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The inclusion of the song at this moment is particularly notable considering Crowley’s AIDS diagnosis and his death the same year the song was released. This whole monologue is set to ‘Do You Wanna Funk?’ by Sylvester and Patrick Crowley a shamelessly sexy track from 1982 that typified a new type of dance music – pioneered within the gay nightclub scene – known as hi-NRG.
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Until an epidemic disproportionately affecting his community threatens that freedom and safety. Richie displays the kind of hubris born out of a lifetime of shame: he spent his adolescence on the Isle of Wight hiding his identity from a suffocating family and he has finally been granted the opportunity to live his life like everyone else, with relative abandon. A standout scene sees Richie break the fourth wall during a pub crawl towards Heaven – a beacon of gay London nightlife – and dismiss the so-called ‘Gay Plague’ as mere paranoia and conspiracy.
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These clubs represent a new, free world for Richie – and someone who has only just found freedom is not inclined to give it up in a hurry. As gay nightclubs sprang up and proliferated high-energy dance music, music itself became a conduit for connection and expression. Richie’s escape from the heteronormative suburbs becomes a hedonistic endeavour at the earliest opportunity. Female pop and disco divas have long represented something vicarious for many gay men and It’s A Sin’s soundtrack reflects that with Blondie and Kate Bush and Belinda Carlisle all making an appearance.
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When the deliciously uncool disco track returns in earnest several scenes later, Roscoe has shrugged off the hi-vis jacket and the ill-fitting uniform of traditional masculinity and stormed out of his family home in full drag and a beaming smile. We’re first introduced to another central character, Roscoe, on a construction site, tapping his foot along to Kelly Marie’s ‘Feels Like I’m In Love’ on the radio. This unbridled joy was a reaction to years of shame and repression. While the show presents a reality that is often unbearably yet inevitably tragic, It’s A Sin is also remarkable for its moments of weightlessness and joy: we celebrate the central group of misfits finding one another, LGBTQ+ people basking in self-expression and desire – all the while partying away to a glorious, vibrant soundtrack. Davies and airing weekly on Channel 4, takes on the gravity of the epidemic in Britain with the grace and ambition of Tony Kushner’s Angels in America. The popular music of the decade embraced synthesisers, outlandish fashion and a coded yet obvious queerness, and for a time, queer musicians could hide and dance in plain sight while a devastating war ravaged their community. An exuberant hook masking dark lyrical discontent – “ you shouldn’t ever have to live this way” – reflects the quest for life-affirming music in the wake of the HIV/AIDS epidemic.
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‘Enola Gay’ might have a title a schoolboy would snigger at but OMD’s take on the immorality of the nuclear bomb is surprisingly appropriate for the Channel 4 drama when considering the silent war many gay and bisexual men were fighting in the 1980s. Richie Tozer (Years and Years frontman, Olly Alexander) hides his stash of gay porn in his uni suitcase and leaves the sleepy, repressive suburbs for the liberating thrill of ‘80s London, as the bright synth hook of OMD’s ‘Enola Gay’ sends him on his way.