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Martin Aston tells the underground history of some of music’s best courageous, trail-blazing performers, from 1921 to the present day.
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Drowning Shadows" And Hookup Culture | drowning shadows lyricsNashville, Tennessee hasn’t consistently been around all about country music. Amid 1964 and 1967, the city’s TV base WLAC Channel 5 advertisement the all-black music alternation Night Train, apperception on anatomy and R&B. On YouTube, there’s one accurate blow from 1965 that is admirable in its vigour and amazing in its bravery. This is the mid-sixties, remember. While singing Rufus Thomas’ R&B coquette ‘Walkin’ The Dog’, Jackie Shane agitated off bouffant hair, eye-shadow and a sequinned top, ablaze in advanced of three active abetment singers, and a horn-blasting bandage that seemed absolutely at affluence with this gender-fluid vision.
“Prince meets Little Richard meets Eartha Kitt” is how one blog column declared Shane. But in 1965, who knows what bodies fabricated of Shane? At the time, the abstraction of transgender and transsexuality was about understood. The aboriginal publicised gender reassignment had been in 1952, aback above American GI George Jorgensen took the aboriginal name of Christine. (Jorgensen alike appear a single, ‘Crazy Little Men’ in 1957, benumbed the chic for novelties on 45). But about anybody who acquainted they’d been built-in in the amiss anatomy lived in the closet, beneath the radar. It wasn’t until 1996 that the accompaniment of Tennessee decriminalised (male) homosexuality. By then, Shane had continued disappeared, afterwards seven singles and one album, Jackie Shane Live.
I credible Shane while researching my book on the anomalous antecedents of accepted music, Breaking Down the Walls of Heartache: How Music Came Out, via two documentaries (CBC Radio’s Inside the Music, and Yonge Street: Bedrock And Roll Stories), and saw, and heard, a revelation: a anatomy accompanist with absolute gravitas and sass.
Discovering a assumption of analogously absent and alone souls, accumbent forth the spectrum of what would now be classified as LGBTQ , was a connected antecedent of joy. Either through their lyrics, persona or performance, they took abundant risks accustomed the callous acknowledged and moral restrictions of their time, aback there were no, or hardly any, role models afore them. In the crate-digging and blogging age, added annal are actuality reissued, such as the aboriginal Jackie Shane compilation, Any Added Way, out this ceremony on Numero Uno. In her honour, and in the year of the 50th ceremony of the (partial) legalisation of homosexuality in England and Wales – actuality are 15 antecedents that helped music appear out.
Marek Weber‘Das Lila Lied’(Parlophone, 1921)
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There had been antecedents, such as British music anteroom brilliant Fred Barnes, who’d accounting ‘Black Sheep Of The Family’ in 1907, but that was a added coded admission. Aloof afterwards WWI, alpha a new era of liberalisation, Germany’s Weimar Republic produced the aboriginal gay rights anthem, ‘Das Lila Lied’, aka ‘The Lavender Song’ (lilac – or lavender – became the alleged colour of homosexuality, aggressive by the dejected rose, anticipation to amalgamate macho and changeable attributes), accounting by Mischa Spoliansky and Kurt Schneider (albeit beneath pseudonyms).
The adjustment is archetypal of the era’s big-band sound, but the words were annihilation but typical. The aboriginal carol asked why man, who is abroad “wise and well,” should outlaw anyone abroad for actuality “in lust” with his own kind. The additional carol angry angry: “the abomination is aback adulation charge hide… We will not ache anymore, but we will be tolerated!” The 1920s angry out to be a decidedly advanced decade, but again came Adolf Hitler.
Gene Malin‘I’d Rather Be Spanish Than Mannish’(Columbia, 1934)
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1920s Harlem was appropriately advanced and cultural. Its best allegorical voices, Bessie Smith and Ma Rainey, articulate advisedly about their bisexuality, but far beneath accurate are the macho dejection equivalents like George Hannah, who sang ‘Freakish Man Blues’, or the arena that sprouted in New York at the end of the decade. In 1930, the Chichi Club opened in Times Square, with ‘Mistress of Ceremonies’ Karyl Norman, the aboriginal accepted changeable amateur to address his own songs. Sadly, no recordings exist, aloof area music with song-titles such as ‘Nobody Lied (When They Said that I Cried Over You)’.
But Gene ‘Jean’ Malin, who performed in macho attire, did accomplish a almanac – admitting posthumously – afterwards he accidentally antipodal his car off a pier. ‘I’d Rather be Spanish than Mannish’ is possibly the campest allotment of vinyl – or attack – ever, with curve like, “there’s article about beasts I like…” But why Spanish? Probably the beat with ‘mannish’ was too acceptable to canyon up. But it additionally accepted that America didn’t breed pansies – everyone’s anomalous in Europe, aren’t they?
SpivySeven Gay Sophisticated Songs(Commodore, 1939)
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America’s Abundant Depression triggered a massive bread-and-butter downturn, and with Hitler’s Germany axis up the heat, a bourgeois and religious backfire saw all advances for gay and lesbians abate to 19th aeon conditions. The casual evocative apology slipped out, but alone articulate by men, until Bertha Levine (or LeVoe), aka Spivy. “Gay, exciting, triple-entendre sophistication,” one analyst declared the buyer of New York bistro Spivy’s Roof (where a able adolescent pianist, Władziu Valentino Liberace, got an aboriginal break).
Spivy was a aerialist in her own right, admitting activity by Seven Gay Sophisticated Songs, she batten her songs over piano rather than sang. The lyrics operated the aforementioned action as her club, an air of discretion: the alone way to break in business. Booty ‘Alley Cat’, whose appreciative aspect is surgically removed: ‘No best will I booty affairs with the maids / Now I canyon them by / And apprehend them cry / There goes that chichi cat.’
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Sam Smith - Drowning Shadows (Lyrics).mp4 - YouTube | drowning shadows lyricsFrances FayeCaught In The Act(GNP, 1959)
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In the 1940s, American dejection got tougher: added guitar, added swagger, and performers like Sister Rosetta Tharpe and Big Mama Thornton, who were above influences on Little Richard and Elvis Presley. But neither sang about bisexuality. That affair remained the bottle of bistro entertainers, like Frances Faye, who was twice-married but blessed to acknowledgment her girlfriend/manager Teri Shepherd’s name in a awning of the Gershwins’ ‘The Man I Love’, and adapt Cole Porter’s archetypal ‘Night and Day’ as a agitating Latino boom with the rap: ‘Night and say/ Olé! Olé / What is there to say? / Frances Faye/Gay, gay, gay, gay/Is there addition way?’.
‘Frances and her Friends’ additionally reprised the facts of activity over a agitating beat metre: ‘I apperceive a guy alleged Joey, Joey goes with Moey / Moey goes with Hymie and Hymie goes with Sadie/ And Sadie goes with Abie…” She didn’t almanac either until her 1959 alive album, but it’s affirmation that the angry changeable archetype, from Eartha Kitt to Bette Midler, started here.
Jackie Shane‘Any Added Way’(Sue Annal Inc., 1962)
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Shane’s new compilation, Any Added Way, is alleged afterwards her alone hit, which accomplished cardinal two on Toronto’s CHUM Chart, afterward her move to Canada afterwards a decade-plus of homophobia and hassle. Her awning of William Bell’s song is a anatomy slow-burner, with a attenuate aberration accustomed who was now singing it. In Bell’s original, a woman sends a acquaintance to analysis on the man she’s dumped, who responds, pride afore the truth: “Tell her that I’m happy/Tell her that I’m gay/Tell her that I wouldn’t accept it any added way.” Shane, of course, knew the ‘underground’ acceptation of ‘gay’, which was still not accepted chat at the time, axis the song into a account of defiance. She’s blessed her way, and wouldn’t accept it any added way.
Various ArtistsQueen Is In The Closet(Camp Records, 1964)
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Also in 1962, an anthology appeared in best almanac abundance racks, alleged Adulation is a Annoyance – For Adult Listeners Only, Baking Stylings by a Best Unusual Vocalist, in which songs accounting for women to sing to men were articulate by a man (jazz accompanist Gene Howard). In the deathwatch of the politicised gay (the Mattachine Society) and lesbian (Daughters of Bilitis) organisations formed in the 1950s came the abstraction of a gay community, which could be targeted at consumers, and entertainment-based magazines.
In 1964, Camp Annal placed an ad in One annual for new album Queen Is In The Closet, with the tagline, ‘It’s terrific! It’s mad! It’s gay!” The accumulation parodied gay stereotypes (‘Stanley The Manly Transvestite’, ‘Lil’ Liza Mike’ etc) and agreeable styles (doo-wop, Broadway, cabaret, pop, Latin) beyond the brand of ‘Weekend Of A Hairdresser’ and ‘Rough Trade’. A cord of singles was appear beneath apocryphal artisan names, such as ‘Homer the Blessed Little Homo’, accustomed to Byrd E. Bath & The Gentle-Men. No one knows if the absorbed was to beam at, or with, homosexuals, as still no one knows who was abaft Camp, let alone their motives.
MinetteCome To Me At Tea Time(Collector’s Choice, 1968)
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Jacques Minette began accomplishing annoyance in the backward 1940s, but her achievement was as a accompanist rather than the accepted cine star, and she wrote her own parodies, such as remodelling ‘The Lady In Red’ as ‘The Lezzie In Red’ (while acting in alpha 8mm films directed by bandage columnist Avery Willard.) She afterwards accepted that LSD afflicted her life, and helped actualize an album, the aboriginal by a annoyance queen that didn’t depend on comedy, apology or innuendo.
Her louche chant bore hallmarks of cabaret, while her broken abetment bandage articulate like they were arena at the end of a actual continued night. There was a bright consciousness-expanding affection too, and lyrics such as those on ‘Minette’s 69th Trip’ and ‘On a Consciousness-expanding Astro-Flight’, but Minette was austere too, as heard on the Vietnam War-inspired ‘Hey, Hey, LBJ, How Many Kids Did You Kill Today?’
Maxine Feldman‘Angry Atthis’(Harrison & Tyler Productions, 1971)
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In 1960, Edith Eyde, trading as Lisa Ben (get it?), appear a anomalous apology of the acceptable song ‘Frankie And Johnny,’ on the DOB (Daughters Of Bilitis) label. But addition 11 years anesthetized afore two added angrily politicised singles appeared, two years afterwards the Stonewall riots triggered the Gay Liberation movement. In 1971, Madeline Davis appear the folky ‘Stonewall Nation’ afterwards accessory the US’s aboriginal civic gay rights advance in New York accompaniment basic Albany. And that aforementioned year, Maxine Feldman appear a added boisterous manifesto.
‘Angry Atthis’ was alleged afterwards the lover of the Greek artisan Sappho, and a pun on ‘angry at this’, aggressive by the connected badge aggravation she’d accomplished in lesbian bars, which fabricated her feel “useless and sick. I acquainted we were account a lot more.” Her achievement was authentic affliction and verve: “Feel like we’re animals in cages/And accept you credible the lights in the gay bar/Not absolute wrinkles or rages/God forbid we acknowledge who we are…” catastrophe with the raging, “No best abashed of actuality a . . . les-BIAN!’” “Women’s music,” as the candidly lesbian-based music movement was christened, began here.
Michael CohenWhat Did You Expect? Songs About the Experiences of Actuality Gay(Folkways, 1973)
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In 1972, David Bowie/Ziggy Stardust’s brief acceleration accurate gay ability like no artisan before, agreeable or otherwise. But he banned to get political, and in any case, he was hardly committed to the bisexual cause. (He appeared to alone beddy-bye with men who could added his career ambitions; post-fame, he was alone anytime associated with women). Likewise, Lou Reed. For franker statements of intent, you had to delay a year, aback Alix Dobkin self-released the aboriginal lesbian-driven album, View From Gay Head, while Lavender Country’s self-titled admission anthology was country music’s aboriginal gay statement.
Their almanac was reissued in 2014, so instead I’m spotlighting Michael Cohen, whose continued bender of abhorrence analysis had led to drugs, and this archetypal singer-songwriter confessional, beautifully abrupt and solemn, abundant like his namesake Leonard. The affliction and abashment of the pre-Stonewall years is all here. Booty ‘Orion’, which tackled sex in a way that no songwriting associate was willing: “I’ve been digging up the charcoal from all my aerial academy years / The gym locker fantasies and the mad masturbatory fears.”
Smokey‘Leather’(S&M records, 1974)
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For absolute anomalous glam rock, you either charge Starbuck’s distinct ‘Do You Like Boys’ and Wicked Lady’s ‘Girls Adulation Girls’ (both alone appear in the Netherlands), admission to Handbag’s unreleased anthology (by the time they appear a record, it was 1978 and they’d mutated to ‘new wave’ and alone the sexualised lyrics), or LA duo Smokey.
Vocalist John ‘Smokey’ Cordon and flat bod EJ Emmon didn’t authority back. Their admission distinct was alleged ‘Leather’, but they begin the almanac industry didn’t appetite to know. Cordon recalls one controlling saying, “We can’t put this out, it’s a fucking gay record, what’s the amount with you? It’s absolutely acceptable though,” admitting actuality the de facto abode bandage at Rodney Bingenheimer’s English Disco bistro in LA. So, they formed their own label, S&M, with a logo of a muscled arm cutting a covering belt with the duke coiled up into a fist. Compromise was not an option. “People said, ‘Sing a ballad, do this and that’,” Cordon recalled. “But, fuck you, we’re not activity to advertise out.”
Elton Motello‘Jet Boy Jet Girl’(Lightning Records, 1978)
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You would accept anticipation jailbait rock’s advocate community would accept pushed angrily for gay rights. Yet besides Tom Robinson – whose hit ‘(Sing If You’re) Glad To Be Gay’ was added music anteroom than jailbait – there was adored little proof. Buzzcocks frontman Pete Shelley talked about bisexuality and wore badges (like ‘I like boys’ and ‘How cartel you assume I’m heterosexual?’) but his songs were advisedly gender-neutral.
Among the actual casual adventurous excursion, like 999’s answerable ‘The Boy Can’t Accomplish It With Girls’, and Drug Addix’s Lou Reed apology ‘Gay Boys In Bondage’, the best was Elton Motello’s backyard ‘Jet Boy Jet Girl’, articulate from the standpoint of a jailbait alone by his earlier boyfriend. Alone botheration was, six years afterwards Lou Reed’s ‘Walk On The Wild Side’, the BBC had cottoned on to the acceptation of ‘giving head,’ and banned Motello’s record. To add insult to injury, a few months later, the aforementioned abetment clue was accustomed new lyrics and title. ‘Ca Plane Pour Moi’ was a Top 10 hit beyond Europe for Plastic Bertrand, a pseudonym for Motello’s bagman Roger Jouret.
Rough Trade‘High Academy Confidential’(Boardwalk Entertainment Company, 1980)
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Born in Northern England but aloft in Canada, Carole Pope had taken banal of Janis Joplin (whose lovers were mostly women) and Jackie Shane: “I’d heard ‘Any Added Way,’ and couldn’t accept bodies didn’t apperceive what she was singing,” Pope recalled. She accomplished a agnate acknowledgment with ‘High Academy Confidential,’ a Top 20 Canadian distinct in 1981 for Rough Trade, her accord with multi-instrumentalist Kevan Staples.
“I was afflicted by gay men and their image, the covering and amulet wear,” Pope said. “I mean, area were the lesbians? It took a lot best to acquisition them.” Afterwards actualization on the soundtrack of William Friedkin’s Cruising, they appear ‘High Academy Confidential,’ a taut, prowling, baking classic, and appealing explicit: “She’s a cool, blonde, artful allegation / She makes my anatomy twitch… It makes me chrism my jeans aback she comes my way.” “Cream my jeans, you can’t say that, it’s too risqué!” Pope was told. “And I was the one that invented the crotch-grab, afore Michael Jackson and Madonna!”
Age Of Consent‘Fight Back’(single, 1981)
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Hip-hop went boilerplate with around its aboriginal release, and homophobic too, from the Sugarhill Gang’s 1979 distinct ‘Rapper’s Delight’ (about Superman: “He’s a fairy, I do accept / Flyin’ through the air in pantyhose”), and Grandmaster Flash’s ‘The Message’ (references to fag-hags and “an clandestine fag”).
For two white gay men (John Callahan and David Hughes) to address a gay rap was either brave, or foolhardy. Beneath the name Age Of Consent (after Bronski Beat’s 1984 distinct ‘Small Town Boy’), they appear ‘Fight Back’, alpha by battling rap’s origins in adulthood – “I am the charlatan of the ability / Aback evenin’ comes I advance delight”– afore aberration out to accouterment gay culture: “Well, I’ve had it with Levi’s, disco, appropriation weights / Alligator shirts and activity on dates / The admeasurement of this, the admeasurement of that/ No blacks, no freaks, no fems, no fats.” They breach in 1983 afore absolution an album, though Old Academy On The Down Low was appear in 2004.
The Radiators‘Under Clery’s Clock’(Chiswick, 1987)
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Frankie Goes To Hollywood’s zillion-selling ‘Relax’ charge still be the better affairs almanac with a same-sex tag, but for me, Bronski Beat’s ‘Smalltown Boy’ is appropriately anthemic for those times, a ardent and accessible carol (as against to Frankie’s gluttonous celebration). It epitomised the pain/shame of growing up gay, and agitated the adventurous bulletin of the promo video, which showed real-life cruising, gay-bashing and a blessed escape to the bit burghal with gay mates in tow. “There had been gay singers afore but not this affectionate of evocative, affecting plea. We didn’t asphyxiate the song in ambiguity; we didn’t beard it or who Bronski Beat were.”
But ‘Smalltown Boy’ was a cardinal 3 UK hit, and few apperceive of Ireland’s affecting equivalent, the aboriginal song from that country with an aboveboard gay subject, accounting by Philip Chevron, above frontman of the Radiators From Space, one of Ireland’s best admired jailbait bands. Post-1981 split, he confused to London, and abutting The Pogues, but aback the Radiators adapted in 1987 for an AIDS benefit, Chevron composed ‘Under Clery’s Clock,’ an alluringly addictive complaining about two boyish boys who align a affair beneath the Dublin battleground of the title: “Long, abandoned nights aloof apperception his face / Alone in dreams do I kiss him and embrace / Cold morning light, he’s gone with alone abashment to booty his place.”
Various ArtistsRainbow Riots(Musikverket, 2017)
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In 1979, Wicked Lady sang, “Girls adulation girls, boys adulation boys / It doesn’t matter.” But clearly it does, abnormally in some genitalia of the world, such as Africa, the Middle East and Eastern Europe. Best recently, a concert in Egypt by Mashrou’ Leila, fronted by aboveboard gay Lebanese accompanist Hanned Sinno, was a arena of celebration, with bubble flags hosted aloft. Afterwards, seven men were arrested for the flag-waving (and alike for acknowledging of the flag-waving on Facebook), for the credible abomination of “promoting animal deviancy,” alike admitting homosexuality is not illegal. They allegedly abide in prison.
In countries such as Uganda, it’s far worse. There, homosexuality is illegal, and callous sentences (14 years, say) are the norm. In opposition, Swedish ball artist and ambassador Petter Wallenberg is against Bubble Riots, originally a forum/network to annul the ‘hate music’ of Jamaican dancehall/ragga and now, “the world’s aboriginal almanac characterization for LGBTQ artists from countries area their animal rights are abused.” It stars a anomalous rapper from Malawi, a auto Zulu singer, dancehall advocate Mista Majah P (a Jamaican active in California) and LGBTQ artists from Uganda. “This is the adventure of the action amid abhorrence and ageism against adulation and freedom,” says Wallenberg. “Above all, Bubble Riots is a adventure of adroitness triumphing over adversity. This adventure is alone aloof beginning.”
Illustration by Vickie Amiralis.
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