Before I start picking on Barry Walters's Mighty Real: A History of LGBTQ Music 1969-2000 (Viking, 2026), I want to stress its virtues. Walters is a longtime music journalist, and he's actively covered most of the period he wrote about in his book, interviewing many of the artists and attending their performances. The book is long -- almost 500 pages total -- and will probably come as a revelation even to many gay people who lived through those years, let alone the young. I'm ten years older than Walters and began reading the pop/rock press in the late 60s, so I was familiar with most of the music and musicians in the book, though some details were new to me. That won't be true for most of its audience, and none of my criticisms here should dissuade anyone from reading Mighty Real. It's a good read, and you'll almost certainly learn a lot.
What bothered me was the book's overall tone. Part of this is because of the era: there were almost no openly gay pop musicians in 1969, though some were almost out, such as Little Richard, and a lot of innuendo and code got past industry censors. Broadcast radio was the main outlet for recorded music in those days, and Walters does a good job with this aspect of his subject. Double entendre and innuendo were rampant, not only in radio but in TV and the movies. In addition to that, song lyrics contain a lot of ambiguity by their nature: if the singer addresses "you," the listener can identify himself or herself regardless of the songwriter's intention. One example out of many Walters gives early on (xiv):
Some songs are unintentionally queer, like the Partridge Family’s 1970 smash “I Think I Love You.” Although it was released on a label run by a gay man, Bell Records’ president Larry Uttal, it launched a fictional family rock group designed for mass consumption via a TV sitcom. That show begat the early ’70s’ defining teen idol, David Cassidy. But once you consider “I Think I Love You” as an LGBTQ song, it’s hard to hear it any other way.... Against all odds, this bubblegum ditty sums up the first step to coming out in an accidental but oddly articulate nutshell, depicting both the angst and the elation of going public with private truths.
I see his point, but I think he has it backwards in a symptomatic way. Fear of rejection, confession of what might be unrequited love for fear of being mocked, the joy of finding out that one's affection is returned after all -- these aren't specifically LGBTQ feelings or experiences. Rather than symptoms of our difference, they're evidence that we're not so different from straight people after all - at least not for these reasons. I admit that I was in my thirties myself before it dawned on me that when I suffered from failed love, it wasn't because I'm queer (I was actually over that by then) or a neurotic loser, I was participating in the human condition. I've pointed out before that alienation is a majority if not universal experience, especially among adolescents.
I'm not denying that gay kids are still isolated, alienated, or endangered. Of course they are. What I'm saying is that rather than glamorizing those experiences by treating them as inherent to the LGBTQ experience, we should universalize them, and try to find ways to make them less damaging and painful. This is a theme that runs through Mighty Real, and it bothered me. If you read it, see what you think.
As time went on, some musicians tried to move beyond innuendo and coding to expressing themselves openly. They encountered a great deal of resistance, not just from bigoted fans but from the people who ran the music industry itself and from the music press - and also their own closeted selves. As a result, gay fans worked themselves into ecstasy over every real or imagined dropped hairpin (as queens of my generation called such hints). Walters traces numerous examples of these, acknowledging that the practice is now called "queer-baiting," dangling the possibility that a given star or wannabe might be That Way to excite the fans, then pulling it back. It's hard to say when it's a cynical strategy orchestrated by agents and PR people and when it's really testing the waters by a gay performer, but it becomes less and less tolerable as time goes on. Walters is too generous to his icons and divas for my liking, tripping lightly over Madonna and Sandra Bernhart gamboling on late-night TV, dropping the name of a lesbian bar they'd gone to for example without explaining what was really going on. Maybe he doesn't know; that's the point.
I'm certainly sympathetic to performers who fear hurting their careers by coming out, especially forty and fifty years ago. I'm less sympathetic as Walters's history moves toward the twenty-first century and numerous stars have come out successfully. I also think more credit, indeed celebration, should go to those performers who came out early on, and less to those who went public reluctantly and resentfully, attacking unnamed activists and extremists who supposedly pressured them to stop lying and hiding. There's less opprobrium directed at industry people, from record label bosses (some of them gay) to management and pop critics, who pushed performers to go on lying and hiding. Ricky Martin said it well when he came out, and uniquely as far as I know:
Many people told me: "Ricky it's not important", "it's not worth it", "all the years you've worked and everything you've built will collapse", "many people in the world are not ready to accept your truth, your reality, your nature". Because all this advice came from people who I love dearly, I decided to move on with my life not sharing with the world my entire truth. Allowing myself to be seduced by fear and insecurity became a self-fulfilling prophecy of sabotage. Today I take full responsibility for my decisions and my actions.
This was in 2010, outside the official scope of Walters's history, though he jumps ahead from time to time. He doesn't mention Martin.
The most obnoxious example of queer-baiting Walters mentions to my mind, though he doesn't call it that, is Diana Ross's 1980 hit "I'm Coming Out." I remember the gleeful squees that resounded in my local gay bar when the first time the DJ played it. Walters describes the song's origin:
In recent years, [Nile] Rodgers revealed this indispensable hit’s inspiration. “One particular night I went to a club, the Gilded Grape, and I happened to notice at least six or seven Diana Ross impersonators. So I went outside to call Bernard and said, “You know, Diana Ross is revered by the gay community. If we wrote a song called ‘I’m Coming Out’ for Diana Ross, it would have the same power as James Brown’s ‘Say It Loud—I’m Black and I’m Proud.''
Wow, really? I think a more accurate analogy would be if a white singer had recorded "Say It Loud -- I'm Black and I'm Proud." And it gets worse.
Ross reportedly had no idea she was singing anything queer. To her, “I’m Coming Out” was about busting free from Motown’s formulaic confines. Miss Ross’s concert opener for the next several decades, it features a commanding yet funky horn fanfare befitting a Black queen. The song also functions as a women’s lib anthem. Even its unconventional vocal curves and melodic curls suggest bold yet nuanced feminine assertion. Because Rodgers understood that Ross had always disclosed emotions in her music that LGBTQ people couldn’t speak in the mainstream, he knew the singer could once again be a conduit for her audience’s aspirations. If they couldn’t come out in real life, they could get a taste of that emancipation on the dancefloor.
Nah, I'm good. I don't think I ever encountered a gay person who believed that Ross was really coming out in that song; they were just excited that she had deigned to recognize their existence. And it turns out that nobody told her she was doing even that. Noblesse oblige has never done much for me. I don't want a taste of emancipation on the dance floor, I want emancipation outside and everywhere. Walters does too, but like many of us he's too grateful for any crumb of affirmation he can get, be it a song the singer doesn't even understand or a male singer's suggestive butt wiggle onstage.
“Dave Gahan has become an accomplished bum wiggler,” Neil Tennant once wrote before he and fellow Pet Shop Boy Chris Lowe made a thing out of standing still.
I'm not the only old gay person who misses the anger that drove Gay Liberation in the early 70s and Queer Nation in the 90s. This weekend I finally got around to reading Armistead Maupin's memoir Logical Family, which among other things is a reminder of how human-hearted that anger can be. Walters pays tribute in Mighty Real to Vito Russo, the activist and chronicler of gay cinema whose righteous anger inspired me in the 70s and after. So Walters wasn't influenced by gay anger; everybody is different. But it's conspicuously absent from Mighty Real, and it bothers me that so many younger gay people are still more excited by straight allies and codes and double entendres than by openness.
What to do, though? As I've said before, not all gay songs have to wear it on their sleeves. Not all heterosexual songs do either, and as Walters admits, many song lyrics can be heard or understood as straight or gay. I've been thinking about this while mulling over this post. The folk revivalists of the 50s and 60s and the old singers they learned from were often cavalier about song lyrics; singing a song from a woman's point of view was no big deal for male singers, and vice versa. Sometimes it mattered, sometimes it didn't. But when I hear a song I like, such as Joni Mitchell's "Michael from Mountains," I want to sing it myself, and I see no reason why I should change the lyrics to heterosexualize it. Sometimes, as with Peggy Seeger's "I'm Gonna Be an Engineer," changing the narrator's sex would change the meaning of the song, so I leave it as written. I soon found out that many gay men really disliked it when I sang songs addressed to men. I think that's one reason why they made a drag anthem, "I Am What I Am," a hit only when it was recorded by a disco diva; my fellow gay men may enjoy playing with gender in some prescribed ways, but in other ways they're as rigid as many straight men. That's their hangup, and fifty-odd years after Stonewall they can get over themselves.
Now that radio has lost its primacy for promoting pop music, and many musicians are less reliant on major labels to distribute it, there's less reason except maybe habit to keep LGBTQ music closeted. I'm out of touch with the industry, I admit. Maybe Walters or someone else will follow the story past 2000. One thing I find encouraging: musical theater isn't my thing, but YouTube has brought me numerous videos from Broadway fundraisers in which stage performers sing standards with the sexes ... adjusted. Sometimes they're too campy for my taste, but then the whole genre is campy. I enjoy them. There is hope; do this more often, people.


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