Charles Koehler 0:00 Hi, I'm Charles Koehler, and this is Lambda Reports, a program by and for the St. Louis lesbian and gay community. We've been listening to just one of a number of songs written by our guest today. Tom Wilson Weinberg, good morning, Tom. Tom Wilson Weinberg 0:16 Good morning, Charles. Charles Koehler 0:18 Tom is joining us from Philadelphia, and we've just heard We're Everywhere from his witty and wise musical production. 10% Review. Tom Wilson Weinberg 0:29 Thank you. Charles Koehler 0:30 When I when I heard it in Washington, DC, a couple of years ago, Tom, the audience was on its feet at the end, it was just great. Tom Wilson Weinberg 0:37 Well, that's very nice. Thanks, Charles. Charles Koehler 0:39 The song that we've heard talks about gays and lesbians being in the prisons of western Missouri, and it mentions that they're even the guards and even the jury. Was there anything in particular that prompted you to put that line in Tom Wilson Weinberg 0:53 That's a good question. But no, I think, well, two things. One, it is true that there are gay and lesbian people in prison, as there are everywhere else, but more than that, I was thinking of the rhyming possibilities. So that's where that comes from. I could have used any state or or jurisdiction. Charles Koehler 1:15 Well, we're glad you chose Missouri. Remember us in the Midwest, you seem to find something special in everyday situations. And I was wondering if you could tell us where you get the inspirations for some of your songs, other than something that just happens to rhyme well. Tom Wilson Weinberg 1:31 Well, usually the things that I'm thinking about do tend to have some political aspect to them, and because I've been involved in gay politics for a number of years, my inspiration comes from people who are trying to make the world better for lesbian and gay people and for all minorities. And in that work, I see a lot of struggle, but also a lot of humor, people who are working against pretty big odds sometimes have to keep a sense of humor about it in order to keep going. Charles Koehler 2:06 Well, that is one of the themes that seems to run through through most of your songs. I was I was wondering who specifically you had in mind when you write your music. Was it, is it primarily the the gay and lesbian community, or is it the straight population, or both. Tom Wilson Weinberg 2:21 It's primarily a gay audience that I'm thinking of. And I I like to think that the material is accessible to anyone, and that's the response that it usually gets, but really, I think of myself as writing for lesbians and gay men and and their friends, and it seems to me that theater goers who are of any orientation and want to learn something new might experience all kinds of things that are outside of their own world. I certainly am eager to go to a film or a piece of theater about, let's say, South Africa, or another culture, just to expose myself to that. And I like to think that open-minded people are always looking for new, new kinds of theatrical experiences. So I think anyone can come to 10% Review or listen to my songs and get something from it, but I really am directing my material to gay and lesbian audiences. Charles Koehler 3:30 Well, how would you say that your music has changed since your first album, which was All American Boy, if I'm not mistaken, it was about what year? Charles Koehler 3:31 Well, actually, my first album was called Gay Name Game. Charles Koehler 3:34 Oh, yes, right. Tom Wilson Weinberg 3:35 And that was in 79. Charles Koehler 3:46 Okay. Tom Wilson Weinberg 3:47 And then All American Boy came about three years later, and 10% Review a few years after that, and Charles Koehler 3:59 It seems to have evolved, as there's different versions of the tapes. Tom Wilson Weinberg 4:04 That's right. One thing nice about the review form is that I can change it pretty frequently, although now that it's about to be published, it's a bit more frozen in time. But when it first opened in 85 in Boston, the material was quite different from the version that's running right now. There's a production of the show running in Kansas City right now. Charles Koehler 4:30 Oh, really, great. yes, Well, maybe some of our out of state listeners might be able to see it. Tom Wilson Weinberg 4:30 That'd be great. Charles Koehler 4:32 That would be very super. Tom Wilson Weinberg 4:34 I haven't I haven't seen it yet myself, but I'm going out there next week to see that production of it. Charles Koehler 4:46 One of the most poignant moments in the production that I saw, which was in DC, of 10% Review, was the song about a person named Victor Ramirez. I believe. What can you tell us about what. About that song? Tom Wilson Weinberg 5:01 Well, that's an example of a song that was added to the show after it opened as AIDS has become a bigger issue in the gay community. I've added some material to the show about AIDS and that particular song, it's really about a fictional person I created. Charles Koehler 5:22 It seemed very real to me when I was and also to the audience when we heard it. Tom Wilson Weinberg 5:26 Well, thank you. That that's the effect that I hope to get. I want to create a human portrait, and so I've been successful. That's good, but he's really a fictional character. Charles Koehler 5:45 You had an earlier song entitled Tons of Vinyl from the the album All American Boy, and it talks about trying to find a niche in the in a record store that I believe you're working in at the time. Is that still a problem? Tom Wilson Weinberg 6:03 Well, it still is, Charles, of course, the record business is very competitive, and things that are pushed and displayed are the big mainstream products. And although I suppose in a way, it would be nice to have that kind of commercial success. I know very well that my material, because it's musical theater, because it's gay, doesn't aspire to that that kind of you wouldn't walk into Tower Records and see a big display of my records right at the front door, and that's okay with me. But it is hard for people to find the material. And at first, back in 79 it was even hard to find anybody to distribute it. Now the situation has improved a lot, because the women's record industry has taken on gay men's music as a sort of subsidiary interest. Our records, there are a number of gay men that do the kind of work that I'm doing, maybe three or four or five other people. And although we sell fewer records and tapes, perhaps, than the popular women's artists like, let's say, Holly Near or Chris Williamson, the distributors that distribute those women have picked up the gay men's records, and it's been a tremendous help to us, because we now in our rather small scale way where we are available all over the country. Charles Koehler 7:28 Yeah, it sounds like you're breaking some doing some real groundbreaking work. Tom Wilson Weinberg 7:33 Well, I'd like to think so, for trying. Charles Koehler 7:37 Well, speaking of that, who has been your musical mentor or inspiration? Tom Wilson Weinberg 7:44 Well, I like the work of a lot of people. It's hard for me to focus on any particular composer. My earliest influences were Broadway musicals, and as a kid, I was enthralled by anything Rodgers and Hammerstein wrote, and I would say that over the years, I've been a fan of Irving Berlin and Cole Porter and Stephen Sondheim and and then a lot of popular singers, also Stevie Wonder, Billy Joel. Joan Armatrading is a particular inspiration to me. So there's a lot of different people that I listen to and like but but that's sort of for the musicality my my lyrical ideas really come more from gay and lesbian activists. People that I listen to and admire are poets and politicians and writers who are writing in the gay press, and that's where I get my ideas and my inspiration. Charles Koehler 8:49 Well, we have just about 30 seconds left. If you could just give us an idea of your future plans and also let us know how we can go about or hearing more of your works. Tom Wilson Weinberg 9:00 Well, thank you for asking. I'm writing a new musical now, the 10% Review they mentioned earlier has been published. We had a terrific run in New York last year, Off Broadway for about eight months, right? And the show has been running on and off now for about five years, and continues to travel. And I'm working on a new musical this time. It's a book musical, that is to say, it has a plot and characters, and it's my first venture into that form, so it's a big challenge, but I'm enjoying the work on it, and again, it'll have a gay theme, great. Charles Koehler 9:37 Well, that's all the time we have for today. Is such a short time, I'd like to thank our guest, Tom Wilson Weinberg, for joining us, and also remind our listeners that Tom's works are available at Our World Too and Left Bank Bookstores are through Above Ground Records at Post Office Box 2233, and Philadelphia PA and their zip is 19103. We're closing our program with the song Flaunting It from 10% Review. Hope you can join us again next week for Lambda Reports. Transcribed by https://otter.ai Lyrics to Flaunting It by Tom Wilson Weinberg I know what is right and wrong, And I have known it all along. Though they tried to change my song, I've been headstrong, headstrong. I quiz the candidate on where she stands. I tell the union leader my demands. I ask my niece if she understands, And if that's flaunting it, we're flaunting it. I tell my doctor what I do. My button reads, "I'm one, too." I make my flight insurance out to you. And if that's flaunting it, I'm flaunting it. I redecorate my latest niche. I walk my poodle on a studded leash. In every restaurant I order quiche. And if that's flaunting it, I'm flaunting it. I hang my posters on the wall. I don't write slogans in the bathroom stall; I put them out where they are seen by all. And if that's flaunting it, I'm flaunting it. I cry at movies sad. I give a little <> to show I'm glad. I keep doing what the court forbad. And if that's flaunting it, I'm flaunting it. I don't censor what they overhear. Bobby was my favorite Mouseketeer. I tell the pollster we both live here. Now, I ask you, is that flaunting it? I tell the nurse he's my next of kin. We feel holy while engaged in sin. We're not dressed without a rhinestone pin. And if that's flaunting it, we're flaunting it. When I hear put-downs, I take a stand. I like to hold my lover's hand. I think fags and dykes are grand. And if that's flaunting it, And if that's flaunting it, And if that's flaunting it, we're flaunting it. Translation Jym Andris