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This review is from: All the Young Dudes: Why Glam Rock Matters (Kindle Single) (Kindle Edition)
The Dery cabinet of wonders reveals yet more exhibits in All the Young Dudes, a tale of how English countercultural eccentricity expanded a youthful rebel's dandyfied consciousness via Glam Rock, heralded by the classic Mott the Hoople hit referenced in the essay's title. Teenage Mark was eager to escape the narrow bonds of dudeness and jockism that were the only ways of being male in his world. For this neophyte aesthete and dandy these options would simply not do, being far from commensurate with his self-described heteroflexible identity. All the Young Dudes was lauded as an anthem for outsiders in general, when it was released in 1973 and topped the UK charts, and was also seen by some critics as a paean to the gay subculture. Dery sees this as erroneous, quoting Lester Bangs's observations on the place of music in the gay scene - disco, R `n' B, Latino dance, Broadway show tunes, definitely nothing to do with transatlantic pop-rock. There follows an overview of the etymology of `dude', a point of contention between British and American lexicographers (it's probably connected to the Aesthetic movement in vogue in the 1880s and Oscar Wilde's lectures in the US), the hidden-in-plain-sight homoeroticism in Saturday Post illustrations and its possible influence on the sleeve art of the single. An interview with the photographer, the legendary Mick Rock, divulges something of the process of the sleeve design. The image chosen is considered an ambiguous one, hinting at dudeness in both the senses of effete dandyism and of blokeish bonhomie. For Dery this locates the record, and Glam as a cultural phenomenon, in a free space that does not stiffly signify a `straightforward' Queerness or simply function as a generalised vehicle for the expression of a Iiberatory teen identity. Rather it is a kind of wild zone where anyone can be gay, straight, bi, heteroflexible, weird, nerdy, dandyish, femme, butch, whatever. Bowie, the song's composer, is the `leper messiah' who represents all his pretty things as their queeny king totem, but also the revisionist who later deplored his probably commercially motivated coming-out in the early 70s and dismissed any Queer interpretation of All the Young Dudes as misguided. His account of the lyric as a rather silly SF plot is unconvincing.
Mark Dery uses his personal experiences as microcosmic takes on the larger questions of American life, showing how the individual and the wider culture make each other. This isn't some mere writer's shtick but a technique for structuring cultural criticism in a way that is relevant to the reader. It is a discursive form that blends the pleasures of evocatively written memoir with the intellectual zing of sharply observed analysis. A tour de force of Deriana.