By Jared Chausow
By Katie Toth
By Elizabeth Flock
By Albert Samaha
By Anna Merlan
By Jon Campbell
By Jon Campbell
By Albert Samaha
Franz Ferdinand are the archest dukes in U.K. pop right now, four Glasgow boys who have gone from indie darlings to mainstream heartthrobs over the past six months. They've got the package: foppish pouts, sideways haircuts, drainpipe trousers, new wave guitar licks, an assassination-linked name that smacks of sex and danger. They've even fluked into U.S. success, hitting No. 39 on the Billboard album chart on the strength of their breakthrough single, "Take Me Out." They're also straight guys. Except their next U.K. single, "Michael" (due out August 16), is about dancing with a hot boy, and liking it very, very much. A sexy boy with leather hips. Feeling his stubble on your sticky lips. When lead singer Alex Kapranos pants, "Come and dance with me, Michael," he shoots his darts of pleasure through your heart. Live, he's been known to change the chorus to "Come all over me, Michael," but it's a seductive song either way. Assassinatin' rhythm, as Patti Smith used to say.
Franz Ferdinand have loads of other excellent songs, but "Michael" has become a clear-cut fan favorite. It's the one lighting up the online fan sites. You can see a typical discussion on the great time-waster Song Meanings (songmeanings.net), where responses range from confusion to enthusiasm to blatant revulsion. One kid announces, "i ripped this cd on my computer, got rid of this song, and then burned the franz ferdinand cd sans michael on a new blank disc. i never want to hear this song." Another adds, "i mean, this song is awesome dude, it's one of my favorite songs . . . but yeah . . . it's totally homosexual." Some people post to ask if Franz Ferdinand are really gay. Some ask if Michael's a girl. Some just want to know what the hell is going on here.
The lads of Franz Ferdinand seem a bit puzzled about all the fuss. Alex Kapranos has said he's a bit surprised that "Michael" is the song people most want to ask about, since it's so straightforward. He told the story behind it to the magazine Boyz: "It was one night when me and the band were out with friends from Glasgow, and we went to this warehouse dance party thing called Disco X. It was a very debauched night and these two friends got it together in a very sexy way." Although the real-life Michael is chuffed about the name-check, Alex gallantly protects the other friend's identity. "This guy's girlfriend will kill him. Well, she won't kill him, but she's very jealous of the fling he had with Michael. So it's a bit of a sticky situation." When Boyz asked if he was tempted to join in the boy-boy action, Alex replied, "Everyone looked wonderful that night." Spoken like a true rock star.
Part of the fascination with "Michael" has got to be on account of the band members themselves, who, it must be said, are 15 pounds of fuck-puppy in a 10-pound bag. No matter how much of a straight guy you are, watching these boys onstage makes your heart hurt a little. When they played Northsix in January, still an obscure indie band from way out of town, everybody was curious to get a glimpse of what they looked like. Their first two import singles, "Darts of Pleasure" and "Take Me Out," were unbelievably sexy and slithery things, goosing old dance-oriented rock riffs that were right on the tip of your tongue (Blondie? The B-52's? The Breeders?) as Alex purred one-liners like "You can feel my lips undress your eyes." We could only hope they were half as hot as they sounded. But right before they hit the stage, drummer Paul Thomson came out to set up his kit, and you could feel the buzz go through the roomif the drummer is this hot, oooh baby, we're in trouble. And we were.
In most of their songs, Franz Ferdinand capture romance in non-gender-specific terms, typified by the sweet and wistful tone of "The Dark of the Matinee," where you rearrange your schedule to accidentally bump into your crush. When they do specify gender, they usually sing about guy-girl flirtation. "Michael" is their only blatantly homoerotic song. But it ambushes you on the album, because it rocks without any coy wink. Boys who like girls who like boys who like boysit's no big deal in this song. Alex isn't bragging about walking on the wild side, which is why his passion drags you out onto the floor with him, for your pleasure, as he croons, "Beautiful boys on a beautiful dancefloor/Michael you're dancing like a beautiful dance whore."
Plenty of other straight bands have sung about boy-boy lustit's a rock 'n' roll tradition that goes back way before those sweet and tender hooligans the Beatles. (When Ringo sang the Shirelles' "Boys" on the first Beatles album, he didn't bother changing all the gender refs.) Nirvana were total queer-punk wannabes, in the tradition of David Bowie, Bryan Ferry, Lou Reed, and so many other straight rockers who crushed out on gay guys in their music, if not in real life. When Bowie sang "John, I'm Only Dancing," he ditched any sense of shame about the fact that it turned him on to turn John on. Think of the Kinks in "Lola," or Mick Jagger, sticking a very unconvincing "she said" into the orgiastic gender-crashing fuck-madness of "Let It Bleed." It's usually hard for straight bands to identify gay without getting self-conscious or even self-congratulatory, acting gayer than thou, but Franz Ferdinand breeze through "Michael" as if it's no sweat. They're beautiful dance whores, all right.