Violet Quill Redux

Of Disco Queens, Dancing Kings and the Forbidden Love of Beguiling Princes …

Of Disco Queens, Dancing Kings
and the Forbidden Love of Beguiling Princes …

Cover Art for one of my most prized disco albums - Madleen Kane's Cheri circa 1979

Cover Art for one of my most prized disco albums – Madleen Kane’s Cheri circa 1979

 

^ To Get What I Am Talking About PLAY THIS While You Read The Story Below ^

In these potentially darker days ahead … let’s have some fun, okay? It’s time to dance.

It’s very Summer of 1979 for me when I hear this album, but I’ll try to convey it in a way that I don’t think you’ve ever experienced before. And I’ll tell you why Madleen Kane’s album of that year meant so much to me.

Madleen Kane wasn’t the best singer in the world. She was no Streisand, that’s for sure. But then again, who is? Olivia Newton-John was making waves vocally, too.  Madleen was a super-model who turned to music and found a niche for herself in the heady last days of the Disco era.

I’ve always been one of those queer boys who has been immersed in music from an early age. Any kind of music, really. My mother made sure of that. I heard it all. Classical (especially Tchaikovsky, Beethoven, Liszt, Chopin, Schubert), Country (Freddy Fender, Loretta Lynn, John Denver, and Lynn Anderson), but mostly I was immersed in Broadway, Disco and R&B. I found a particular fondness for ANY music that told stories. Concept albums of the 70s and early 80s were king with me. Disco albums, oddly enough, had them in droves. In my world they took me places that my young queer boy heart needed to go.

I danced.
Sweet Jesus on the mountain top, did I fucking dance.

During summer vacations, where the morning heat was already a blistering 89 degrees at six AM, I’d make my way from the coolness of my full sized water bed (yeah, you read that one right) to the music room to sing and dance for hours … often eight or nine of them STRAIGHT. Non-stop. I didn’t go outside to play with other kids — what the fuck did they have to contribute to my world? I’d go into our sauna of a music room, close the swinging door dad had up as measly protection from my disco onslaught, and slap on the headphones from early morning. Within an hour I was up on my feet, playing the music out of the speakers (a little softly at first – until the 9 o’clock hour hit, then all bets were off) and started dancing up a storm.

  • I was a headliner in Vegas.
  • I was a boy soprano whose voice hadn’t cracked yet … so I could keep up with those women singers just fine.
  • I wailed and sang like a banshee in heat.
  • I knocked the paint off the fucking walls with my dancing.
  • I had the best and sexiest dance troupe working with me – the best costumers, the best stylists, the best producers and orchestrators.

And it was all imaginary – in that near stifling music room of my parent’s house – sealed off from the rest of the world that didn’t understand how to connect with a gay boy.

When I discovered Madleen Kane’s classic Cheri I was beyond elated. It played on the only disco radio station we had in San Diego – K105 FM.

That album was a gayboy’s dream. The first song on the track was Forbidden Love. I knew what she was singing about. The collection of songs on the first side of the album are all tied to one another. They are of longing for that love that you can’t have. This album played through the headphones and speakers so many times that year (and for many years to come) that I know every subtle nuance in the orchestrations. And the arrangements mattered. The strings, horns and were beyond the trash you found on AM radio of the day. Kane’s words were a bold expression of how love should triumph over all. The gentle piano chords during Cheri coming out of the first musical break after the chorus had special choreography all on their own. That subtle chord progression explained the risk queers had in seeking love. I had it all planned out.

Hey, I was fourteen. As a lonely gayboy I needed this shit in the worst way. All of my straight friends were pairing up, I had no one. I had me my disco queens and those women put those words before me. I dreamt of Dancing Kings and wanted to make out with sexy young Princes. These women sang about things that I dare not even say to myself. Forbidden Love became my anthem. It’s the song I carry with me to this day.

My fifteenth birthday was right around the corner. Along with another candle on my cake and my voice finally cracking, I descended along into the last sweltering days of my summer vacation of 1979 and my freshman year of high school. Dark days of HIV/AIDS were ahead for me a few years down the road. But in that moment, I didn’t know. I just wanted to escape, dance and proclaim to a world of my own making how much these words of forbidden love and secret love affairs meant. Everything to me at that point in my life was secretive.

With John Rechy and Gordon Merrick – along with Andrew Holleran, Paul Monette, Armistead Maupin, Larry Kramer and the others in my back pack – all wrapped up in book covers made out of paper bags so no one knew what I was reading, I escaped into stories of men who fell in love with other men – the way I wanted to. Their words, paired with these ladies, collectively, they gave me permission to express myself. These weren’t just some random words or notes on a page, some song that a singer sang – they were my heart, sweat and blood I felt coming back to me, pouring out of each and every track or page in a book. These ladies voices of love, seared into my mind and heart and married up with the salacious and soul searching words of men, authors, I admired that filled my teen years. Together they formed the man I was going to become. They never knew it. That wasn’t the point, really. It’s what I needed. It’s what mattered.

From that earliest time when I begged my grandmother to buy me my very first record – a 45rpm of Diana Ross’ Do You Know Where You’re Going To? (a rather prophetic choice, no?) I knew that music would be a heavy influence in my life. It would connect an often disconnected world for me. In them I could escape into what I couldn’t find for myself in the world I saw around me.

I was too young to get into the clubs in San Diego. Those days were still about four years off for me – underage queer clubs were just starting to pop up.

For the time being, I was just starting to get my groove on. Fashion was starting to become important. How I expressed myself really became important – even when I got slapped down for it (disco wear didn’t go down well in my high school – let’s just leave it at that).

But for now, here are a few of the ladies who gave me that sense of expression, they allowed me to soar, encouraged me to revel in who I was becoming. Never to fear who I was, nor to be ashamed of it. It wasn’t always so easy. Many a night I’d spend listening and dancing to them over and over again, if anything to bolster me up to face another hellish day of high school. By the time I was eighteen I’d had a few summer jobs and my music library had already expanded to well over 300 albums, 12″ disco singles and remixes. It was the beginnings of my DJ days that would dominate my life through the 1980s. So here they are – with the undeniable Queen of them all at the top (samples with BUY LINKS in artist name):

Donna Summer

Donna Summer's Once Upon A TIme - an album that I would love to see on Broadway. It's simply that good.

Donna Summer’s Once Upon A Time – an album that I would love to see on Broadway. It’s simply that good. Truly one of the best concept albums ever produced. Giorgio Moroder and Peter Belotte knew what they had with her. This is their crowning jewel. Far superior to Bad Girls.

Amii Stewart (well beyond her 1978 Knock On Wood hit)

Amii Stewart's Paradise Bird - circa 1979.

Amii Stewart’s Paradise Bird – circa 1979. Unlike anything you’ll ever hear. Given the era, this was futuristic dance music. She always represented to me the “what if we tried this …” – A sheer genius. Jealousy is the track you can’t miss with this effort.

Suzi Lane

Suzi Lane's sexy as fuck "Ooh, La, La" had me on my feet every time it hit my turntable. Circa 1978.

Suzi Lane’s sexy as fuck Ooh, La, La had me on my feet every time it hit my turntable. Minimalistic in its arrangement, but sexy for all the space it has. Producer Moroder at his best. Circa 1978.

Debbie Jacobs

Debbie Jacob's High On Your Love, circa 1979. The lady knew how to groove.

Debbie Jacob’s High On Your Love, circa 1979. The lady knew how to groove. She had my tail-feather going many a night.

Saint Tropez

A marketing ploy to create a group that came straight out of Oui adult magazine. Sex sells, and even though they were women, I was sold.

A marketing ploy to create a group that came straight out of Oui adult magazine. Sex sells, and even though they were women, I was sold. It was just French queer enough that a gayboy like me bought it.

France Joli

France Joli - Come To Me. Such an important song in my young queer boy life that it became my first character's (Elliot Donahey) favorite song about his Quarterback boyfriend (Marco Sforza). This is the song I reference in Angels of Mercy Volume One - Elliot.

France Joli – Come To Me. She was fifteen when she recorded this song. It is such an important song in my young queer boy life that it became my first character’s (Elliot Donahey) favorite song about his Quarterback boyfriend (Marco Sforza). This is the song I reference in Angels of Mercy Volume One – Elliot.

Teena Marie

teenamarieladyt

Teena Marie’s (Lady T) would nearly replace all of the women singers in my world. This album started my love affair with her. I mourned her untimely passing a few days before Christmas in 2010 at the tender age of 56. A brilliant, radiant light taken far too soon. She sang of multiculturalism before it became a thing. She gave me my pride in my Latinx heritage.

Until next time …

– SA C

No comments | Trackback

Three Vignettes – Mi Abuela Lerma

Three Vignettes – Mi Abuela Lerma

grandmalerma

So, a little Grandma time.

I.

Since the earliest time I can remember, my grandmother was an integral part of my upbringing. Her influence colors what I do to this day some fifty years later. Growing up half-Latino, I was immersed in the culture from my first breath. For Latinos, or as I like to identify now – given my queer life – Latinx, family is everything. So much so, that your decisions in life are sometimes guided by (and even hampered by) what the family will think. Doesn’t mean you don’t buck the system, you just have to be a bit more clever about doing it.

As I said a few posts ago, my mother and father both worked day jobs. So from a very early age my maternal grandmother (and my mother’s sister, mi tia) held enormous influence over my younger years. That’s not to say it wasn’t filled with love and laughter – for there was plenty of that. Being the first grandchild, I was practically inundated with gifts, love and pride. Just the fact I was healthy and breathing seemed to be the only requirement for me to retain that lofty family status. The favorite. Only because I had the luck of the draw to be the first.

My brother (and sister, to a degree) both felt the weight of my being the favorite. I acknowledge that now, but at the time I did everything I could to deny it – even when I knew it to be true.

We had some very quirky things that were customary in our family. Traits that I don’t think many other families had. For instance, it was absolute sacrilege in my family that if Spanish Rice graced the dinner table, there was a complete order to how it was served, if you bucked the system there were repercussions. This came home to roost when my tia invited her then boyfriend, who sadly became her fiancé later – for the man was a compete idiot – and her boyfriend reached over to serve himself a helping of the rice from somewhere in the middle of the dish and the entire family froze on the spot. Conversations ceased, and all eyes moved to my grandmother, who as the grand matriarch of the family, we all gauged how she – and by extension, we – should react. She held up a hand and calmly said, “It’s alright. He doesn’t know.” Why that sticks with me to this day and why I still follow how to serve Spanish Rice in my own home is rather bizarre. But I still do it, confident that if I don’t she’d come from the spirit world and give me a whack across my hands.

It seems like a simple thing. You have a dish to serve at dinner, why not just scoop some up onto your plate, right? Turns out, not so much.

But nothing with our family was quite that simple. Many things were like that.

I’ll give you another: there was a room in my grandmother’s house that had ornate furniture – completely covered in plastic – which was so prevalent at that time, but here’s the thing: we weren’t allowed to go into that room whenever we were at her house. It struck me as rather odd because it was like having a fully decorated room in the house but couldn’t ever enjoy it. And it’s not like we were rich or something. In fact, having a “museum” like room only pointed out the fact that we were rather poor. The lesson to be learned here? Have something nice? You lock it away and don’t let anyone come near it. The only time we ever used the room was during Christmas. In those early childhood years we alternated between everyone coming over to my parents house and going to my grandparents house. It was a very special treat to go there and to sit in the forbidden room.

 

 

 

fullsizerender22

Christmas in the “forbidden” room. Bear in mind, it was the very early 1970s.

 

I never understood that forbidden room as a child until many years later when traveling down the road my grandmother used to take we kids down from my parent’s home in Spring Valley, to her house closer to downtown San Diego. I was on that road with my mother many years later who told me a story about a house very near to a busy traffic corner where we had stopped, waiting for our signal to continue. Oddly enough, we’d been discussing that museum room in her parent’s house the day before where I expressed my confusion over its existence.

 

Christmas at my parents home. Ah, the joys of wood paneling. Circa 1970.

Christmas at my parents home. Ah, the joys of wood paneling. Circa 1970.

 

“Did you ever wonder why your grandmother had that room in perfect condition? And why you kids were never allowed to go into it?”

Of course I jumped at the chance to hear why that room existed. It was a huge mystery in my childhood.

“Well, sure.” I added, hoping that I’d get some really deep, dark family secret. Ya know, like a body was buried underneath. Something really fucking scary to explain the step one toe in that room and you’ll pull back a stump feeling about it.

“It goes back to a girl that your grandmother went to school with. Her family had money. Your grandmother’s didn’t. But they put on airs that they did. Anyway, your grandma was very envious of this girl. From what I know, the girl didn’t rub your grandmother’s face in it. But because they had it, and it showed in the way they lived, your grandmother coveted that sort of lifestyle and expression of money. Not having it was hard on your grandma.”

I turned to look over my shoulder at the house half a block back from the corner we were sitting at waiting for the light to change. “So, what’s that house have to do with it?”

“That’s where the girl grew up and got married and ended up living. Your grandmother was very jealous of her.”

“Why? It’s not like they were best friends or anything.”

“Because your grandmother had always been like that – obsessed with money and power. It’s why that room is the way it is. If she couldn’t have an entire house like that she would have a room that would say how she wanted others to think of her.”

While I finally had an answer, It made me even more confused on what to do with that information. You have to understand that this revelation from my mother was years after my grandmother’s death. So it wasn’t like I could go ask her for her side of the story. Though, thinking on it now, I am not too sure she would’ve admitted it to me. Yet, I had more than enough examples where I’d experienced my grandmother’s obsession with exerting power and influence – she did it to my grandfather all of his life. She was a very formidable woman. A woman who loved the crap out of me, but also could be equally vicious if she was ever crossed. I was smart enough not to do that so for the most part that pointed barb of hers never was pointed my direction. But I’d seen her do it to others.

From her I learned perception is everything, even above family. Yet, from my mother I learned that you can never control perceptions from others – “…at best, all you can do is mitigate it. You can never control what they think of you.”

Got it – perceptions can be mitigated, but never controlled. A very valuable life lesson.

It’s why I am obsessed with writing about perceptions. They color everything you do, whether you want to acknowledge their presence or not. They are your guiding force. Growing up in a family obsessed with perceptions went a long way to forming the man I’ve become. Comng from the lower end of the middle class, perceptions ruled my entire world. It was also one of the reasons why my mother didn’t want Spanish spoken in the house. She didn’t want her children to deal with having an accent. It was her way of mitigating those very perceptions that could hold us back. So English was the dominant language. So much so, we practically became Anglophiles in the process.

But it wasn’t all about control, power and perceptions. There was a whole lot of love, laughter and amazing food along the way.

From my grandmother I learned my love of Mexican food and cooking. Family recipes and the love she poured into them now flavor what I make for my own family. From her I learned that you didn’t need precious measuring spoons or cups. “God gave you everything you need right here,” she’d tell me holding a cupped hand out in my direction. The message was clear: I’d learn to measure as she had, learning what a tablespoon, teaspoon and such looked like in my own hand. It was a long process, but one that I embraced because I wanted it to taste as good as hers did.

At least I didn’t have to learn how to roll the perfect tortilla in three rolls of the pin. My mother learned how to do it that way from her grandmother. If she failed to roll that perfect tortilla by the third roll, she got a rather hard whack on her hand for her “lack of effort” in getting it done. So I counted my blessings that no whacking of the hands happened with my learning how to cook. Refried beans from scratch? Yeah, I did that. Fideo, lord almighty, her fideo was legendary, with my mother’s coming a close second. but I learned that too. Chili Reinos, Spanish Rice, Albondigas, Pozole, Menudo, all of it. From her, more than anyone, my latinx heritage was secured. The latin women of my family ensured my love of my culture. The food, family life, ritual and traditions of our race. Viva la raza and all of that. I have to admit, I didn’t always feel it. Probably the queer kid in me taking root. And it’s a tricky thing for me to embrace wholly even now. I still struggle with it. Mostly because there is still so much of my heritage that stands against who I am. It’s a tough road to walk.

 

Albondigas soup - soup for the soul.

Albondigas soup – soup for the soul.

Yet, the food. The food is what brings me back. Every time I have Albondigas, I don’t just think of family, I feel them course through me, their memories and love flavoring the soup with each successive spoonful.

 

II.

Being the first grandchild, I got to enjoy things my brother and sister didn’t. I get that. I feel a tad guilty for it, but it wasn’t anything I did other than being born first. So one such guilty pleasure was something rather silly but meant the world to a three year old boy: I had a specially crafted seat in my grandparents 1962 Cadillac.

Okay, it wasn’t a special seat made just for me. It was actually a double-wide arm rest but my little butt fit onto it and could nestle myself in the indent where the armrest could be stowed when not in use. So I sort of made it my own seat. Now, this was years before the whole click it or ticket  sort of thing. We lived on the edge. Kids riding carefree in the back of pickup trucks with no seat belts, nothing to keep their butts on the bed of the truck. Hell, there were times my brother, sister and I would stand up in the back of my dad’s old Ford pickup, gripping the wrought iron frame he had in the back helping us stay in the damned truck.

My brother and sister probably resented the fact that I was the favorite. No, thinking on it now, there is no probably about it. They definitely did. My grandmother made no bones about it. She came from an era where that happened and no one questioned it. My parents, on the other hand, weren’t so accepting of that sort of tradition. As much as my grandmother was obsessed with perceptions about the family, my father was equally obsessed with each of his children being treated fairly. It had become so lopsided that my parents had a rather large fight with my grandparents that they had to treat the three of their children equally or they wouldn’t see any of us at all.

My mother said that it broke my grandmother’s heart to be given that ultimatum, but it was necessary so that my brother and sister wouldn’t grow up to hate me. I got that and was thankful for my parents having the courage and foresight to nip that one in the bud. The thing is, I don’t know that they were all that successful in detecting when she did favor me. Because I can recall many times she did long after being given that edict from my parents. All it did was serve to drive it underground. She was just more clever on how she gave me a bit more than my brother or sister. On some level I knew it still went on. But I was a kid. You bet your ass I took whatever extra came my way. I’m not proud of that now, it’s just how it played out.

 

1959 Cadillac Coupe DeVille

1962 Cadillac Coupe Deville – my grandparents was a sea foam green and a hard top (instead of the convertible shown here).

But anyway, back to my custom built seat. The Caddy was a huge influence on me. Later on I’d realize that it, too, was an expression of my grandmother wanting to appear rich when we were anything but. But at the time I didn’t know any of that. All I knew was, as a young boy, I had a small throne for the little prince to ride around in. From that I got that a little favoritism went a long way to building confidence. In those early years i felt like I could do anything. I had a confidence that when my grandmother told me I was special and I could do anything, I felt like I really could.

That didn’t last all the way through my childhood. But in those early years, it mattered. And that wasn’t because they stopped believing in me as I grew older. It was just that, as my queer self started to blossom, I realized just how removed I was from all of them. That’s where the self-doubt and hiding from them all began.

Yet, those few years in that Caddy, that specially designed seat my grandmother had made just for me, meant the world. I still can’t see one of those bullet shaped taillights on that car and not feel a bit whimsical for my youth. I’d probably trade a year off my life to be a young boy in that “special seat” one more time.

 

III.

My family - circa 1967.

Mi familia – circa 1967. I’m in the red and white striped shirt.

This last part doesn’t have to do with my grandmother so much as it does the influence she had on our lives.

I’m talking about the years I don’t remember quite as well that haunt my thoughts to this day. These are the earliest years of my life that I’d like to watch like a fly on the wall. Years when I was told that everything that had to do with me as a young boy were celebrated to the nth degree. In the Latin culture, boys are celebrated at birth, girls are lamented. This is because, for my people, boys rule and our lives are generally lived unfettered by “you can’t or you shouldn’t” – where that’s all the girls hear. For girls born into Latin families, their lives are seen as hard and unforgiving. To a great degree, though our family did its level best to keep things as an even playing field. my sister did deal with harsher realities than me. It’s one of the reasons to this day that I admire her so. In that adversity both within the culture and within the family, she found a way to prosper. I am sure she had to work nearly twice as hard as I did. I was there for her in every way I could think of, but I also know how much easier I had it by being born male. I am all too aware of the male privilege that I enjoy. Times are changing, but it didn’t escape my sight that my sister had a much harder time of it. But like those strong women of my Latinx family, my sister gave me probably the greatest gift of all – to never give up despite what life throws at you. Her perseverance in life feeds my own.

Love ya, sis. I think even Grandma would be proud of how we turned out.

 

Until next time …

-SA C

Comments (1) | Trackback
Powered by The Violet Quill Redux and SA Collins WordPress