Today,
our subject is another artist who had no problem letting the world know that he
was gay. Compared to yesterday's Labi Siffre though, he was flamboyant, while
Labi was low-key: he lived an adventurous life, while Siffre led a quiet one:
more importantly, he had a life that was too short, being taken at 41 by the
plague that AIDS was in the 80s. He is Sylvester
James, Jr., known to everybody by his first name, Sylvester.
Sylvester was born in Watts, L.A. in 1947 to a
middle-class African-American family. His father left home while Sylvester was
still young and his mother later remarried. She was a devout Pentecostal
Christian and young Sylvester went with her to church every Sunday, where he
developed an interest in gospel music. Having been an avid singer since the age
of three, Sylvester regularly joined in with gospel performances.
Sylvester realized that he was gay at an early age. At
the age of eight, he engaged in sexual activity with a far older man at the
church, although he would always maintain that this was consensual and not
sexual molestation. His mother could not accept that he was gay and neither
could the church congregation: Sylvester was forced to leave the church at age
13 and to leave his mother's house at age 15.
Sylvester
spent much of the next decade staying with friends and relatives, in particular
his grandmother Julia, who expressed no disapproval of his homosexuality. He
began frequenting local gay clubs and built up a group of friends from the
local gay black community, eventually forming themselves into a group which
they called the Disquotays. The group dressed up like women, and threw
ferocious gay parties in neighborhoods whose strongest institutions were
conservative black churches. Legendary Etta James befriended them and would
often offer her home as the location to their parties.
Sylvester's
boyfriend during the latter part of the 1960s was a young man named Lonnie
Prince; well-built and attractive, many of Sylvester's friends described the
pair as being "the It couple". He went through a variety of jobs,
from cooking in McDonalds to being a make-up artist in a mortuary. By
the end of the decade, the Disquotays had begun to drift apart, so Sylvester
decided to move to San Francisco, where he joined an avant-garde performance art drag troupe known as The Cockettes.
Although
a significant member of the troupe, Sylvester remained a relatively isolated
figure; not only was he one of very few African-American members, he eschewed
the group's more surrealist activities for what he saw
as classier, more glamorous performances onstage. In the Cockettes'
performances, he was usually given an entire scene to himself, often with
little relevance to the narrative and theme of the rest of the show, although
through doing so, he gained his own following.
On
New Year’s Eve 1970, Sylvester met and fell for a young white audience member,
Michael Lyons, who was then suffering with a heroin addiction. Sylvester
immediately proposed marriage, and they entered a relationship and moved in
together. Although same-sex marriage was then illegal throughout the United
States, the couple held a wedding in the Shakespeare Garden of Golden Gate
Park, in which they proclaimed their love for each other. In keeping with their
free love values, they agreed to have other sexual partners and would give each
other away to friends as birthday presents.
Soon, the Cockettes began to gain increasing media
attention, with celebrities such as Rex Reed, Truman Capote, and Gloria
Vanderbilt enthusing about their performances. Rolling Stone magazine singled
out Sylvester’s performances for particular praise, describing him as “a
beautiful black androgyne who has a gospel sound with the heat and shimmer of
Aretha’s.”
The
success led the troupe to decide to take their show to New York City, a city
with a long history of drag culture. They traveled there in November 1971,
staying at the run-down Hotel Albert on 11th Street and immediately immersing
themselves in the city’s avant-garde, attending parties held by Andy Warhol and
Screw magazine. Spending so much of their time partying, most of the Cockettes
didn’t rehearse, the exception being Sylvester, who wanted to perfect his act.
When the opening night at the Anderson Theater came about, the Cockettes
performed as they had been doing in San Francisco, but their show did not go
down well with the audience or the critics, and was panned in media reviews.
Sylvester’s act, on the other hand, was widely praised as the highlight of the
show. Realizing that he had far better prospects as a solo artist, on the
second New York performance he opened his act by telling the audience, “I
apologize for this travesty that I’m associated with.” On the seventh
performance, he opened the show by walking on, announcing that he would not
perform that night because he was leaving the Cockettes, and then walked off.
The Cockettes disbanded the following year.
Returning
to San Francisco, Sylvester was immediately offered the opportunity to record a
demo album by Jann Wenner, editor of Rolling Stone magazine. Using money
provided by A&M Records, the album featured a cover of Bonnie Bramlett and
Leon Russell’s song “Superstar,” which had been a recent hit single for The
Carpenters; nevertheless, A&M felt that the work wasn’t commercially viable
and declined to release the album. For the album, Sylvester had assembled about
him a group of straight white males whom he gave the name of “The Hot Band.”
After A&M’s initial rejection, the band provided two songs for Lights Out
San Francisco, an album compiled by San Francisco’s KSAN radio and released on
the Blue Thumb label. Gaining a number of local gigs, they were eventually
asked to open for David Bowie at the Winterland Ballroom; the gig did not sell
particularly well, and Bowie would later comment that the people of San
Francisco “don’t need me. They’ve got Sylvester,” referring to their shared
preference for androgyny.
In
early 1973, Sylvester and The Hot Band were signed by Bob Krasnow to Blue
Thumb. On this label, they proceeded to produce their first album, in which
they switched their sound from blues to rock, which was considered more
commercially viable. The backing singers were the Pointer Sisters. Sylvester
would name this first album Scratch My Flower, due to a gardenia-shaped
scratch-and-sniff sticker adhered to the cover, although it would instead come
to be released under the title of Sylvester and his Hot Band. Scratch My Flower
consisted primarily of covers of songs by artists such as James Taylor, Ray
Charles, Neil Young, and Leiber and Stoller, and would be described by
Sylvester biographer Joshua Gamson as lacking in “the fire and focus of the
live shows.” It would proceed to sell poorly.
From
this album, here's an interesting cover of Procol Harum's A Whiter Shade Of
Pale:
Sylvester
and his Hot Band went on tour around the United States, receiving threats of
violence in several Southern states, where widespread conservative and racist
attitudes led to antagonism between the band and locals. Wherever possible on
tour, Sylvester would visit gay bathhouses. In
late 1973, the band recorded their second album,Bazaar, which included both
cover songs and original compositions by bassist Kerry Hatch. Once again, it sold poorly. My Life was specially
written for Sylvester, about his life at that time, by W.Peele Jr. & W.
Sams Jr.:
Frustrated
by the lack of commercial success, the Hot Band left Sylvester in late 1974,
after which Krasnow cancelled his recording contract. Sylvester set himself up
with a new band, with two drag queens as backing singers and when that didn't
work out, he tried forming a new act in 1975, but that didn't work either. He
then employed a new manager, who then opened auditions for new backing singers,
with Sylvester being captivated by one of those auditioning, Martha Wash. Sylvester
asked her if she had another large black friend who could sing, after which she
introduced him to Izora Rhodes. Although he referred to them simply as
"the girls", Wash and Rhodes named themselves the Two Tons O' Fun and
continued to work with Sylvester intermittently until his death, developing a
close friendship with him. They were soon joined by
bassist John Dunstan and keyboard player Dan Reich.
This
formation began playing in gay bars and clubs and they caught the attention of
producer Harvey Fuqua, who subsequently signed Sylvester onto a solo deal with
Fantasy Records in 1977. The first album, named simply Sylvester, contained
Over And Over by the songwriting team of Ashford and Simpson which was released
as a single. The single had some success in Mexico and Europe.
I
Tried to Forget You was co-written by Sylvester himself, along with James
"Tip" Wirrick:
Tomorrow
we'll deal with Sylvester's encounter with mainstream success and the years
that led to his early death.
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