I can only assume that Pietro Boselli is getting career advice from an older homosexual. Which makes me very jealous.
He may be a sporno star, but Pietro is far too young and far too cherubic to know who Jeff Stryker is, or the ridiculously butch way he used to talk on the classic gay porn videos he made in the1980s when testing the gag reflex and nose-breathing techniques of his on-screen colleagues.
Though Pietro’s obviously coached attempt to copy Jeff’s sleazy delivery is very sweet.
Either way the career advice Pietro’s getting seems designed to drive middle-aged homos like me into a tizzy.
All I can say is: it’s working.
But I’m hoping that Pietro isn’t actually hung like Jeff. I’d prefer to think the Bona of Verona has a neo-classically-sized – i.e. tastefully tiny – uncircumcised penis, instead of a cut cock the size of lubed dolphin.
“The Smiths are sooooooo depressing!” said every naff twat you knew in the Eighties – which was millions upon millions. But, annoying as it was, every time you heard that lazy dismissal it confirmed something deeply, almost sexually satisfying: that most people simply didn’t deserve to be Smiths fans.”
I wrote an essay for Rolling Stone celebrating the 30th anniversary of the demise of The Smiths, explaining why we’re really lucky that they split in 1987.
New Millenium George Michael refused to "go quietly" and "make it easy on himself." He was not what you might call a "good gay."
Mark Simpson on how George Michael was the missing, subversive gay link between Bowie and Beckham
(Rolling Stone, 28/12/2016)
Back in the early 1980s, I was one of those annoying ‘alternative’ teens who, when pressed, would admit they quite liked ‘Wham Rap!’, which extolled the freedoms of unemployment (‘I’m a soul boy! – I’m a dole boy!’), and acknowledged he was ‘really talented’, but essentially dismissed George Michael as ‘too commercial’. Which in the inverted snobbery of the era essentially meant ‘uncool’.
And also – you may find this rather difficult to believe – ‘too straight’.
Thanks to the massive influence of 1970s Bowie (who also checked out this year), the early 80s UK pop scene was queerer than Weimar Berlin on poppers. It was chock full of fabulously ‘freaky’ stars like Pete Burns of Dead or Alive (another victim of 2016), Boy George of Culture Club and Marc Almond of Soft Cell. None of them were particularly out at the time, but then, looking the way they did they probably didn’t need to be.
By dazzling-teethed contrast, the disco-dancing, bird-pulling, Mr Good Time persona Mr Michael presented – but which seems to have been based largely on his Wham partner Andrew Ridgeley – looked almost heterosexual.
Almost. OK, the leather jackets, the naked boy-flesh and the blow-dried hair appears très camp to us now, but that wasn’t necessarily the case at the time. George was officially very much for the ladies and the ladies were even more for him. But also, as his success grew, ‘loadsa’ straight boys wanted to be him.
After all, his (white) soul boy image was a tweaked, glammed-up, sexed-up, slightly Princess Di version of what many wedge-sporting, Lacoste-wearing working class London and Essex lads were styling themselves at the time. And he was mega rich and famous and getting his leg over.
In one of those peculiar postmodern ironies that made masculinity what it is today – flamingly metrosexual – George Michael’s ‘closetedness’ for two decades of pop stardom meant that straight women ended up expecting rather more from straight boys and straight boys ended up copying a gay version of themselves.
Michael’s multiplied image helped make ordinary male heterosexuality visually tartier, while his amplified lyrics helped make it more available emotionally. A straight female friend of mine told me that every single boyfriend she dumped in the 1980s sent her lyrics from ‘A Different Corner’.
George Michael was the missing, subversive – and actually gay – link between David Bowie and that other London pretty boy, David Beckham.
Even when a now-solo Michael ‘butched up’ for the rather more ‘traditionally-minded’ American market with his smash hit 1987 album Faith, the effect was… ambiguous. More so arguably, than the twinkiness of Wham! In the famous promo for the title single, he is wearing jeans, boots, a leather jacket and sunglasses in what looks like a homage to the previous year’s Hollywood fly boys hit Top Gun. But with a large crucifix earring and designer stubble (this accessorization of facial hair is something else ‘gay’ he helped popularise.)
He’s next to a 1950s jukebox like the one in the Top Gun bar, wiggling his butt apparently trying to invent twerking, while the camera zooms in on it relentlessly (the word ‘REVENGE’ hovering above on his leather jacket). Perhaps waiting for Maverick – or maybe Iceman.
This might sound like the wisdom of hindsight, but some contemporary gay boys were picking up the queer vibrations. An American gay male friend who was living on a military base at the time remarked: “He was the first teen idol that felt “gay” to me even though he was always with sexy women in his videos. I didn’t even know what the gay clone look was, but he was sort of replicating it. The earring also seemed a signal – my dad said fags wore those, especially in the left ear.”
George’s phenomenal success in the US and the subconscious ‘down low’ queer signals he was broadcasting in plain sight came, remember, at the height of the Aids crisis and the foam-flecked reactionary backlash in the late 80s against ‘Satanic’ and ‘sick’ homosexuality.
Perhaps it was because of how he’d helped redefine heterosexuality for a generation, when he finally came out in 1998, toilet paper stuck to his shoe, a surprising number of straight people were still shocked – despite having been fairly explicit about his orientation in the lyrics and dedications of his songs for most of that decade.
Though of course there is another piquant irony to be had in the fact that this man whose career had originally been based on ‘masquerading’ as a heterosexual was finally outed in a public restroom by a plainclothes Beverly Hills Police Dept officer who (George claims) was masquerading as a gay man.
However, the way George handled that incident was so defiant and assured that he completely turned the tables on not just the Beverly Hills PD and the tabloid press, but also homophobia itself. He immediately told the world he was gay and refused to display any shame.
Instead, he released ‘Outside’, a jaunty single extolling the pleasures of outdoor sex for everyone, regardless of sexuality – along with a video that featured cross and same sex couples getting it on in hidden away outdoor places, while being recorded by a police helicopter. George in gay cop gear disco dances in a public restroom where the glitter balls descend from the air vents and the urinals revolve. In many ways, this was the absolute zenith of pop music as propaganda for pleasure and against shame.
What George achieved with ‘Outside’ was certainly than historic. That original pop star Oscar Wilde had been convicted of Gross Indecency a hundred years earlier and been completely destroyed by it. George had turned his own ‘Ballad of Reading Gaol’ into an all-singing, all-dancing commercial and cultural triumph.
Now that he was out, New Millennium George still refused to ‘go quietly’ and ‘make it easy on himself’. He was not what you might call a ‘good gay’. He had a long term partner but was frank about the fact that their relationship was an open one – when most gay celebrity couples maintained a veneer of monogamous respectability.
He remained true to the dream (and nightmare) of masculine freedom that male homosexuality can symbolise. For all his faults and increasing foolishness, he refused to become that most absurd of things a ‘role model’. He insisted that he remained a sexual being – unlike most other celeb UK gays in the Noughties. ‘Gay people in the media are doing what makes straight people comfortable,’ he told the Guardian in 2005. ‘And automatically my response to that is to say I’m a dirty filthy fucker and if you can’t deal with it, you can’t deal with it.’
The tabloids thought they knew how to ‘deal’ with it. In 2006 they sent a flash photographer to follow him to the famous gay cruising area of Hampstead Heath, a large park in north London – at 2am – and plaster the results all over the front page, along with oodles of hypocritical concern about his ‘sick’ and ‘sordid’ behaviour and warnings/incitements that he ‘could get his throat cut’.
His reported response to the photographer when ‘snapped’ was, however, pitch perfect: “Are you gay? No? Well fuck off then!”
Sexual jealousy of course was at the root of it all. The scandalously free availability of ‘no-strings’ sex is an aspect of the gay and bi male world that many straight men tend to be very interested in, one way or another – and had been at the root of much of the tabloid attacks on gay men at the height of the Aids panic. Gay men ‘deserved’ Aids because of their ‘unnatural’ sex lives and their promiscuity. For having, in other words, too much fun.
One famous tabloid editor and columnist from that era worked himself into a violent lather of indignation: ‘I can’t stand George Michael and every time he tries to laugh off another vile gay sex exploit I dislike him a little more… I’d like to give him a good kick in the balls. Unfortunately, he’d probably enjoy it.’
But these bitter voices were already beginning to recede into the past – thanks in part to the changes that Mr Michael had helped bring about by being the kind of ‘commercial’ pop star I disdained in my teens. And of course, nowadays straight people have Tinder. While in the UK at least, straight(ish) ‘dogging’ has pretty much replaced gay ‘cruising’.
His continued, unapologetic – ahem – pride in his not always exactly wise life-choices remains invigoratingly rare in an age of safe sleb spin and public apologies as grovelling as they are empty.
‘I don’t want any children; I don’t want responsibility,’ he told Time Out matter-of-factly in 2007. ‘I am gay, I smoke weed and I do exactly what I want in my life because of my talent’.
Michael’s earlier secrecy about his sexuality was criticised by many – including gay pop stars who didn’t come out until after their careers were effectively over. Perhaps he could, as some have insisted, combatted the transatlantic anti-gay tide by coming out in the 80s or early 90s. Or perhaps his career would merely have been ended, and with it much of his influence.
Whatever his reasons for staying in so long, and whatever the long term effects on his happiness, being ‘openly closeted’ for so long seems to have been key to not only making Michael a commercially-successful artist but also a surprisingly subversive one.
And perhaps it also lay behind his determination, once out, not to go back into the biggest closet of all. Respectability.
30-years ago today, the stars of Top Gun were taxiing the red carpet at the premiere in New York. The film, which features Tom Cruise’s ‘Maverick’ and Val Kilmer’s ‘Iceman’ wrestling in the air for Alpha male supremacy, was abou t to ‘go ballistic’ and smash multiple box office records. In doing so, the Tony Scott piloted blockbuster would make A-listers out of its two preening male stars, and become perhaps the definitive 80s film.
But it has also become a shared joke these days. The subject of Saturday Night Live skits and a host of YouTube parodies.
Though it really doesn’t need much parodying. Or editing. There’s a plot which sees Tom Cruise as ‘Maverick’ and Val Kilmer as ‘Iceman’ wrestling in the air for ‘top’ – with Kelly McGillis trying, vainly, to come between them.
Then there’s those lingering locker-room scenes, in which the sweaty jocks stand around wearing only towels and perfectly gelled hair, apparently waiting for the cheesy porno muzak to start.
And that ‘ambiguous’ dialogue: ‘Giving me a hard-on!’ whispers one flyboy to another, watching videos of dogfights. ‘Don’t tease me!’ replies his buddy. ‘I want butts! Give me butts!’ shouts an angry air traffic control officer. And the final reel consummation between Iceman and Maverick on the deck of an aircraft carrier in the Indian Ocean, cheered on by the entire crew, after all that playing hard to get: ‘You can be my wingman any time!’ ‘Bullshit, you can be mine!’
And of course, the immortal volleyball scene, in which oiled guys in jean-shorts and shades flex and strut and jump to the sounds of ‘Playing with the Boys’.
All this plus Tom Cruise at his prettiest and poutiest, in leathers and on a motorbike. When not in his underwear.
So it’s difficult to believe it now, but when Top Gun was released in 1986, the vast majority of the people who flocked to see it did not think it ‘gay’. At all. They would likely have dropped their popcorn at the suggestion – and the movie wouldn’t have taken $177M internationally, making it one of the most successful movies of the decade. Instead Top Gun was seen as the story of airborne, aspirational male heterosexual virility. Nice-looking, worked-out male heterosexual virility.
Even nearly a decade on in 1994 when I wrote about the outrageous homoerotics of Top Gun in my book ‘Male Impersonators’, plenty of people still weren’t prepared to have Top Gun’s heterosexuality impugned. Later the same year the director Quentin Tarantino made a controversial cameo appearance in the movie ‘Sleep With Me’, arguing that Top Gun was about a gay man struggling with his homosexuality.
The journalist Toby Young, a Tarantino fanboy, was moved to write an essay in the Sunday Times defending his favourite movie’s heterosexuality from Simpson and Tarantino’s filthy calumnies. As I recall, his ‘clinching’ argument was that Top Gun couldn’t be a gay movie because he’d watched it twenty times – and he’s straight.
And in a queer way, he was right. Top Gun isn’t of course a gay movie. But it’s flagrantly not a very straight one either. Whatever the intentions of its makers, it’s basically ‘bi’ on afterburners. And this seems to be widely accepted now.
So how did attitudes towards Top Gun change so much? How did it’s virile heterosexuality so spectacularly ‘crash and burn’?
Well, partly because everyone is so much more knowing these days, or at least keen to seen to be. And we have tell-tale YouTube to collect all those ‘incriminating’ clips. It’s why we talk about ‘bromance’ now – instead of ‘innocent’ buddy movies. And partly it’s because Top Gun has come to be seen as the quintessential 80s movie – and the 80s are now seen as culturally ‘gay’. Or camp.
For instance, despite his apparently entirely heterosexual personal life, Simon Cowell is seen as screamingly ‘gay’ – culturally. And his whole personal style, the hair, the white t-shirts, the leather jackets, the Ray Bans is Top Gun. (Even his business model is Top Gun – the karaoke, and the struggle to ‘be the best’.)
All that said, the erotic ambiguity of Top Gun – which is what really powers it – is in the spectacular collision between the mostly sublimated homoerotics of traditional Hollywood war and buddy movies with the glossy ‘gayness’ and emergent male vanity and individualism of 1980s advertising. It’s somehow both innocent and explicit all at once. A proto-metro war movie.
In 1985, the year before TG was released, a new UK TV ad campaign for tired jeans brand Levis featuring Nick Kamen stripping in a launderette had caused a sensation – sending Levis sales into the stratosphere. Like Top Gun, the ad was set in a mythical 1940s, but with a 1950s soundtrack. Although we’re all familiar with it now, jaded even, back then the male body was just beginning to be sold to the mainstream – very often taking its cues from gay porn, because that was really the only reference point for the sexualized male body.
The late Tony Scott, like his older brother Ridley, had learned his craft in the UK ad business – and their father was a career soldier. Hence the glamorous, fetishizing presentation of the young men in the movie, alongside the more traditional homoerotic-homosocial banter that we now find so hilarious. Those infamous locker-room scenes were the Launderette ad all over again – only gayer.
What TG succeeded in doing was making the then new, consumerist, non-traditional male vanity of the 1980s look traditional and patriotic – and the military an attractive, sexy proposition for a new generation of young men with different expectations to their fathers’. Hence the loan to the film-makers by the USN of the USS Enterprise. (Reportedly USN recruiting went through the roof after the film’s release.)
After all, some years earlier the USN had loaned The Village People a destroyer to record the promo of their single ‘In The Navy’. Back then, most people who bought their records didn’t think The Village People were gay either. They just thought them fun archetypes of hetero American machismo.
As the 80s boy racer dreamboat the Peugeot 205 GTI turns 30 Mark Simpson remembers stroking its stick-shift
In the world of car porn there is no other conjugation that raises the punter’s pulse more than that one – evoking as it does fuel injection, tight handling, firm suspension, snug interiors and accommodating rears.
And amongst hot hatches, the Peugeot 205 GTI is the ultimate car porn star. This year the French stunner, launched back in 1984, when the miners were on strike and Frankie Goes To Hollywood were in the charts, turned an ancient and decrepit 30, but is still widely regarded as the hottest hatchback ever.
It’s certainly my favourite car ever. I owned one in the early 90s, round about the time they stopped production in 1994, and I still dream moistly about it in a way I don’t about, say, my old Golf Mk 1 GTI, even though I suspect the Golf was a rather better made car.
I had a 1.9, 205, introduced a couple of years after the 1.6. It simply had to be a 1.9. Not because it had a few more HP than the 1.6 (126 compared to 105), or because it did 0-60 in 8 seconds (instead of 8.7), or because it had disc brakes all round instead of just at the front. And certainly not because it had more torque. But because of that ‘9’ on the badge. Who wants an average 6 when you can have a whopping 9? Especially when you’re still in your twenties, as I was at the time.
Apart from the badge, there were other key visual signifiers of your ownership of more cubic centimetres: the alloy wheels were fatter, and you had sexy half leather seats, vs cloth. I became practised at spotting these giveaways from a distance, before I could get a good look at the badge on the side. I’m sure I wasn’t the only Peugeot 205 size queen, constantly dismissing 1.6ers as unworthy of my interest.
In fact, being so lightweight – or what safety engineers now would call ‘horrifyingly flimsy’ – either 205 GTI was a joy to drive, even though neither had power steering (drivers back then were expected to have shoulders when it came to parking). It would take bends with an alacrity and eagerness that was positively arousing. Admittedly the pedals were rather too close together, particularly if you had size ‘9’ feet – but you just had to be careful to operate them delicately with pointy toes.
It was a great car for belting around a city like London before ‘traffic calming’ measures were introduced, speed humps installed every few feet, and rat-runs closed off, turning London’s roads into railways for cars. In addition to being great for engaging the ‘safety power’ and nipping around ‘obstructions’, the 205 GTI would leave most cars standing at the lights, watching your sexy arse disappear into the distance.
It was remarkably practical too. Despite the fact that from the outside it looked like the proverbial rocket-powered roller-skate, a road-legal single-seater with the driver crouched over the sports steering wheel, head almost sticking out of the sliding sun roof, inside it was surprisingly spacious. People with legs could even sit in the back. If you owned a Peugeot GTI you could actually have friends, or a family.
If, that is, you had any time for anything that didn’t involve zooming around with a big stupid grin on your face.
But if I’m honest none of these were the real reasons I possessed one. It was the 205 GTi’s scorching looks that bowled me over. It was a very, very sexy piece of 1980s styling – quite possibly the definitive one. A kind of supermini American Gigolo with black and red bumper car trim. The wheels were exactly where they should be, in the corners, and it had a very sexual shapeliness to it. I even loved the two-tone plasticky interiors that everyone mocks now. (Though admittedly most of the plastic bits did break off.)
I had a red one, but I wanted a white one, and black one, and a blue one, and slate grey one as well. I thought they were all good enough to eat.