Anyway, like most people who commute on public transportation, I listen to music on headphones. An iPod nano to be exact, partly because I am attempting to transform, butterfly-like from post-punk hipster to yuppie sleazebag, but mainly because none of the Zunes I keep in a bucket by my front door seem to be working at present.
Like many who make the Geek "lifestyle choice," I often succumb to an axiom that my friend Susan and I uncovered more than a decade ago (note I am using Courier, the Official Font of Logical Verities):
"To the untrained eye, the line between a
well-groomed geek and a gay man is indistinguishable."
(Cf. Sweatervests, designer nerd glasses, unseemly public excitability, the inability to throw a 10-6 curve)
Yeah, I come off pretty darn queer at times. Over 15 years in theatre-with-an-"re" has not helped this, either. Or the fact that I spent Sunday night in a gay bar (my girlfriend was singing in a band, Your Honor!). Or that, in between songs, I actually overheard someone in that bar say "An honest to God GLORY HOLE. I shit you not!" with a lisp that rivalled Buddy Cole.
Anyway, as I rode in today, after I wrapped up listening to Kraftwerk's Trans-Europe Express (Note: believe it or not, that's NOT the source of the gayest song. And a day where Kraftwerk is the most macho music I have listened to so far is already red-letter), I decided to listen to the Associates collection I recently acquired.
Not to be excused with The Association (of "Along Comes Mary," "Cherish," and "Windy" fame), the Associates was a two-man Scottish band that had minor success in the early 1980s (mostly in the UK) in the height of the New Romantic movement (sorry Djakarta: no pics of Adam Ant this time). It consisted of a multi-instrumentalist (Alan Rankine) and a vocalist (the late Billy Mackenzie).
The song in question is, first and foremost, a cover of an exceptionally gay song: Diana Ross's "Love Hangover" (which happened to be the #1 song the day I was born). One might think that would be hard to top. One would be right. But that one has not heard the Associates.
Musically, the Associates, at least during the early period I'm moderately familiar with, had a sound that ranged from minimalist post-punk to Duran Duran-esque New Wave pop. And the music of this particular song is actually a pretty cool post-punk-white-funk that reminds me of Remain in Light-era Talking Heads with a more jangly lead guitar.
And the resemblence doesn't end there. At first Mackenzie's voice sounds very much like David Byrne. Very much so. Until he belts a series of ridiculously sweeping falsetto yells, laden with vibrato. Add in some ridiculously cheesy female backing vocals, and the picture is complete. This song is, well, gay...
This is a song that ran away from home at 17 to go to New York to become a dancer, stays in touch with it's mother, but hasn't spoken to its father in 10 years. This is a song that wears men's capris and clogs when it shops at Treasure Island. This is a song that owns the Director's Cut of Moulin Rouge. This is a song that the average Pet Shop Boys fan would eschew as "a little too queer for me."
And this is a song I think is awesome. This is a song that I have already played 3 times today, at the expense of listening to the rest of the album, which I haven't heard.
I'm pretty sure I couldn't find a gayer song if I looked through my girlfriends collection of showtunes and asked Clay Aiken to cover the gayest one I found. I dare anyone to find a gayer song, in fact--
Oh, wait...I'm finally listening to the rest of the album, and a cover of "Heart of Glass" just came on. Wow.
You win again, Associates.
2 comments:
Only CeCe Peniston could rival The Associates.
Your post was too long and had too many words, many of them containing too many letters.
I'll just assume you wrote about a Winger song or something.
Gaaaaaaaaaaaay.
Post a Comment