| May 23, 2012
FILM
25
God, Flag, Pickup Truck, and Lesbian Singer then had a hit song with “Shut Up and Drive,” and later went ne does not have to to #1 on the country music listen to — or even charts with her single “Single l i k e — c o u n t r y White Female.” The film also shows how “no music to appreciate t he emot ion- one is out in Nashville” and that filled, confessional documen- country music — long representary “Wish Me Away,” a film that tative of the flag, the family, and recounts the historic coming God — may not be ready for an out of singer/ songwriter Chely openly gay performer. As end credit notes show, they may still Wright. Wright’s story of fear and not be. “Wish Me Away” only briefly courage is told through a seamaddresses the less inteprofessional gration of WISH ME AWAY ramifications her songs, Directed by Bobbie Birleffi and Beverly Kopf of Wright’s photos, and First Run Features Opens Jun. 1 coming out. videos (both Quad Cinema This is dispersonal and 34 W. 13th St. appointing professionquadcinema.com given the al), as well emphasis as interviews with the singer’s family, friends, everyone in the film places on colleagues, and supporters. the potential for damaging her The result is not just a compel- career her announcement creling portrait of a country music ated. More should have been superstar struggling with her included about how Wright’s sexuality, but also a revealing music career suffered as a behind-the-scenes look at how result of her declaration she is her public coming out cam- a lesbian. The film merely suggests that it did. paign was orchestrated. The real focus of this intimate For viewers unfamiliar with the country music star from documentary is Wright’s strugWellsville, Kansas, “Wish Me gle with a lifetime of lying about Away” documents Wright’s place her sexuality. Viewers follow her in the Nashville scene. She won years-long journey and root for the Top New Female Vocal- Wright as she goes from closeted ist award from the Academy of star to bold, out lesbian waving Country Music in 1995. She the rainbow flag at Pride events.
O
䉴
PIERS, from p.24
you will, to meet friends, sunbathe and relax, as well as to pursue the excitement of sexual encounters. Artists utilized the vast spaces of the pier buildings to make some of the most influential and experimental contemporary art of the 20th century. Many went on to make their names as major players in the art world.” Jones added that he learned a lot in working on the project, explaining, “Talking to the artists and photographers who were there, who saw this world come and go, and to hear their stories was one of the most moving experiences imaginable. Above all, I had a powerful sense of how fortunate I am to be able to live my life as I do today, in large part due to the progress made by earlier generations of gay men.” Katz said that what made the piers
As she wrestles with her decision to break her silence, beset by shame, Wright is likable and appealing. Personal clips of her interacting with her sister are charming and funny. And she is touching in segments that reveal a scared young woman on the brink of personal freedom. Wright explains how self-hatred led her to reject the example of out lesbian Billie Jean King. She also acknowledges botched romantic relationships, admitting she was unfair in her breakups with fellow country music star Brad Paisley as well as a woman she loved and lived with. Wright’s candor is authentic, and it provides a deeper understanding of how secretive — and tortured — she was. By articulating what held her back, Wright makes clear just how liberating her coming out was, offering, in the process, an inspirational lesson for her fans and the film’s audience. Wright’s struggle was handled with grace and tears, and she went through the familiar stages of denial, anger, bargaining, depression, and acceptance. The singer weeps throughout the film, telling stories of lying about and hiding her sexuality. Particularly moving are discussions between Wright and her pastor, Reverend Dr. C. Welton Gaddy. She lets loose her tears describ-
unique in relation to 1970s bathhouses and discos was that the piers were free, public spaces. “That very openness was the key,” he said, adding, “You didn’t have to claim anything to walk into them,” including self-identification as gay. “This was a free space, and let’s not lose sight of that. The piers were democratizing,” for the poor, the young, and those new to New York who had not yet found their way. New York today has far fewer such spaces. Katz said gay New Yorkers should see the exhibit because “the arrogance of the present is that it remakes the past in its own image, and the piers bespeak a very different image and a very different politics from our current one. And while I am very much in favor of the choice for people, for example, to get married, I don’t want our sexual dissidence to get, as we used to say, ‘straightened up.’”
Chely Wright riding as grand master of the 2010 Chicago Gay Pride Parade.
ing her suicide attempt and her efforts to pray away the gay. Viewers will likely cry as well. It’s hard not to well up with tears and admiration when Wright’s father discusses how much he loves his daughter on “Oprah.” When she came out, Wright did so in a very public campaign. Talking to celebrity publicist Howard Bragman, she is seen learning how to answer ques-
tions about her self-acceptance and counter attacks from fans who might feel betrayed. His advice is useful, and it assuages her fears about backlash. “Wish Me Away” provides a valuable tool for anyone needing to find self-acceptance and confidence in the coming out process. Wright’s lessons resonate well beyond the already ample legions of country music fans.
COURTESY OF LGBT COMMUNITY NATIONAL HISTORY ARCHIVE
BY GARY M. KRAMER
FIRST RUN FEATURES
Chely Wright tells the painful, inspiring story of her coming out
Leonard Fink’s “West Side Highway, Tava Phallus,” 1977, silver gelatin print, 10 x 8 in.