BYE GEORGE

This is feeling like a trend. Bowie. Prince. And now George Michael. I’d add Natalie Cole to the list as well. (I’m just glad Joni Mitchell seems to have pulled through.) So now it’s time to end the trend. Let passing away be passé. Lionel Richie, Madonna, Phil Collins, you’ve got to live until you’re ancient. No one will remember you. Except other ancient folks and, when these other ancients reminisce about you dancing on the ceiling and pretending cones were your breasts, the young ‘uns will just think the old coots are having a delusional moment. Morphine and memory challenges will do that.

But back to George. His death may not come as a surprise. He’s had problems over the years. Maybe he was never supposed to have the spotlight solely on him. Maybe Andrew Ridgeley served a purpose after all. I think the Brits followed his problems more than those of us on the other side of the water. Here, he went from scandalous to a joke to obscure. We moved on. This is the land where we need to know about parking tickets issued to neighbors of fifth cousins of those Kardashian sisters. (Don’t ask me to name them. I’ll only sidetrack you with an analysis of Leonardo DiCaprio’s “Inception.” You won’t be able to argue. But we’ll go back to normal talk, disparaging Starbucks while nonetheless slurping down our caramel mocha half-sweet non-fat frappuccinos.)

See what I’m doing? I’m straying. Because I’m not sure what to make of George’s death. I didn’t know him. I wasn’t part of his circle of friends. I wasn’t even a neighbor of a fifth cousin. I never had a backstage pass to allow me to forever tell every acquaintance my one takeaway: He said hi—well, not to me, but to a hotter looking guy beside me—and I swear he had a distinct scent of green tea, scotch and pot on his breath. (Or maybe it was just Hubba Bubba watermelon.) No, all I knew was the George of MTV and awards shows and of one particular cassette that I’ll always consider a classic. (If only I had a device on which to play it. I'm an old coot who rather liked cassette decks. Bought my favourite George Michael cassette twice as all that damn ribbon had a tendency to unravel in my car radio system. Beloved tape decks had their flaws, just like all of us.)

I got much more from George than the nickel he got from me in royalties. I had a little crush on that handsome, blond-streaked bopper who first emerged looking way too happy in a CHOOSE LIFE t-shirt. At the time, I thought Wham! was another one-hit wonder. Like Kajagoogoo. And Haircut One Hundred. Oh, those pretty pretty Brit boys. George’s debut act—was it even a band?—didn’t deserve continued success, not with an exclamation mark in its name (just wrong!) and an odd song with a “Go Go” tagged on the end. (A Go-Go(s) tangent: I always thought Jane Wiedlin should’ve had as much solo success as Belinda Carlisle.)

But Wham! lived on because the lead singer had more than good looks; he had a voice. And despite “Everything She Wants” and the solo hit “I Want Your Sex,” I always felt there was a sensitive man wanting to emerge, wanting vocals to matter in the pre-Adele era. “Careless Whisper” gave us a window to something greater. I always felt “A Different Corner” and “Jesus to a Child” would never have been released as singles if George had been a lesser pop star.

I will admit that I enjoyed seeing him shake his stuff in those faded jeans in the “Faith” video as much as anyone else. And I enjoyed all the gay chatter. 

Is he?! 

But what about Brooke Shields? 

He was a master at feeding us an infectious hook, from the dopey “I’m Your Man” to the slick “Fastlove,” from the cheery “Freedom” with Wham! to my favorite single, his solo “Freedom ‘90.” These were the songs I danced to in gay clubs between Madonna, Janet Jackson and Bananarama videos. George gave us a good time. Over and over again.

But he went from pop icon to artist with the release of “Listen without Prejudice, Volume 1.” “Praying for Time” haunted against the backdrop of the AIDS crisis. The song begins with a plea for charity but ends in the kind of uncertainty that fit the period:

It's hard to love, there's so much to hate
Hanging on to hope when there is no hope to speak of
And the wounded skies above say it's much too late
So maybe we should all be praying for time.

“Freedom '90” represented an artistic shift in its absence of the singer in the video, something that must have given record execs ulcers even as they dropped hundreds of thousands into a delicious fashion video with the supermodels of the day. (My roommates were obsessed with models at the time and we argued playfully (?) over which model was supreme. Being the prideful Canadian, I always went with Team Linda.) Behind the gloss of the video and the groove of the music, the lyrics begged for us to see George as he truly was:

Heaven knows I was just a young boy,
Didn't know what I wanted to be.
I was every little hungry schoolgirl's pride and joy,
And I guess it was enough for me….

But, today, the way I play the game is not the same;
No way.
Think I'm gonna get me some happy.
I think there's something you should know.
I think it's time I told you so.
There's something deep inside of me.
There's someone else I've got to be.

But nobody—other than the gays—wanted George to be anything different. And, really, George already had the gays in his back denim pocket. I’ll always believe “Listen” was grounded in a real relationship with a man but no one wanted to see that. Or maybe I wanted to see that too much.

The album didn’t get the sales or the recognition it deserved, perhaps because its songs demanded that the listener actually think, perhaps because he didn’t want his ass or even his face to be a part of the promotion, perhaps because his record label wanted to teach him a thing or two about corporate conformity.

When news broke of George propositioning an undercover police officer in a Beverly Hills park bathroom, I took perverse pleasure, not in seeing a star humiliated—at least not that much—but in finally having confirmation that Georgie Boy was one of us. Hell, he could be mine! If only he’d look beyond urinals or bathroom stalls in public restrooms. (I don’t have a clue where exactly the propositioning occurs. I’m more concerned with there being soap and a hand dryer that works even just a little. (They never work beyond “just a little,” do they?))

I’ve read that George never embraced his coming out. He didn’t want to be the trailblazer. And who can blame him. His career in North America dried up after the bathroom incident. No more U.S. charting singles, even with the buzz-generating “Outside” video. Sam Smith et al. have no idea what homophobia was like back in 1998, particularly for an artist whose sexy looks were part of the draw.

And so a mega-star with ten Number 1s and twenty-three Top 40 singles flamed out. But I continued to have my “Listen Without Prejudice” binges. It was part of the soundtrack to many of my road trips and, just two weeks ago, I spent a Saturday night playing my own George Michael marathon, even discovering a new gem, his Rufus Wainwright cover, “Going to a Town.” Admittedly, I have less than stellar weekends, but there was renewed joy and appreciation in listening to the man sing.

We’ll always have that. It’s unlikely that he would have had any kind of musical resurgence. The real tragedy is for those who knew him personally. I don’t know how he died but I hope it wasn’t at the hand of one of his demons: drugs, depression or a combination of the two. George Michael helped define my days of coming out and the years that followed. He added feel good moments to the process. I’m not sure he ever gave as much to himself.

I’m still listening, George. Without prejudice, but for now with great lament.  

THE MUSICAL ROAD TO GAY ACCEPTANCE - Part IV

There are people who play Beatles records backwards, convinced there are hidden messages. Others have written theses on Don McLean’s “American Pie”. My greatest lyrical fascination involves George Michael’s Listen without Prejudice, Vol. 1.

I never bought Michael’s more popular, Grammy-winning Faith which came out two years earlier. “I Want Your Sex” felt gimmicky and “Father Figure” came off as plain icky. But then came the 1990 release of Listen’s debut single “Praying for Time” and I dashed out to buy the album on cassette. (Yep, the music industry made a killing off me, first switching from vinyl to cassette, then to CD. Good thing I never had an 8-track contraption.)

Officially, George Michael publicly came out in 1998 after an embarrassing interaction in a Beverly Hills bathroom. But I was convinced he’d already attempted to step out of the closet eight years prior with the release of the Listen album. It’s just that no one really listened.

On the surface, one can say ”Listen without Prejudice” was George’s plea that the public not prejudge the album based on previous gimmicky/icky fare. No doubt, George felt he’d come a long way since Wham’s debut earworm, “Wake Me Up Before You Go-Go.” It seemed he wanted to scream, “I’m a real musician. I’m an artist. I’m more than a pretty face.”

But, in my mind at least, dear George was desperately dropping every possible clue without actually saying, “Yep, I’m gay.” I empathized with the man. So often in my own far more private life I longed for people to ask or simply conclude and accept that I am gay. Expressly coming out can involve way too much drama.

I knew from the first single that George Michael wanted to say something far deeper than “I Want Your Sex.” “Praying for Time” may be about people turning away from the downtrodden, the homeless, the destitute. But given that this was 1990 during the AIDS crisis when people found new reasons to spew hate toward homosexuals and use God’s wrath as retribution for a sinful “lifestyle choice”, the lyrics had to be viewed as a heartfelt attempt to create compassion for persons living with AIDS. In 1990, AIDS was still a death sentence, many dying within the first year of diagnosis. How could George be referring to anything else?

And it's hard to love, there's so much to hate
Hanging on to hope
When there is no hope to speak of
...Maybe we should all be praying for time.

I contend that another song on the album, “Mother’s Pride”, continued to humanize the tragedy of AIDS. Many viewed the song as being about war and, indeed, it received considerable airplay in the U.S. during the Gulf War. This is the literal take, but it fails to consider the War on AIDS that activists and regular families waged against medical companies and governments.

And as he grows
He hears the band,
Takes the step from boy to man
And at the shore she waves her son goodbye...

Mothers pride
Just a boy...
He's a soldier waving at the shore
And in her heart the time has come
To lose a son.

So hurrah, George bravely sang out on behalf of PWAs. (He later contributed songs to Red Hot + Dance, an AIDS album fundraiser.) But the second cut on Listen was even more personal. “Freedom!‘90” focused on George desperately wanting to shed the pop idol image he’d first created with Wham and further enhanced with some eye-catching butt shaking for Faith. That image helped him achieve fame and fortune.

I was every little hungry schoolgirl's pride and joy
And I guess it was enough for me.

But George then dropped two lines to break up with this rabid fan base:

I don't belong to you
And you don't belong to me.

What struck me more was the rest of the song. All the thoughts expressed the struggles of someone playing it straight and wanting to come out.

I think there's something you should know,
I think it's time I told you so,
There's something deep inside of me,
There's someone else I've got to be.

 

All we have to do now
Is take these lies and make them true somehow.

I think there's something you should know
I think it's time I stopped the show
There's something deep inside of me
There's someone I forgot to be.

May not be what you want from me,
Just the way it's got to be;
Lose the face now
I've got to live, I've got to live.

 

How could this not be a coming out song?! I read interviews following the release of Listen without Prejudice and fully expected reporters to ask the obvious questions, with George providing the obvious answer.

Nothing.

George knew that coming out was the path to Freedom, but the starmakers would not have it. Indeed, George instead dove into an intense legal battle with his record company, seeking to sever ties for failing to actively promote the album. How could they not? Faith sold 25 million copies. While Listen may have been more introspective, it still had plenty of hooks. I contend the label did not want their artist of the moment to risk being shunned by many God-fearing Americans. Better to let the album and George’s attempt at artistic and personal honesty quietly pass.

So much for Freedom. Another dance song on the album, “SoulFree”, echoed the longing of being himself.

Won't you come with me?
Baby, gonna get my soul free.

Oh, if only.

While “Heal the Pain” is a love song at its core, George still opened with a hint about coming out:

Let me tell you a secret
Put it in your heart and then keep it
Something that I want you to know
Do something for me
Listen to my simple story.

This intro seemed to be an aside, much like the backwards Beatles messages, for the rest of the song focused on another person, someone whose love and trust George sought.

Other songs on the album spoke of a failed relationship and George’s desire to try to make it work again. George avoided gender pronouns, but playfully referred to a man (“Mister”) while later retreating to a woman (“Sister”) in “Cowboys and Angels”:

I know you think that you're safe,
Mister.
Harmless deception
That keeps love at bay.
It's the ones who resist that we most want to kiss,
Wouldn't you say?
Cowboys and angels,
They all have the time for you.
Why should I imagine
That I'd be a find for you?

George let things “slip” and still nobody noticed. Except me.

I love this album. In my mind, at least, it will always be a Coming Out affair. Had people truly listened, perhaps things wouldn’t have gotten so messy for George. Perhaps his music career wouldn’t have fizzled so fast, suspended by the legal battle and further mired by substance abuse. Maybe he wouldn’t have needed to find temporary satisfaction in that Beverly Hills public space. Perhaps he’d be lauded as a gay leader who came out on his own terms. Consciously or subconsciously, it was all there in 1990.