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New MD – Paul Cutts

paul-cutts

Paul joined the choir as part of a personal odyssey of moving to London and coming to terms with his sexuality. As someone with some musical training (a classical background as a cathedral chorister), he was asked to stand in when Michael Derrick was away, and within six months, took over.

I came very much through that traditional music route. I wouldn’t have known Hello Dolly! from the chorus line if you had slapped it across my face with a wet fish. So for me it was really interesting having this world opened up to me…

I’d often arrange sometimes American political protest songs, and we would sing those in new arrangements. We would challenge people’s sense of their own abilities. We would challenge them with the harmonic language that they sang in, how they blended in with other voices…

I wrote original repertoire for the choir, introduced some other more traditional music as well. At the time we also had a non-religious music policy as well, so we wouldn’t sing anything that had a religious context, which for me was challenging having come from a Catholic cathedral music background.

Under Paul, the choir became a four part – soprano, alto, tenor and bass– choir and again widened the range of music it sang. Paul left to focus on his journalistic career, although he remained a singing member for the first year.

Timeline datestamp: 14 December 1991

West Palm Beach

In October 1990 the Pink Singers became the first European LGBT+ choir to sing in the USA when 18 of us visited Florida. We had been invited by the 70 strong Gay Men’s Chorus of South Florida to perform with them at a concert called “International Harmonies” in West Palm Beach. To celebrate our visit the Mayor of West Palm Beach named Friday October 26th 1990 “Pink Singers Day”.

The venue for the concert was a huge converted cinema and we were so good even the back row stopped what they were doing!  Our repertoire included “London Is London”, “Always On My Mind” and a medley of songs by George Gershwin. We also introduced the audience to Tom Robinson’s “Glad To Be Gay” with new lyrics for the occasion.

As well as doing the concert, we also did a special fundraiser in aid of the Health Crisis Network in Miami, who continue to support people with HIV and AIDs. At that time, the pandemic had impacted heavily on the local Hispanic community and their children, so we had a very mixed audience who cheered us on our way. The highlight of the event came as we sang the song “Somewhere Out There”, when a typically noisy Miami thunderstorm erupted outside. The song never sounded more impressive.

With the performances over, the Pinkies were also able to enjoy the many delights of South Florida (some pictured here, some not!). A few holiday romances took place and some lasting friendships were made. We were to meet up with the Florida chorus again two years later at the Festival of Gay and Lesbian Choruses in Denver.

Timeline datestamp: 10 October 1990

Loose Ends

On Saturday June 24th 1989 the Pink Singers appeared on the BBC Radio 4 programme Ned Sherrin’s Loose Ends as part of a special show for LGBT London Pride Day. It was broadcast from the roof of BBC Broadcasting House and among the other guests were writer Julie Burchill, art critic Brian Sewell and magician Fay Presto. Here’s a transcript of the Pink Singers’ contribution to the recording.

Ned: Here we have the Pink Singers, a group of gay and lesbian choristers, who are going to send the music of Rogers and Hammestein into orbit, and to give a special send-off to international gay pride weekend.

Ned: You’ve already heard the Pink Singers this morning. They’re a much-travelled English gay and lesbian group, who’ve been singing for 6 years. They include teachers, computer people, civil servants, a banker and a biologist. Together they’ve sung for various charities – not all gay – they’re at the Green Room, Manchester next Saturday; the Tithe Hall Farm, Harrow the week after. And I think they’re going to start this little section by showing us how they sing Spread a Little Happiness.

Ned: You’ve got about 12 people here, you could do with more I suppose?

Sandy: We can always do with more men and women singers. But we would like some more lesbians to join us. Our three lesbian singers that were with us at the festival have left to go to New Zealand, round Europe and stay in Germany. So we are looking for more women.

Ned: Philip Rescorla, how much do you travel around the world? Where does it get you?

Philip: Well we’ve been to Stockholm. Last year we were at Berlin. Of course next week we’re at Manchester, so it’s Budleigh Salterton here we come!

Timeline datestamp: 24 June 1989

New MD – Michael Derrick

Michael, Assistant Accompanist

The next MD to take up the pink baton was Michael Derrick, who had been accompanist under Robert Hugill. Michael (born 1946) was a Mathematics lecturer and active in the scene as a member of the Campaign for Homosexual Equality and a volunteer for the Gay & Lesbian Switchboard.

He did not seek out the choir; the choir found him:

One Saturday night in October 1986, I was drinking in my favourite pub. A complete stranger came up to me and introduced himself as Robert Hugill, the director of the Pink Singers. I had never heard of them. Robert was looking for an accompanist, and one of his drinking companions had pointed me out. He asked me to come to the rehearsal the next day – which I did.

Michael continued the structure that had been established by Robert Hugill and built on the work he had done.

[Robert had] turned them into a choir which gave regular concerts, rehearsed for concerts, had a standard repertoire, a rolling repertoire. He chose the repertoire, he wrote arrangement to suit the choir. And so every rehearsal was part of a build-up to a concert: a performance and then a new set of repertoire and so on. So I knew it was that sort of choir. And at every rehearsal there was the aim of putting on the next concert. So there was a very well defined set of objectives for each rehearsal. That was the choir that I joined and it’s more or less the structure that has survived to this day.

In 2013, Michael was asked about his contribution to the choir (he’s still a singing member today) and his response focused on the development of the membership:

Before I was the conductor it was a men-only choir. But when women came along to ask if they could join I always said yes, welcomed them, sat them down and gave them some music. And by the next week there was some specific things for them to do. I’d rewrite the arrangements to involve women. And then they brought friends and slowly the number of women increased. The first concert I conducted was the first concert the Pink Singers gave with women and men in the concert. Before that there were women and men together on the marches, but it was the first concert. And for every single concert since then there have been women and men in the choir. And that’s something I’m extremely proud of.

Michael Derrick went back to being the accompanist when Paul Cutts took over.

Timeline datestamp: 15 December 1988

Various Voices 1987-1989

Philip from the tenors takes us back to the early days of the LGBT choir festival that became Various Voices, with excerpts from former Pinkie Sandy Wilson.

When I joined the Pink Singers in April 1987 there were 20 members (all men) and we had songs like Tom Robinson’s “Glad to Be Gay” and Frankie Goes to Hollywood’s “Relax”. In 1988 two women from New Zealand joined and we finally started to become a proper lesbian and gay choir.

From the beginning the Pinkies forged close links with other European lesbian and gay choirs taking part in the third European Lesbian and Gay Festival of Song in Stockholm (May 1987), and the fourth in Berlin (July 1988).

We went off to Skokholm, which was the first time we went to a Festival of Song. […] There were only the Triviatas from Cologne, Noot Aam de Man from Amsterdam, the Stockholm Gay Mens’ Chorus, and the Pink Singers. The next year we went to Berlin – the Kongresshalle. Again there was about 12 or 13 of us and we did a 30 minute set there.

In 1988 the UK Government passed Section 28 of the Local Government Act which banned local authorities and schools from “promoting” homosexuality. The European choirs were horrified at this and said ‘Next year, the festival is going to be in London’. This was a big ask for a small choir like the Pinkies but with the help of the burgeoning LGBT community in London we were able to host the 5th European Festival of Song for three nights at the Hackney Empire with 14 choruses taking part.

It was at that time that we went from being a Gay Chorus to being a Lesbian and Gay chorus. We wanted to reach out because the Lesbian community and the Gay community in lots of ways were separated. […] By the time the festival happened, we were about 20 strong. So we were the first Lesbian and Gay Choir in Europe.

We called the festival ‘Singing the Blues Away’, which of course implied fighting the Conversative (‘blue’) government’s plans to silence the LGBT community. The festival ended with a big benefit concert for the Terrence Higgins Trust at Sadler’s Wells, where Michael Cashman first announced the formation of a gay lobbying group called Stonewall. My favourite memories of that night are the massed choir of 500 voices singing Vera Lynn’s We’ll Meet Again and Gordon Kaye of TV’s “‘Allo ‘Allo” making his first public appearance after being outed by the Sunday newspapers.

The European Festival of Song was renamed Various Voices in 1995 and London hosted the event again in 2009 at the Southbank Centre when over 60 choirs from across Europe took part. Twenty years had passed and in that time the UK choral movement had grown enormously.

Timeline datestamp: 06 June 1987