain genetic nature. And how we nurture ourselves as LGBT adults has a lot to do with recognizing how the culture that nurtured us - and oppressed most of us - has affected our whole selves, including the physical.

If we bury our history - especially the minute physical history of how we responded to an environment that didn't have a space for who we actually were - then it generally bites us in the ass. If we can recognize the effects of the past on the present and deal with what comes up in the present with self-honesty and compassion, then we get the dividends that we see all around us in our community - compassion, wisdom, courage, and a power we didn't know we had to change ourselves and our world.

We'll have more power and information if we pay attention to our bodies. Body memory takes us right back into all the crucial moments of our lives.

CM: You must see trends in the kinds of issues people bring to you. What trends do you see among the queer people you work with?
GR: It's hard to generalize. A lot of the people who come to me - queer or otherwise (and a lot of my straight clients are pretty queer) - are aware that the exercise forms of our culture fall short of what we need to be truly healthy. They know that, for example, that emotion and physical experience run together, but they need feedback and ideas to help them integrate and improve their experience of self.

To have comfort and health, we need at least to be able to feel - from feeling the floor under our feet to feeling how someone's reaction to us makes us tighten our necks. Our culture hasn't done a good job of teaching any of us to really feel ourselves, and queer folks least of all, since we were told in profound and unique ways to act against our impulses. Many of my queer clients know this, and are aware of still working on some level to become more fully authentic.

CM: Help me understand the overall process of working with a client. I'm sure it varies, but what's usual in terms of process, length of time in treatment, severity of complaint, and degree of resolution?
GR: As long as we're alive, we are always healing - coming into, and out of, comfort, wellness, and ability. People ask me to step in and give them a boost in a difficult situation, or when they are having trouble moving in the way that they want to. It could be a yoga pose they want to be able to perform, or it could be - literally - that they've fallen and can't get up. Some people want ongoing help to feel fully alive and awake - to live fully - while other people want to be set right in the moment so they can continue on.

My clients and I set goals together. One thing I don't like to do is fix things. I don't think an approach like that respects human experience. It's great when your neck can move again when you couldn't turn it a half hour ago, but if you don't have an idea about why it happened, what it means to you, and how you can maintain your joy and power when you walk out of the room, I don't think I've done my job. I want clients to leave my office feeling more empowered, happy and wiser then they came in.

CM: How did you come to be doing this work?
GR: I always knew how to do bodywork - to work on muscles and bodies in a way that made people feel better. Maybe that had to do with being raised by a very physical Sicilian mother!

I was a modern dancer and I started working on other dancers, casually. Then people just started seeking me out to do this kind of work. I figured I'd better get some training to figure out what the hell I was doing, because it was all intuitive at that point.

I got all kinds of movement and bodywork training, and then I went to chiropractic school. I'm still studying - most recently, Focalizing with Michael Picucci, a body-based approach to resilience in all areas, Rosen work with Heather Brown, a psycho-spiritual bodywork form, Alexander Technique with Joan Arnold, improving alignment and ease of movement... the list goes on. I keep adding new things to keep me open and flexible.

CM: How does your background as a dancer influence your approach?
GR: It's all about movement. Irene Dowd, one of my primary mentors, said that whenever she had a question about a client, her teacher Lulu Sweigard would say, "Did you look at movement?" Everything about the self is reflected in our movement patterns, and I know a problem is resolved when I no longer see it in the person's walking or sitting or whatever.

CM: What advice to you have for queer people about how they relate to their bodies?
GR: Be courageous. Feel your body fully. Seek spontaneity. At work, on the street, alone, in the gym, ask yourself, "Am I having the experience I want to? Is my behavior reactive to an imagined criticism or danger?" And then see how you work with that information.

And, of course, drink plenty of water and call me in the morning.


©GayCityNews 2008

Wednesday, August 27, 2008

Katherine Linton interview







Trumping Politics with Culture

By: CHRISTOPHER MURRAY
08/14/2008


Katherine Linton, producer of LOGO series "Lesbian Sex and Sexuality"


Katherine Linton is best known to gay folk around the country from her time as the host of the long-running PBS series "In The Life." Since then, she founded her own media company and has produced a series of documentaries focusing on gay life.

Originally from Westport, Connecticut, but now recently single and living in Brooklyn with her cat Popeye, Linton, 41, studied theatre at New York University and then went to Ringling Bros. Clown College. Afterwards, she joined the Big Apple Clown Care Unit and worked in municipal New York hospitals entertaining sick children.

After that came her time with "In the Life," initially as host, but then with producing duties as well. Linton was asked by LOGO to create their first documentary, "The Evolution will be Televised," but perhaps her most controversial and high impact project has been the series "Lesbian Sex and Sexuality," also for Logo. Gay City News spoke to Linton as she prepared for the "series two" launch in September.


CHRISTOPHER MURRAY: If anyone knows, you do: what's the hot new thing in lesbianism?
KATHERINE LINTON: Not calling yourself a lesbian. Everyone is queer now it seems.

CM: Tell the truth, what do you think the world really thinks about lesbians?
KL: The world? I think the world still thinks we are as perverted and sick as ever, and I don't think the stereotypes about us have changed all that much. We're ugly, man-hating and wouldn't be gay if only we had the right man...but since we hate men, that's not likely to happen. I'm afraid that is what the world still thinks of us.

CM: I've always been confused about the role of dildos among lesbians. What's the real deal? Merely a functionary implement, or is it a representative symbolist object, or a vibratory tool of aggression and repression?
KL: D. None of the above. They are fun....and detachable.

CM: How fast is queer identity changing right now, and where the hell are we going?
KL: I wouldn't begin to pretend to be an expert on queer identity, but I do have hope that we are going to win this nasty culture war that has been waged against us for so long. The key to winning it, though, is that none of us become complacent because we have a couple of channels or some images on TV. The religious right is still a remarkably organized and powerful force in this country, and we have to be vigilant, active, and aware.

CM: Tell me about the new season of Lesbian Sex & Sexuality, what can people expect?
KL: Sex. No just kidding. Some sex, of course, but this season is more focused on expressions of sexuality. One episode focuses on Lesbian Camp, another on fashion. We go behind the scenes of Dinah Shore, and explore the issue of whether lesbians pay for sex. Another episode gives tips and techniques on how to keep sex hot in a relationship. It's a fun season so I hope people like it!


CM: It must have been so wonderful working on this series. Tell me about one of the encounters that surprised you and one that changed your view of lesbian sexuality.
KL: Well, it's been fun but hard, I can tell you that. We filmed a lesbian sex party and that was intense to say the least. I had never been to one, so didn't know what to expect. Let's just say it was really hard to figure out how to film in a way that we wouldn't have to blur the whole thing for TV.


CM: I know you are really interested in the intersection of sexual identity and religion. What's up with your piece on the founder of Operation Rescue?
KL: It's my own film in development called "Randall and Me: Together at Last". It features Randall Terry-yes, the insane fundamentalist-and me attempting to have a real dialogue. At the end of the day it's impossible to change the mind of a fundamentalist, but maybe I moved him slightly on gay issues, I don't know. But what was and is important to me is to really listen to what the right says about us and to hone my own responses to the attacks. Living in New York and being so liberal it's easy to ignore them or call them crazy, but as I said, I think that is dangerous. Fully going into Randall's anti-abortion, anti-gay world was scary and shocking, but he is certainly not alone. On Randall's side, my world is scary. I took him to Stonewall and he thought a gay man wanted to fight him. Turns out the guy was just drunk and wanted us to film him. I had to remind Randall that it's not our side that is violent, but his. We'll see what happens with the film....

CM: Do you think we are heading towards another bang up between sexuality and conservatism as the presidential election comes down to the wire?
KL: I don't think so and hope not. Gay marriage was such a hot button issue in the 2004 election, and every pundit pegged George Bush's victory on our backs as I made clear in the launch documentary, "The Evolution will be Televised," for Logo. Maybe McCain will go there, and if he does, I just hope Obama doesn't falter as badly as Kerry did. We'll see.

CM: What do you think is the impact in American culture of positive yet saucy and sex‑positive images of queer people in the media?
KL: Armistead Maupin said it best in an interview I did with him for "The Evolution": "Culture will always trump politics." Where the culture goes, politics will eventually follow. So I have a lot of faith in the impact of culture. However, we need to make sure we challenge our cultural images again and not become complacent with just a few, and also keep pushing on the political end.

CM: What else are you working on now?
KL: Just trying to get this series Lesbian Sex and Sexuality out the door. Developing a series to pitch on polyamory. Company image make-over with our website and logo. And trying to get out of the city more!


CM: You started out in the theatre, didn't you? What do you think is most important about the ability of art forms like theatre, film, and t.v. to help tell the stories of queer people?
KL: Culture is hugely important for our community. With AIDS alone, Rock Hudson's death suddenly woke the world up-albeit inspiring a hateful panic-but then you had "Angels in America" and "Philadelphia" and so many others that were so crucial in inspiring compassion, understanding, and activism. Don't know where we would be without the arts.

CM: If you could wave your magic wand and change one thing about representations of queer people generally and lesbians particularly in the mainstream media, what would you change?
KL: More images that are more realistic. And maybe Shane's haircut, only because there were so many copycats...but that seems on the wane...and it wasn't her fault.

CM: What makes you hot?
KL: Turtleneck Sweaters.


©GayCityNews 2008

Tuesday, July 22, 2008






Scandal in Manhattan

July 21, 2008

By Christopher Murray

Playwright and director Bobby Holder's comedy Scandal in Manhattan, part of the Midtown International Theatre Festival, tells the tale of two Southern sisters (Brittany Bell Spencer and Elizabeth Phillipp) caught in a rivalry for the affections of a handsome young wannabe troubadour with a secret (Evan Dahme). Following the mysterious death of their father from roach poison placed in his coffee instead of sugar, the sisters decamp to a midtown New York hotel where they encounter a cast of zanies.

Prime among the kooks they meet is the Hotel Royale's front-desk manager, the flamboyant Fred Fontaine (Joe Iozzi), and his ditzy new assistant, April (Kelly Kemp). Added to the mix like extra ingredients to a stew are an aggressive rose seller, a pair of newlyweds, and a robber with a passionate relationship with a stuffed animal, among others.

Screwball comedy is a difficult form to master. Silliness and complications galore must be balanced against a performance style that exaggerates reality without completely breaking with it. In the case of Scandal in Manhattan, the cast of 12, despite a great deal of energy, falls short of creating a delightful chaos and manages only a mostly shrill, forced, and frankly exhausting 90-minute juggernaut of pratfalls, smashups, and shouting.

When broad comedy fails to catch fire, it can be hard to assess the reasons, but in this case a flaccid script and sloppy direction leave the cast adrift, forcing them to fill in unmotivated behavior and nonsensical plot with formless and uncomfortable posturing.

Presented by the Actor's Project NYC as part of the Midtown International Theatre Festival at the WorkShop Theater, 312 W. 36th St., 4th floor, NYC. July 20-30. Remaining performances: Sat., July 26, 3 p.m.; Wed., July 30, 8:30 p.m. (212) 279-4200 or www.ticketcentral.com.





Ain't Misbehavin'
July 21, 2008
By Christopher Murray

This beloved revue of Fats Waller's immensely appealing songbook was performed originally in 1978 on Broadway by a company of three women and two men. In this revival by Harlem Repertory Theatre, the show has been expanded to a cast of almost 20 enthusiastic young performers, directed and choreographed by Artistic Director Keith Lee Grant. Harlem Rep makes clear its association with the City College of New York's Department of Theatre and Speech but still purports to be a professional theatre. On the basis of this production, despite flashes of potential, it must be said the quality remains strictly amateur.

That being said, it's moving to hear Waller's feisty, flirtatious, and flamboyant tunes sung just across St. Nicholas Park from where the composer grew up at 107 West 134th St. And despite a curtain speech that alerted the audience that there is no plot in the show, each number encapsulates a dramatic world of its own, full of delightful detail and dramatic potential.

Several of the performers make the most of the opportunity, notably guest artist Jimmy Mike assaying 1934's "The Viper Rag" with much style and charm, the honey-voiced Danyel Fulton delivering 1929's "I've Got a Feeling I'm Falling," and the powerhouse Alexandra Bernard and sassy Nathaly Lopez teaming up on 1929's "Find Out What They Like."

The barnlike but elegant Aaron Davis Hall is decorated by set designer Marcel Torres as a cabaret space with a banner emblazoned "Cotton Club" and a hanging triptych of images of Waller with his trademark impish grin and wagging eyebrows. But the supporting cast of over a dozen performers struggles to fill the space in dark patches of lighting by Brian Aldous and Jason Boyd and uneven amplification by Kane Chaing.

However, the seven-piece band, led by pianist and musical director Andre Danek, provides a strong platform for some lovely harmonies by the cast — in particular evidence during 1929's "Off-Time" — and ample enjoyment in the sheer joy of singing Waller's insouciant lyrics and unforgettable melodies.



Presented by Harlem Repertory Theatre at Aaron Davis Hall, 150 Convent Ave., NYC. July 18-Sept 14. Schedule varies. (212) 650-5960.

Friday, July 18, 2008














WALL-E is Gay

(In fact -- surprise! -- he's me!)

By: CHRISTOPHER MURRAY

07/17/2008

Okay, the gay gaze sees gays everywhere. We can turn the most innocent phrase into a sexual innuend0 - including even "innuendo" yuk yuk. We can insist for years that Tom Cruise is gay - really! I know a friend of a friend of a friend who did him in his trailer! Really! We can even almost reasonably imagine Bert and Ernie as the classic co-dependent gay couple, endlessly arguing over the curtains.

But to turn this sweet, lonely, Clutterers Anonymous robotic wannabe turned megastar at the megaplex into a closet case just strains credulity, doesn't it?

Heck, no! It's as clear as the lack of a nose on his cute little binocular face, he's a big homo-robo if ever there was one!

Let's run the numbers:

- I don't care if Babs doesn't make an appearance in any of the clips, he's obsessed with "Hello, Dolly," isn't that enough? He recreates the choreography, for Crissakes! (Full disclosure - I recreated the tearful goodbyes from the song "Anatevka" from "Fiddler on the Roof" in my teenaged bedroom.)

- He's a card-carrying fetishist, fondling objects obsessively and creating altars to display them. Let's not even talk about the scene with the brassiere. (Full disclosure - it was my older sister's baby blue one-piece bathing suit and I looked fabulous!)

- The damn movie opened Gay Pride Weekend. Duh!

- He knows lighting. All those little twinkle lights he puts up to create a mood? You go, Ms. Thom Filicia 2.0!

- His best friend is a cockroach with a penis-shaped head to rival that of Darth Vader.

- He has a speech impediment, the electronic version of a lisp.

- He's a lonely, deformed little gnome-atron dutifully carrying out his assigned tasks with a masochistic fervor while pining away for the unobtainable beauty to whom he slavishly devotes himself. (FD: Daniel Oberholtzer, track team Adonis, I still love you and I always will!)

- He doesn't want to shtup her, he just wants to hold hands. 'Nuff said.

So. Do I make my point clear? If not, the mewling sobs of the queens in the back row of the movie theaters might clue you in. We've always had a special place in our hearts for the quasi-human Pixar characters - that big sexy bluish bear-thing in "Monsters, Inc.," the prissy Ty Rex in "Toy Story," Ellen Degeneres' ditzy Dory, the fish in "Finding Nemo," Monica Lewinsky in "The Intern." Oh, sorry, she hasn't been pixilated yet. But I can't WAIT!

Yet what's clear from a queer reading of "Wall-E" is the reality that gay male self-image is still, even in these late, marriageable days, inextricably bound up in deep-rooted feelings of exclusion, unacknowledged valor, and the transcendent, redemptive power of being able to distinguish an unrecognized treasure from garbage. And showtunes, glorious, glorious showtunes.

WALL-E, you're my hero, you trashy little stud. Why won't you return my text messages?


©GayCityNews 2008