British author Darryl W Bullock impressed with his irresistibly titled “David Bowie Made Me Gay” (2017), an overview of LGBT+ music which was a work of admirable scope and highlighted both the major and minor artists who worked towards changes of attitude in the music industry. Here, he focuses on a smaller group of men who worked largely behind the scenes but who became highly influential and recognised figures, at least in part through their skilful use of promotion, the popular press’ obsession with their work and references to their sexuality, illegal for much of their time in the limelight, which made them the most high-profile group of gay men to date.
His main subjects, Larry Parnes, Brian Epstein, Joe Meek, Lionel Bart and Robert Stigwood are subtitled here as “The Gay Men Who Ran The Swinging Sixties”. I knew who each of these were prior to reading this book but details were sketchy, with the exception of Joe Meek, the subject of John Repsch’s masterful “Legendary Joe Meek (1989) (a Top 3 read when I got round to it in 2002) and the five star biopic “Telstar”. All these men knew one another but it is the eccentric outsider Meek who perhaps has the lowest profile here. They were all innovators who made an indelible impression on the entertainment industry. Larry Parnes first found unprecedented success with an ex-merchant seaman from Bermondsey, who became Britain’s first rock n roll star, Tommy Steele (it’s hard to fathom nowadays how famous he became in such a short space of time) and then used the formula again and again with a “stable” of renamed boys, (Billy Fury, Marty Wilde, Georgie Fame, Vince Eager, Lance Fortune, Dickie Pride etc etc), some of whom took off and some of whom cost their manager much money and stress. Both Parnes and Epstein were individuals who I would have been happy to have read much more about. Epstein pulled off an absolute master stroke with The Beatles. He was inexperienced in artist management and had to learn on the job and nobody was prepared for the impact this group would have. On the surface very confident, initially, privately he was a mess and winging it continually took its toll with his very early demise aged 32. Lionel Bart’s “Oliver” propelled him to superstardom and he struggled to follow this up, losing a fortune and Stigwood eventually made it by hanging on in there whilst the others fell by the wayside.
I was particularly fascinated by a man who was linked with all of these, the showbiz lawyer, David Jacobs who seemed to be at the centre of everything for some time. Things didn’t work out well for him, ultimately, either but I was left with an urge to find out more about him. Behind their great successes these men had a surprising number of failed ventures but by using publicity, promotion and the media so well (although each faced at times the reverse side of this with press intrusion into their private lives) they could keep their heads above water and attempt to convince the public they were on the verge of discovering the next big thing. On the fringes are everybody who was anybody in the sixties including the Krays, Judy Garland, Alma Cogan, The Beatles, The Who, The Rolling Stones, Tom Jones with David Bowie and Marc Bolan waiting for their time in the spotlight.
It is quite a dense read, as was the last book of his I read, filled with so much information. Here, a largely chronological approach did trip me up at times keeping track of who was who but it really does shine a light on the time when the entertainment industry in the UK first became huge business and these men were instrumental in that.
The Velvet Mafia was published by Omnibus Press in 2021.