The Whiffenpoofs of 2025

 

As I waited for my mother in the lobby of the Bellingham High School auditorium last fall, Facebook reminded me we’ve been going to musical performances together for a long time. Mom and I started by seeing shows like Saturday’s Warrior and Anne of Green Gables at the Queen Elizabeth Theatre in 1970s Vancouver.

According to Facebook, my mother and I saw the Broadway musical Wicked on tour in Seattle exactly twelve years earlier. To celebrate her 70th birthday, I’d bought tickets to a special performance benefiting the marriage equality campaign. When Mom turned 80, we saw Kristin Chenoweth at the Mount Baker Theater. For her 60th birthday, I got tickets to see the incomparable Barbara Cook sing Sondheim at Benaroya Hall.

At Bellingham High, I was waiting to share another unique musical event with my mother: the opening concert of the Whiffenpoofs of 2025’s World Tour.

The Whiffenpoofs are North America’s oldest collegiate a capella singing group. Fourteen tenors, baritones, and basses are tapped from each Yale graduating class. They sing a repertoire of elegantly arranged standards along with contemporary songs, all in tight harmonies. In addition to their concert tour, each year’s crop of Whiffenpoofs makes an album showcasing their talents. Together with my ancient vinyl and CDs, iTunes can fill an entire weekend with a guilty pleasure playlist. It’s my favourite kind of music. 

The reason the Whiffenpoofs of 2025 started their World Tour at Bellingham High School is Logan Foy. He’s the student chosen as this year’s music director (called the “pitchpipe”). Logan graduated from BHS, where he was the star of its music and theatre programs. He was also a proudly out member of the high school’s Gender/Sexuality Alliance. Each Whiffenpoof got a solo during the concert. Logan assigned himself the group’s classic arrangement of “Midnight Train to Georgia,” with he/him pronouns.

The Whiffenpoofs sounded great, and Logan basked in the hometown crowd’s love. As my mother and I walked out of the auditorium, I overheard a middle-aged man tell someone that Logan began studying with an opera coach while he was still in elementary school. It was Logan’s beaming father. I usually don’t talk to strangers. But I went over to Mr. Foy and introduced myself as a gay PFLAG dad. I said I’ve been going to Whiffenpoof concerts for 37 years, and told him he should be proud to hear and see what his son has accomplished.

The Whiffenpoofs of 2018 - L.W.W.B.

The last time I saw the Whiffenpoofs perform live was in 2018, when their tour included a stop in Seattle.

In 1975, President Ford signed legislation opening the service academies to women. Four years later, the Air Force Academy Class of 1979 adopted the motto “Loyalty, Courage, Wisdom, Bravery.” However, the Commandant cancelled their order for class rings engraved with the initials “L.C.W.B.” when he discovered the letters actually stood for “Last Class With Balls.” (At best – according to a Congressional report cataloging misconduct at the academy, the Class of 1979’s real motto was either “Last Class Without Bitches” or “Last Class Without Broads.”)

Yale College was founded in 1701, but women weren’t admitted until 1968. Similarly, after a 110-year wait, the gentlemen I saw perform in Seattle selected the group’s first female singer as a member of the Whiffenpoofs of 2019.

This year’s tenor section includes four women. It was my first time attending a co-ed Whiffenpoof concert. As someone who generally prefers his harmonies in the bass clef, I expected to be a curmudgeon. But the inclusion of a few women was not enough to tip the overall balance, and did not spoil the familiar arrangements. Instead, their voices added to the power, range, and variety of the performances.

Still, the concert sounded different. Our brains process male and female voices differently. Hearing a woman’s voice “triggers the auditory section of an audience’s brain,” which is “the area that’s used to analyze.” Because female voices are “more easily decoded,” they seem “clearer than their male counterparts.” Sure enough, this was my first time at a Whiffenpoof concert where I felt like Cole Porter’s lyrics were being beamed directly into my head.

“Singing Can Be a Drag” is Vancouver Men’s Chorus’s biggest annual fundraiser. Talented and extroverted members of the chorus don spectacular drag outfits and sing show-stopping numbers. No lip synching allowed.

I’m not the kind of guy who sings solos or wears drag. Instead, every year I volunteer at the event as an usher. This year a woman came up to me as I guided patrons to their seats. She said “You've shaved your beard since the holiday concert, but I recognized you. I wanted to let you know you have the best smile in the chorus. Whenever I watch you sing, the word I think of is ‘joyous.’”

In the classic fairy tale “The Ugly Duckling,” the hero of the story is the supportive duck mother – not the awkward swan who was lucky to find himself in the most affirming of nests. No parent expects a Whiffenpoof. But I will be eternally grateful for a PFLAG mom who raised me with the joy of music.

Happy Mother's Day

Overheard at the border last weekend....

Canada Customs:  Where do you live?

Roger: Bellingham.

Canada Customs:  What’s the purpose of your visit?

Roger:  I sing in Vancouver Men’s Chorus… 

(Usually my response continues “… and we rehearse on Wednesdays.” But this was a Saturday.)

Roger:  … and I’m going up for the Tenor Section potluck.

Canada Customs:  (Incredulously)  You’re a Tenor?

(I use my “butch voice” with authority figures, even nice Canadian ones.)

Roger:  We have First Tenors, Second Tenors, Baritones, and Basses. I’m a Second Tenor.

Canada Customs:  Did you bring anything?

Roger:  Treats from Trader Joe’s.

Canada Customs:  Are you carrying any firearms?

(Apparently my “butch voice” is extra butch.)

Tickets for our June concerts are on sale at vancouvermenschorus.ca

Un Canadien Errant

The Boys Who Lived

Vancouver Men’s Chorus is busy rehearsing for our June concerts. (Tickets are on sale at the chorus website.) This year’s theme is Totally Awesome ’80s. We will be singing songs by Cyndy Lauper, George Michael, Eurythmics, Madonna, Tina Turner, Erasure, Pet Shop Boys, Whitney Houston, and more. There will be synthesizers, dancing boys, and big hair. 

I spent the 1980s as a clueless high school student in small town Utah; as an earnest Mormon missionary in Korea; as an overachieving student at Brigham Young University; and as a liberated law student at Yale. I’m like an episode of Stranger Things – 80s music is the soundtrack of my youth. 

More than music and mullets, my relationship with the 80s is defined by one essential fact: I came out of the closet in the middle of the AIDS epidemic. 

I recently read a collection of essays with the title Between Certain Death and a Possible Future:  Queer Writing on Growing Up with the AIDS Crisis. These writers speak for my generation:

Every queer person lives with the trauma of AIDS, and this plays out intergenerationally. Usually we hear about two generations - the first, coming of age in the era of gay liberation, and then watching entire circles of friends die of a mysterious illness as the government did nothing to intervene. And now we hear about younger people growing up with effective treatment and prevention available, unable to comprehend the magnitude of the loss. But there is another generation between these two, one that came of age in the midst of the epidemic with the belief that desire intrinsically led to death, and internalized this trauma as part of becoming queer.

I arrived too late for the fun. Instead, I threw myself into activism. I joined the ACLU of Illinois as Director of the LGBT Rights/AIDS Project at the height of the AIDS epidemic. The Project’s founder, John Hammell, had recently died. Many other pioneering Baby Boomer gay activists were dead, dying, and/or burnt out. Stalwart lesbians and unprepared young gay men filled their empty shoes. 

Some people see personality types through the prism of birth order. As the first of four brothers, I exhibit many “eldest child” behaviors. But when it comes to my gay tribe, I’m part of very specific cohort:  the traumatized gay boys of Generation X, stumbling through life as perpetual younger brothers to the men of the Stonewall Generation. 

This photo of San Francisco Gay Men’s Chorus was taken in 1993, twelve years into the AIDS epidemic. The seven men in white are the original members of the chorus. The 115 men in black represent those who had already died. 

Trauma warps memory. As I learn to live with complex PTSD, I’ve discovered a handful of revealin gaps and glitches in my recollection of past events.   

For example, the quietest moment in our 80s concert occurs during “Eulogy.” Seattle Men’s Chorus commissioned this song in 1985. I have sung and heard “Eulogy” countless times since I joined my first gay chorus three decades ago, including at various memorial services. I’ve repeatedly listened to SMC perform “Eulogy” on their classic Pink Album. 

Nevertheless, I have no memory of the song. All I can tell you is that it repeates the word “Onward.” Every time VMC rehearses “Eulogy,” I feel like I’m sight-reading a shocking new testament of grief. By the end of the song I’m silently weeping.

Many of the boys died.

The theme of VMC’s June 2018 concert was Gays of Our Lives. As we read through “I Shall Miss Loving You” at our first rehearsal, I realized the last time I’d sung the song was eighteen years before, at my friend Jim Palmer’s memorial. We sang together in Windy City Gay Chorus during the 90s. The miraculous new HIV/AIDS medications came along too late to stop the disease’s progress through Jim’s body. Still, he wanted to see the new millennium. He barely made it. 

I was thirty-five years old. Jim was thirty. I weep every time I try to sing these words:

I shall miss loving you.

I shall miss the comfort of your embrace….

I shall miss the joy of your comings,

And pain of your goings, and, 

After a time,

I shall miss loving you.

Boys like Jim died from AIDS, suicide, drugs, and other causes. Somehow, some of us survived to tell the stories. 

In September 1914, soon after Britain suffered the first casualties of the Great War, Lawrence Binyon published “For the Fallen.” The poem’s fourth stanza has become known as the “Ode to Remembrance”:

They shall grow not old, as we that are left grow old: 

Age shall not weary them, nor the years condemn.

At the going down of the sun and in the morning

We will remember them.

Some of the men lived.

In 1981, a pioneering national tour by San Francisco Gay Men’s Chorus inspired gay choruses to form in cities including Chicago, New York, Seattle, and Vancouver. Forty-four years later, our founder Willi Zwozdesky still conducts Vancouver Men’s Chorus. Willi is the senior conductor in the LGBT choral movement.

VMC has never sounded better. We continue to attract talented new singers. At our recent rustic retreat, Millennials and Gen Y gay boys joined in the skits, rehearsals, and comradery. We listened to our elders around the campfire, and serenaded our conductor with his favourite song.  Along with Willi, a handful of other survivors have held the chorus and the community together through five extraordinary decades.

I am growing old. But the men of the Stonewall generation will always be older than me.