After the sexual free-for-all that was 1970s glam rock, the pendulum swung back. The 1980s alt-rock landscape was impossibly straight. That’s ironic, since its holy trinity -- R.E.M., Hüsker Dü, and The Smiths -- was made of bands whose frontmen are now respectively queer, out, and sexually nebulous. But in the darker corners of the underground, bands were sprouting up that were defiantly -- and loudly -- gay. The Queercore scene grew out of a generation that bristled against what it saw as the bourgeois trappings of a mainstream gay lifestyle and the macho, hetero hardcore scene that punk -- a movement founded by women, people of color, and gays -- had become. Queercore was a call to arms and storming out of the closet. The literature came before the music. It started out as a loose collective, trading fanzines and letters, and evolved to include dozens of bands, as well as the extraordinary friendships and treacherous rivalries that come along with creative intensity. Here’s an oral history of Queercore, from its inky, Xeroxed beginnings until it rendered itself obsolete.
There was a gay element to early punk, such as the Los Angeles group The Germs -- whose singer was the closeted Darby Crash—as well as Seattle transplants The Screamers, The Apostles in the U.K., and, in Texas, The Dicks. The original scene encompassed a proto-stage of what would become Queercore.
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