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Pop | Cheat Sheet
March 29, 2011
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Greatest Hits

Cheat Sheet: Gay Icons

by Rachel Devitt

Gay men and female pop stars have always had a special relationship. For decades, the latter have spoken to (and sometimes for) a demographic that has endured a great deal of prejudice and abuse, providing a mainstream voice (or at least outlet) for those who historically have had none in mainstream society. To adore a particular diva has been, at times, a means of building community, articulating a dangerous desire or simply making friends. But gay men also have plenty to offer their beloved divas: long renowned as tastemakers and trendsetters, gay men have increasingly become a sought-after demographic for the pop diva, more than one of whom has the Friends of Dorothy (and, especially, their dance clubs) to thank for her latest hit or, sometimes, her entire career.

Many a pop diva, therefore, has specifically sought to woo the gay male demographic. She may embrace big dance-pop beats or pen a flat-out coming-out anthem. She may submit to clubby remixes or preview her latest song in an LGBT club. And lately, thanks in part to Lady Gaga and the disco divas who inspired her, the pop chanteuse may also find it not only possible, but necessary, to make her romance with gay men known to society as a whole.

This is the position Ms. Britney Spears has currently taken up with her new album. In the short time since her last album, the world of pop has changed dramatically. Club-ready (and club-inspired) dance-pop is the sound du jour a sound Britney helped create but in which she now has lots of competition. And uncloseted catering to the gay community has likewise become fashionable. Long beloved by gay male fans, Britney now seems to be actively pursuing them with both her new sound and events like the performance she staged in San Francisco's Castro district (complete with drag queens as the opening act). In return, she recently beat out Madonna as Out magazine's biggest gay icon and expressed her support for LGBT people (including her own sons, should they be gay) in the interview. By reworking herself as a fabulous, gay-friendly grand dame of pop, Brit-Brit may just graduate to grown-up pop stardom after all! And she finds herself in some pretty fabulous company, too.

The Givens: Cher, Barbra, Bette, Liza, Tina (no last names necessary)

You know them. You love them. You (along with generations of gay men and, well, everyone) idolize them for their charisma, uniqueness, nerve and talent (to quote RuPaul). Maybe, just maybe, you have even bought a wig and pranced around in it in front of your bedroom mirror with a hairbrush for a microphone pretending to be them. That's OK, honey. It's what they want. It's what they inspire. Don't get us wrong or anything: you will never be that fabulous in real life. But it never hurts to keep trying, sweetie. When you think "gay music icons," these are the ladies who come to mind first. Worship. And work.

The Up-and-Comers: Britney, Christina, Beyonce, Gaga

Like you, these young ladies aspire to be as fierce and fabulous as the grand dames above them. Unlike you, they kind of already are. The first three (among others) laid the groundwork, but Gaga has thrown down the gauntlet as far as gay icons go, aligning herself explicitly with her gay fans as not only a supporter but a part of their community. Pay attention, divas. There's a new sheriff in town and baby, she was born this way.
See also: Possibly Adele, a different kind of diva, according to a recent Slate article.

Albums
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Super Hits
The Weather Girls
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Greatest Hits
Shirley Bassey
Everything Shirley Bassey sings sounds like something off a film soundtrack -- even the songs that aren't actually on a film soundtrack. Whether she's belting out a show tune or dipping into a guttural growl for one of her Propellerheads collaborations, Bassey's voice is grandiose, dramatic, commanding. You say some fellows called the Doors originally wrote "Light My Fire" and it wasn't a lounge song besotted with sweeping strings and Bacharachian brass? We'll never believe it. Because Shirley Bassey is just that much diva. And, darlings, she most definitely does have the range.
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Gran City Pop
Paulina Rubio
An imaginary utopia inspired by Miami, Madrid and Mexico City, Paulina Rubio's Gran City effortlessly blends the sounds of those scenes, jumping from Mexican regional-infused pop (don't miss the bonus banda version of "Causa Y Efecto") to Latin alt to almost ABBA-esque Euro-disco (the dramatic "Algo de Ti"). Rubio's flexible voice and diva charisma allow her to carry off each style with attitude and flair. It's a potent reminder of why she is such a mega-star in the Latin pop world, and poses the question of when the English-speaking pop world is going to wake up and take notice.
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Coat Of Many Colors
Dolly Parton
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9 To 5 And Odd Jobs
Dolly Parton
A critical return to form and mega-selling hit record for the country icon, 9 To 5 and Odd Jobs, released in 1980, was as ubiquitous, and deservedly so, as the movie of the (almost) same name. Not only was that movie funnier and a way better time than anyone expected, the attendant record here -- with an impossibly catchy title cut, a fantastic take on Bobby Bare's "Detroit City" and production values that, while decidedly slick, remain tied to the ancient moves -- is characteristic of Parton's work, meaning more legitimate than her pop success may lead folks to believe.
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The Sensual World
Kate Bush
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Yes, I'm A Witch
Yoko Ono
Given the scattershot artists compiled here -- everyone from cuddly indies like Apples in Stereo to electro-diva Peaches -- Yes, I'm A Witch is a cohesive retelling of Mrs. Lennon's musical life, offered with an appropriately arty inflection. It's held together by Yoko herself; her warbling hep-talk sounds painfully human when set to acoustic guitar (Porcupine Tree's version of "Death of Samantha") or orchestrated bombast (Flaming Lips' "Cambridge 1969/2007"). Remixes by Cat Power and Le Tigre hold some surprises, making a tribute to Ono that's inventive, eccentric and challenging.
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I Will Survive
Gloria Gaynor
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La Trayectoria
Gloria Trevi
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Bedtime Stories
Madonna
On Erotica Madonna made the mistake of selling herself like a manufactured product. With this warm follow-up, she reminds people that intimacy is also emotional. This one bops along with a mellow but steady groove that's more in sync with the head-bobs drivers do when listening to their car stereos rather than anything that happens in the bedroom.
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Rufus Does Judy At Carnegie Hall
Rufus Wainwright
In June 2006, Rufus recreated Judy Garland's legendary 1961 performance. It's cover-song cabaret! It's musical drag! It's ... the gayest thing ever, and who better to do it than the queen of all that is gritty, witty and gay? Like the best drag artists, Rufus doesn't just impersonate Judy, he taps into the essence of her allure, drawing out their similarities (bold vocals; a stage presence equal parts anguish and panache) even as he puts his campy stamp on her oeuvre. He nails "Over the Rainbow," of course, but it's his soaring "How Long Has This Been Going On" that made our heartstrings zing.
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True Colors
Cyndi Lauper
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Nightclubbing
Grace Jones
A model/actress/singer/socialite originally from Jamaica, Grace Jones was a multifaceted superstar in the late 1970s and early '80s. Her third and most popular solo album showcases her unique vocal style over funked-out New Wave tracks from famed reggae producers Sly & Robbie.
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Born This Way
Lady Gaga
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The Velvet Rope
Janet Jackson
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Mambo!
Yma Sumac
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Diana: Deluxe Edition
Diana Ross
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Dusty In Memphis
Dusty Springfield
In 1969, Dusty Springfield went to America and put herself in the hands of the Atlantic Records masterminds. They had her ease up and go for lyrical nuance – to stunning effect. "Son of a Preacher Man" is the lasting hit, though every tune here is a marvel, and "I Don't Want to Hear It Anymore" (written by Randy Newman) and "No Easy Way Down" (Carole King) are two of the saddest songs ever committed to tape. Dusty in Memphis didn't sell a lick, but it is now considered to be Dusty's crowning achievement. This edition is loaded with over a dozen bonus cuts from the same sessions.
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Bad Girls: Deluxe Edition
Donna Summer
In 1979, disco was on its way out, but the genre's queen was nowhere close. Summer and producer Giorgio Moroder took the opportunity to take off in several new directions across the new pop landscape: dramatic synth pop (don't miss the driving "Our Love" or the weird world of "Sunset People"), yacht-astic adult contemporary, funk-laced soul, and, of course, the two rock-edged post-disco smashes that lead things off. Summer's sensual butterfly kiss of a voice and intoxicating sexuality glue it all together. The experiment paid off: Bad Girls was her most commercially successful effort.