On a busy city bus, a tall thin young man flows down the stairs wearing a long white shirt, a long slinky black skirt, and stiletto-heeled boots.
He has a shaved head, diamond jewellery, and Beats headphones. He languidly disembarks, emanating effortless Bowie energy. Not that long ago, heâd have had his head kicked in for his trouble.
Today, halfway through Pride Month, such hostility might be hard for Gen Z to imagine.
That once upon a time, places where LGBTQ people could be themselves were strictly demarcated, and before that, such places didnât officially exist at all, so that those gathered inside were always under threat of raids, violence, blackmail, persecution. Like Stonewall.
One of the most eye-watering aspects of music historian Jon Savageâs new book, The Secret Public: How Lgbtq Performers Shaped Popular Culture Between 1955 And 1979 is his writing on what it was like to be gay in the old days.
Before backgrounding and contextualising artists from Little Richard and Johnnie Ray to Sylvester via James Dean, David Bowie, Andy Warhol, (although few lesbians, apart from Dusty), Savage writes about how the legal and medical establishment regarded homosexuality.Â
A âmoral plagueâ, an âunnatural viceâ, a psychiatric condition to be âcuredâ.
One handsome trucker, Roy Scherer, was âobviously homosexualâ and had to be âintensively reprogrammed into an all-American masculinityâ, after he was renamed Rock Hudson in 1947 by his manager.
Masking was key. In ONE, the only self-declaring âhomosexual magazineâ of the era, a semi-spoof article appeared in 1955 on âmasculine deportmentâ.Â
No hands on hips, better your cigarette dangling from your mouth âin a brutally tough effectâ; and watching your language; âno gushing, no fizzing superlativesâ.
You had to retrain your body, voice and speech to present as someone else entirely.
In another recent book, The Diaries of Mr Lucas, journalist Hugo Greenhalgh edits the diaries of a gay Mr Nobody in the 1960s.
Respectable civil servant by day, discreet but enthusiastic inhabitant of the unofficial gay scene of Londonâs West End at night, George Lucas wrote it all down. Obsessively recording a lost world.
He notes how Piccadilly was thronged with Irish rent boys, and takes us into long gone pubs such as Wardâs Irish House, situated down narrow stairs underneath Piccadilly Circus, making it harder to raid.
Mr Lucas, with his half pints of ale and his predilection for âguardsmenâ, lived in constant fear of being outed, blackmailed, ruined.
His diaries are a window into an era where being gay meant having to spend most of your life pretending you werenât.
This is still the case in 64 countries around the world with laws that criminalise LGBTQ lives, from cultural homophobia to the death penalty.Â
Closer to home, thanks to vociferous exclusionists, transphobia remains rampant.
Yet in 1955, ONE magazine remained hopeful, despite the suffocating climate: âSuch terms as âbetter halfâ and âweaker sexâ⊠will disappear, while words such as âmasculineâ and âfeminineâ become obsolete for sheer lack of meaning.â
It remains a work in progress.

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