– One of the world’s misunderstood love songs? – How pop culture embraced ‘sexuality without labels’Īs for those who might take issue with such displays of queerness? Lil Nas X has positively revelled in provoking them. The devilish video for Montero was, above all, his way of turning homophobic rhetoric – which has long described gay people as sinners who are destined for hell – on its head, while the lyrics practically drip with arousal. Then after the BET awards, he responded on Twitter to complaints about his kiss by joking that he would have sex on stage next time. This is clearly about more than just provocation, though: just before Montero dropped, he posted a letter to his 14-year-old self on social media, saying that he’d made the song to help normalise queerness, and queer sexuality. "I know we promised to never be 'that' type of gay person, I know we promised to die with the secret," he wrote. "But this will open doors for many other queer people to simply exist". The rise of Lil Nas X is representative of an era where gay sex is taking up more space in music than ever. Other younger pop stars who have put their sexuality front and centre in their work recently include Olly Alexander, the former frontman and now sole member of British band Years & Years. He also subverted the homophobic association between homosexuality and sin in the lyrics and video of his 2018 single Sanctify, a song about sex with a man who is still in the closet. Australian pop star Troye Sivan's 2018 album Bloom featured numerous references to sex with men.
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When it comes to female artists, meanwhile, Hayley Kiyoko has been described by fans as a " lesbian Jesus" for her sexy pop bops, while pansexual singer and actor Janelle Monáe's hyper-sexual, vagina-themed video for 2018 PYNK catapulted her to queer icon status. More recently, bisexual rapper Cardi B's record-breaking, joyfully lascivious WAP, contained the most-googled lyrics of 2020. Of course, the LGBTQ+ stars of today are part of a long lineage of gay pop icons, stretching back to the likes of Elton John, George Michael and Freddie Mercury. When these musicians first hit it big, it was a very different era: in the 1970s, disco had allowed queerness in pop to flourish for a brief moment with US acts such as Sylvester and The Village People, while in the UK punk group Tom Robinson Band released the seminal gay protest anthem Glad to be Gay in 1978.
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But as the Aids pandemic worsened in the 1980s, gay men became tabloid targets, and while speculation over stars' sexuality was rife, they remained in the closet, prevented from expressing their sexuality in their work in any overt ways. As critic Alfred Soto wrote in a 2016 tribute to Michael following his death, fans back then were "fine with queerness so long as the artists didn't ask or tell". David Bowie – who traded on an androgynous aesthetic and a hedonistic public persona – had found this out the hard way.