Article

Comingoutofthe
credenza
1
:AnItalian
celebrityunveilshis
newgayself
AngeloBenozzo
UniversityofValledAosta,Italy
Abstract
InthisarticleIofferadiscourseanalysisofTizianoFerrocomingoutinaregulatory
Italiancontext.Thecriticaltextsforanalysiscomefromthefirstpageoftheentertain
mentsectionoftwoItaliannewspapers,CorrieredellaSeraandLaRepubblica,where
Ferro,anItalianpopstar,cameoutoftheclosetinaspublicawayaspossible.Thepages
containaletterfromthesinger,otherarticles(editorialandcomments),aninterview
andimages.Ipresentadiscourseanalysisofthesenewspaperpages,highlightinghow
theconstructionofthisnarrationofcomingout,withitsideologyladenandrhetorical
discourse,combinedvisualaspectsandwrittentexts.InthiswayIdeconstructthe
narrativeofcomingout;Idiscusstheintertwiningoftheregulatorydiscoursesso
thathomosexualityismadeacceptableintheItaliansociallandscape,andtheconse
quencesofthiscomingout.
Keywords
Celebrity,comingout,discourseanalysis,homosexuality,Italy
TizianoFerrocomesoutoftheclosetandslams
thedoorbehindhim
On6October2010TizianoFerroverypubliclyjoinedagroupofcelebritymusi
cianswhohaverevealedtheirhomosexuality,includingGeorgeMichael,Ricky
MartinandMichaelStipe.Ferroscomingoutwasmarketedthus:hewrote
alettertoCorrieredellaSeraandgaveaninterviewtoLaRepubblicaon
6October;on13OctoberhegaveaninterviewtoVanityFair;andon
20Octoberhepublishedanautobiography,Trentannieunachiacchieratacon
Correspondingauthor:
AngeloBenozzo,Universita`dellaValledAosta,DepartmentofHumanitiesandSocialSciences,Strada
Cappuccini2/a,11100Aosta,Italy.
Email:a.benozzo@univda.it

Page 2
papa`(thirtyyearsandachatwithmydad)inwhichherecountedthelast15years
ofhislife.Withinonedayofhisoriginalannouncement,by7October,mostItalian
newspapersandsomeTVstationshadpickedupthestory.Ferroalsoannounced
thathewasreturningfromexiletohishomeinItalyafterfouryearsin
Manchester,UK.FerroisaveryfamoussingerinItalyandbeyond.Sincehis
firstCDin2001,hehasachievednationalandinternationalfame,performingin
Italian,Spanish,EnglishandFrench.Hissuccesshascontributedtotheconstruc
tionofanarrativeofstardom,givinghisaudienceapointofreferenceandhis
recordcompany(EMI)hugecommercialsuccess.
InthesepagesIpresentadiscourseanalysisofFerroscomingout.Thematerial
comesfromthefirstpagesoftheentertainmentsectionofCorrieredellaSeraand
LaRepubblica,wherethesingerpublishedanautobiographicalletterandgavean
interview.Iexaminethisletter,theotherarticlesandtheinterview,togetherwith
theaccompanyingimages.Ideconstructthepage,highlightinghowthetextand
imagesshapeFerroscomingout,withitsideologyladenandrhetoricaldiscourse.
Beforecontinuingthearticle,twopremisesareimportant.First,Idonotwantto
devalueFerroscomingoutstory.IwanttomakeitabundantlyclearthatItaly
isacountrywhereantilesbianandantigayprejudicescolourthesocialand
politicallandscape.Politiciansopenlyandpubliclydevaluegaypeople,ascom
mentsbyexPrimeMinisterBerlusconishow:Mypassionforwomenisbetterthan
beinggay(Squires,2010).InItalytheCatholicChurchhasaverystrongpower
baseinallpoliticalpartiesandapowerfulgriponthepopularimagination.This
gripissostrongthatseveralproposalsforlawsbenefitinggayandlesbianpeople
havebeenrejected(e.g.forlegalizationofcivilunionsin2007,andagainsthomo
phobiain2011).InItalytherearethusnolawsagainsthomophobia,andno
generallegislationoncivilpartnerships.Thisdoesnotnecessarilymeanthat
LGBTQcentredculturalproductionisabsent;thenumberofbooks,novels,
films,gaycharactersintelevision,websitesandcommentsinnewspapershas
increasedinthelast10yearsbutthereisnoequivalenttoStonewall,noItalian
HarveyMilkorPeterTatchelltwofigureswholedstrongcollectivemovementsin
theUSAandUKrespectively,whichstruggledpowerfullyandeffectivelyfor
LGBTQrights.
Secondly,IwanttoclarifythatIamnotspeakingaboutthepersonaofTiziano
Ferrobutabouttheperformanceandrepresentationofcomingout,abouthow
apositiveimageofagaymanisbuiltandjustifiedrhetorically,andaboutthe
consequencesofthisrhetoric.IdonotintendtoexaminewhatFerroandthe
journalistsreallythinksothatIreducethethingsthataresaidtowhat...[they]
reallymean,and,worse,[speculate]aboutwhatpsychologicalprocessesorperson
alitycharacteristicsmightexplainwhytheysaidwhattheysaid(Parker,2005:
101).Ihaveanalysedthetextsandimagestounderstandhowtheyareconstructed
andtoexplorewhatdiscoursesofcomingouttheycommunicate.Iconsider
TizianoFerroacelebritysomeonewhoovertheyearshasfabricatedasellable
andbuyableimage,acapitalistoreconomicidentity(McGee,2010:57)who
owns/hasadiscursivepower,whosevoicerisesaboveothervoicesandisdiffused
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widelyandmadesignificantandlegitimatebythemedia.Whatacelebritywrites
maybeitsowncreature,justfiction,butwhatisrelevanthereisthatacelebritys
narrativeisshapedbyandaboveallshapesthesocioculturalcontext.SoTiziano
Ferrosimagesandtextscontributetothefabricationofaregulatorydiscourseof
comingout,andatamoregeneralleveladiscourseaboutwhatisandwhatshould
bethelegitimatehomosexual,thevaluedgaysubject(Roy,2012).Hisimagehas
economicvaluebutisalsoaculturaltextwhosefloatingsignifiers...arecontinu
allyinvestedwithlibidinalenergies,sociallongings,and...politicalaspirations
(Coombe,2006:722).
Throughtheanalysis,discussionandconclusionItrytoanswerthefollowing
questions.IfJollyscontentionthatcomingoutisawesternformulanotsimply
transferabletoothercontexts(2001:490)istrue,whichdiscoursescharacterize
FerroscomingoutsothathomosexualityismadeacceptableintheItaliancontext?
Aretherepeculiaritiestothisstorycomparedwithothercelebritiescomingout
discoursesand,moregenerally,withdiscoursesthathavecreatedthecomingout
oftheclosetformula?Andfinally,whatrisksandindividualisticorcollective
consequencesareimpliedbythiscomingoutstory?Sincemyreviewofthelitera
turerevealednostudiescomparingcomingoutstoriesofdifferentcelebritiesfrom
differentcultures,thecomparisonsdrawnhereconstituteanoriginalcontribution
tothisfield,andareofinternationalsignificance.
Ichoosetolimitmyresearchtothetwonewspaperpagesalone.Notonly
didFerrodecidetocomeoutfirstinthesepublications,buttheyalsoenjoya
masscirculation:theCorrieredellaSeraandLaRepubblicaarethemostwidely
readnewspapersinItaly.Millionsoftheirreadersarehighlyunlikelytoread
FerrosautobiographyortheinterviewwithVanityFair,amoreexclusive
magazine.Thenewspapercoveragethereforeservestoconveythemostimportant
messagesjustifyingFerroshomosexuality,andconveysthemtoamuchwider
audience,farbeyondthatofFerrosfansorthehomosexualcommunity.
Linguisticborrowing:ComingoutcomestoItalian
popularandacademicculture
Beforemovingontothisanalysis,IwillconsiderhowtheslangoftheLGBTQ
communityandtheexpressioncomingoutoftheclosethasbeentranslatedin
Italianpopularculture,andhowthishasbeenstudiedintheItalianacademic
context.Comingoutgivesexpressiontothedramaticqualityofprivatelyand
publiclycomingtotermswithacontestedsocialidentity(Seidmanetal.,1999:9).
Theclosetrepresentsgaypeopleashidingtheirsexualbehaviour,inaworld
dominatedbyexplicitandopenheterosexualpatterns.Comingout[ofthe
closet]hasmigrated,nomadlike,fromEnglishtoItalian,intheoriginalEnglish
wordsthatis,withouttranslationashavethetermsgay,camp,LGBTQand
AIDS.Thismigrationisnotaccidental,butispartofabroaderprocessofglo
balizationrelatedtothespreadoflesbianandgaycategories,itselflinkedtothe
emergenceofNorthAmericancapitalism(Shahani,2008inHenniker,2010).
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Wordsandimagesofgayculturecirculateallaroundtheworld(throughinternet,
films,TVseries,advertisementsandpoliticaldiscourses)andarealsosoldtothe
general(gayandstraight)audience(CruzMalaveandManalansan,2002).
KnowledgeofthewordsofLGBTQcultureinItalyismorerestrictedthan
intheirplaceoforigin.Thewordshaveundergonechange:sometimessemantic
(inItaliancamprefersmostlytoflamboyant,showycelebritywomensuchas
Madonna,ratherthantomen);sometimesphonetic(theEnglishacronymAIDS
ispreferredtotheItalianSIDA,butpronounced/aIdz/);sometimessyntactic(e.g.
theverbtooutistransitiveinEnglish,butisusedintransitivelyinItalian,where
heouted,meanshehascomeout).Ferrohasneverusedthephrasecomingout,
buttheItalianmediausedcomingoutandouting,fosteringtheambiguitiesand
misunderstandingsassociatedwiththeseexpressions.TheEnglishtranslationof
FerrosinterviewwithVanityFair,publishedonthesingersofficialwebsite,used
comingout.
InItalianculturethemetaphorofcomingoutisnowbeginningtobeused
morefrequently.Herewemustdistinguishpopularandacademicculture.Within
ItalianpopularculturetherearetwoAngloItalianwaystodefinethemomentin
whichsomebodyrevealshisorherLGBTQidentity:
1.Outing(sometimesalsooutingout)wasthefirstwaytospeakaboutcoming
out.Ihaverecordedexpressionssuchas:TizianoFerrohafattoouting(liter
ally,TizianoFerrohasdonehisoutingmeaningTizianoFerrohascomeout);
2.Comingoutislittlebylittleemergingandreplacingouting.However,coming
outcouldstillbeuncleareventoanLGBTQperson.
InItalianacademicculturecomingoutisnottranslatedintoItalian,andis
usedinitsoriginalAngloSaxonform.However,inthelastfiveyears,itappears
thatonlyonearticlewithanItaliancontexthasbeenpublishedinaninternational
journal(Gusmano,2008).Italianresearchhasinvestigatedcomingoutwithinthe
family(BarbagliandColombo,2001;BertoneandFranchi,2008)orinthework
place(Gusmano,2008),buttherearenostudiesconcerningcelebritiescomingout
inthemedia.ThemajorityoftheItalianstudiesconceivecomingoutasaprocess
orsequenceofphaseswherebyapersonsidentityisunveiledtoparents,friends
andcolleagues.Theyemphasizetheunveilingtrajectories,factorsfacilitatingor
impedingcomingout,thedecisiontocomeout(ornot),andthecopingstrategies.
InthisarticleIemployadifferentconceptionandtheoreticalframeworkofcoming
out,explainednext.
Theorizingandanalysingcomingoutdiscourses
Comingoutisanestablishedfieldofscholarlyinvestigationinseveraldisciplines:
linguistics(Chirrey,2003);philosophy(Sedgwick,1990);psychology(Clarkeand
Peel,2007;Hegna,2007);sociology(Seidmanetal.,1999);andculturalstudies
(Gross,2002;Ringer,1994;VasquezdelAguila,2012).Ithasbeenstudiedfrom
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manyperspectivesincludingtheclassichistoricalreconstructionofstrugglesof
gaysandlesbiansfightingforrecognitionoftheirrights(Weeks,1990)andthe
narrativeanalysisofcomingoutstories(Plummer,1995).Individualstudiesalso
differintermsoftheirfocusontheaudienceforwhomcomingoutisperformed:
parentsandfriends(Adams,2011;Borheck,1993;RavelandRail,2008),col
leaguesintheworkplace(Gusmano;2008;Ward,2008),orbigaudiencesinpopu
lartelevisionseries(Chambers,2003;Herman,2003,2005;Shugart,2003).
Aroundthismetaphor,personalandpoliticalmeaningsarecoagulated/con
densed/concentrated(Herman,2005).Withincomingoutdiscourses,personal
meanings(e.g.whatitmeanstobegay,tohaveagayidentity)minglewithpolitical
meanings(e.g.whatitmeanstobelongtoacommunity).Indeedcomingoutofthe
closetisametaphorthathasplayedanimportantroleforLGBTQcommunities;
andtheGayLiberationMovement(Weeks,1990),bornintheUSAafterthewell
knowneventsatStonewall,hadapoliticalandculturalimpact(Seidmanetal.,
1999)whichwasconstructedonarhetoricofthetransformativepowerofcoming
out(Sullivan,2003).
InmyefforttoanalysewhatdiscoursesshapeTizianoFerroscomingout,the
theoreticalframeworkisinformedbydiscourseanalysisandpoststructuraltheory
(Britzman,2000;Butler,1990,1997;Foucault,1976;Parker,2005;Roy,2012)and
bystudiesofcelebritiescomingout(Dow,2001;Herman,2005;Kooijman,2004;
McGee,2010).Myapproachconceivescomingoutasoneofthemostmomentous
act[s]inthelifeofanylesbianandorgayperson(Plummer,1995:82),andas
disciplinedbyregulatorydiscoursesthatatthesametimeconditionidentityfor
mation(Butler,1997).AccordingtoBritzman,suchdiscourses:
...authorizewhatcanandcannotbesaid;theyproducerelationsofpowerand
communitiesofconsentanddissent,andthusdiscursiveboundariesarealways
beingredrawnaroundwhatconstitutesthedesirableandundesirableandaround
whatitisthatmakespossibleparticularstructuresofintelligibilityandunintelligibil
ity.(Britzman,2000:36inMacLureetal.,2011:2)
ForTizianoFerrotolegitimateandmakeunderstandablehishomosexuality
invokesandconstructssomecommunitiesofconsent.Hespeaksfromaprivileged
positionsothathisvoiceis(literallyandsymbolically)aboveothers:heoccupiesa
publicspace,heappearsinthenewspapersandonTVchannels.Thereforehisvoice
contributesinasignificantwaytobuildingandlegitimizingadiscourseonhomo
sexuality;atthesametimethisidentity,thisideaofhomosexualthathepromotes,
isdisciplinedbyothersocialandinstitutionaldiscoursesalreadypresentinthe
globalandsocialcontext.Inwesterncountries,forexample,therhetoricof
comingout(Sullivan,2003)hasbeencharacterizedwiththediscourseofpride,
thatis,thepropagandainfavourofsayingproudlyIamwhatIamandthere
isnothingwrong(badorabnormal)inbeinghomosexual;authenticity,exemplified
throughstatementssuchasImjustbeingtruetomyselfandbeinggayisthe
realme(HoltandGriffin,2003:405);theideathatsexualorientationisafree
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choice;liberationbecausetoachievesexualfreedompeoplehavetotransformsoci
etyandthetraditionalnotionofgenderandsexuality.Thesediscoursesaimto
decriminalizeanddepathologizehomosexualityagainstthosediscourses
suggestedbyinstitutionsthedissentcommunitiesthatdevalued(andinsome
casesstilldevalue)gaypeople.FortheChurchtheywere(andremain)immoral,
forthelawtheywerecriminalsandforthemedicalworldtheywereperverseor
psychopathic(Darsey,1994;Lingiardi,2007).
AngloSaxoncountrieshavehadtheirfamouscelebritycases,suchasEllen
DeGeneres,ShirleySwoopesandGeorgeMichael,2whichcontributedtothefab
ricationofacomingoutrhetoric.AnemblematicexemplarhasbeenEllen
DeGeneres(playingEllenMorganintheTVseriesEllen).Dow(2001)argued
thatEllenscomingoutrepresentedthebeginningofadisciplinarydiscourseon
sexualityintheUSA,thatinfluencedtherepresentationofhomosexualityinthe
mediaandintheTV,centredontherhetoricofauthenticity.Dowshowedthat
Ellenscomingoutlogicrevolvedaroundsomekeywordssuchasconfession,free
domandauthenticity.Accordingtosuchlogic,themomentinwhichaperson
revealshisorheridentityorsexualityfollowstheconfessionparadigm
(Foucault,1976).Confessionisattractivebecauseitistiedtothebeliefthatto
tellsomebodysomethingmakesthesubjectfreefromtheobstacles,weightand
resistancesthathehastodealwithtosaythosewordsandtofindthecourageto
speakabouthissexualityandhistrueself.Anotherexemplarhasbeenthatof
SherylSwoopes,wherecomingoutiscolouredwithdiscoursesofrace,genderand
sexualorientationbutaboveall,McGee(2010)argues,withcapitalistdiscourses.
In2005SherylSwoopesdeclaredthatduringthelastsixyearsofherlifeshehad
beenlivingwithawoman,andatthesametimesignedasixfigureendorsement
withalesbiancruiseline.Comingoutinthiscaseisconnectedwithacapitalistic
andeconomicidentity(McGee,2010).Followingthethreadofcapitalism,wealso
arriveatGeorgeMichaelsforcedcomingout,whichhelpedbothtofabricatethe
starsidentityandatthesametimetoassurecommercialsuccess.Thisistheinstru
mentalimplicationofthewaysinwhichcomingoutandsexualitywereusedto
reinventidentity,reawakenaudienceandguaranteecommercialsuccessallaround
theworldandtohisrecordcompany(Kooijman,2004).
Thisintroductionwasnecessarytopresenttheideologicaldiscoursesthatsur
roundcomingout.Asmentionedearlier,thesediscoursesarecentraltotheidentity
formationofthesubject(Butler,1990,1997).AccordingtoButler,subjectivityis
somethingthatwedoratherthansomethingthatweacquireanditrequirescon
stantrepeatedacts.Butlerwrites:acts,gestures,enactments,generallyconstrued,
areperformativeinthesensethattheessenceoridentitythattheyotherwisepurport
toexpressarefabricationsmanufacturedandsustainedthroughcorporealsignsand
otherdiscursivemeans(Butler,1990:173).AndafewpageslaterButlercontinues
toarguethatgenderisanactthatrequiresaperformancethatisrepeated.This
repetitionisatonceareenactmentandreexperiencingofasetofmeanings
alreadysociallyestablished:anditisthemundaneandritualizedformoftheir
legitimation(1990:178).
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Inotherwords,whenTizianoFerroclaimsIamhomosexual,hedeclares
somethingbutatthesametimehedoessomething(heiswhathedoes)embedded
withinacontext:anewspaperwhichisaddressedtoanItalianaudience.Whenhe
statesIamgay,hecertainlydisclosessomething,buthealsofabricatesagay
publicselfthatdidnotexistbeforethecomingoutstarted.AccordingtoButler,the
formationofthesubjectivity(gender,sexandsexualities)occursthroughtherepe
titionofsocialpractice:performativityisnotasingularact,butisareiterativeand
citationalpractice.RepetitioninFerroscaseisinhisletter,book,interviews,
commentsthattellabouthimandisalsoinmyspeakingandwritingabouthim
andinthereaderreadingwhatheandIwrote.Inotherwords,homosexualityisthe
resultofperformativeacts,disciplinedbyregulatorydiscourses,repeatedthrough
timeandperformedwithinacontext.Repetitionmakesthisactnormalandnat
ural:itistheactofrepetitionthatmakesitconformtotherules.
WhenTizianoFerrostatesIamhomosexual,hepositionshimselfasnon
straightandseemstochallengethehegemonicrules(heteronormativity);however
hisperformanceasIwillarguelaterisshapedbyregulatorydiscoursesthat
couldhavethesamestrengthasnormsandarenotnecessarilyinoppositionto
them.Homosexualrevelationisonlyapparentlydisruptiveagainsttherules;in
realityittakesplaceaccordingtotherequirementsofpowerandnormsthat
couldbedefinedbyotheractorswithinthecontext.
Discourseanalysisisapossiblemethodologyforinvestigatinghowtheideology
ladenandrhetoricaldiscoursesofcomingoutareconstructedandusedinpublic
contexts.3InthisarticleIpayparticularattentiontoParker(2005),someofwhose
elementsofdiscourseanalysisorientatemydeconstruction.Thefirstelement
Parkercallsthemultivoicednessoflanguage.Therefore,Ihaveaskedmyselfhow
thisspecificdefinitionisbasedonandrelatestoantonymsandsynonyms.Adef
initioncompelseveryonewhodefinethemselvesinthiswaybothtofitintothat
categoryandatthesametimetodistinguishthemselvesfromothercategories(for
exampleheterosexualorlesbian).Anotherkeyelementissemiotic,whichfocuses
onhowthetextisconstructedfromanamalgamationofwordsandpictures,
recallingthehegemonicdiscoursespresentinthesocial,culturalandpoliticalcon
text,andwhicharedifficulttocontrol.TheexamplesetbyTizianoFerroisinter
estinginthissensebecausethetwonewspaperspagesarecomposedofwritten
wordandvisualimages.Discourseanalysisclaimsthatthesetypesofintersection,
betweenwrittenwordandvisualimages,whichcolourthesociallandscapeand
whichdrivemeaning,areoutofourcontrolandrestricttheexpressionofour
subjectivityandpotentiality.Idonotconceptualizediscourseasdeterministic:
withinittherewillbealwaysthelikelihoodthatdifferentreaderswilltakedifferent
meaningsfromatext.Thisisanimportantpointformydiscussion,whichIdeal
withintheconclusion.Ialsolookatthepowerrelationstowhichthisstorygives
rise.DoestellingFerroscomingoutstory,suchasthatofthirtyyearsofsuccess
orasonwhoreturnstohisfather,saysomethingneworleaveintactourunder
standingoftheworldandtherepresentationofpowerenclosedwithinit?Finally,
thelastelementistheideathatdiscourseisachainofwordsandimages
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(Parker,2005:90).Achainmakessocialconnectionsbetweenpeoplebutatthe
sameexcludesothers.Inagameofinclusionandexclusion,discoursesfunctionas
anideologythatdefinestheboundarieswithinwhichsomebehavioursarenormal
andallowed,andothers,viceversa,aredeviant.Forexamplereligiousdiscourse
definesvirtueandsin,andmedicaldiscoursedefineshealthyandsick.Theconstruc
tionofboundariesimpliesthedefinitionofpowerrelationsbecausecertain
discoursesareinfavourofsomegroupsandagainstothers.Takingintoaccount
allthesedimensions,Ianalysethetextandimagesindetail.
CorrieredellaSera:Thecountercriminaldiscourse
andthemercifulfatherdiscourse
On6October2010TizianoFerroliterallymadetheheadlinesonthefrontpageof
CorrieredellaSera:TizianoFerroLetterfromthesinger.I,gay.Myfatheralways
closetome.Iwasreadytoquitmusic(Figure1).Aheadlinelikethiswaspar
ticularlyintriguingastheCorrieredellaSeraisquiteconservative,comparableto
TheTimes(UK)orTheNewYorkTimes.FromthefirstpageIwasledtothe
entertainmentsection(Figure2).
ThepageshowninFigure2comprises:[1]theautobiographicalletterbythe
singer:ItwasdadwhopersuadedmeIcoulddoit;[2]aneditorialcomment
oppositetheletter:TizianoFerro:Ithoughtbeinghomosexualwasasentence
toserve;[3Aand3B]twoshortcommentsatthebottomcentreofthepage.[3A],
right,istheItalianactorPierFrancescoFavinosreportofhisrelationshipwitha
man.[3B],left,reportsstatementsbyDanielRadcliffe(HarryPotter)against
homophobiaandbullying.Fivepicturescompletethepage:[1P]thesingeris
locatedinthecentre;[2P]onthemiddlerightisGiuliaBongiorno,afemale
lawyerandactivememberofarightcentreItalianpoliticalparty,alsoquoted
withinFerrosletter;[3P]PierFrancescoFavinoappearsnearRadcliffe[4P]on
thelowerright;finally,ontheupperleft,TizianoFerroreappearswithanother
ItaliansingerLauraPausini[5P].
IdownloadedtheEnglishversionoftheletter[1]byTizianoFerroandthe
editorial[2]byEliaDePasquale,whichcanbereadinthefollowingextract,in
anattempttodiscoverhowFerroscomingouthadbeenreportedonthesingers
officialsite,atthesametimeastheFerrostorybroke.Thetranslationsarethoseof
Figure1.CorrieredellaSera,6October2011:1.
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thesingersofficialwebsitefromDecember2010andIthereforeconsiderthem
officialtranslations.
CORRIEREDELLASERA6October2010:45
ItwasDadwhopersuadedmeIcoulddoit
byTizianoFerro
Aftersomanyyearsmarredbyattempts,restraint,excruciatingexpectation,efforts
andbereavement,Iwasreadytostopsinging.Iwasreadytothrowawayallthe
sacrificesIhadmade;mytearsofhope,andmytearsofjoy,nolongermeantany
thing.Eventhesatisfactionsofmyjobandmydreamswereovershadowed.WhatI
heardinmyheadwas:IfImhomosexual,Icantliveinthisworld.Ifeltlikeachild
whohadfallentotheground,abandonedbyhismother,defeated,whoawaitshisfate
cryingindespair.Musichasalwaysbeenthegreatesthopeforme,yetfacedwithmy
inabilitytofindawayout,Iwasdeterminedtoletitgo.Consciouslyandregretfully.
Figure2.FirstpageentertainmentsectionofCorrieredellaSera,6October2011:45.
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AtthatpointItalkedaboutittomyfather,whosaid:Listen,yourlifeisspecial,
becauseyouarespecial.Learntohaverespectforyourself.Yourreliefismyreliefas
well.ThatwasthefinalencouragementIneededtogoallthewayinafinalattempt:I
setoutalongapathonwhichIpatientlylearnedtotackleobstacles,ratherthanto
avoiddangers.Imgratefultomyfather.Gratefultohimandtoallthosewhohave
stuckbymetothisday.
ThenIwenttoseeGiuliaBongiorno,oneofItalysleadinglawyers,foranopinion,
help,advice,maybejustawordofencouragement.Subconsciously,Ihadturnedtoa
criminallawyer!Asifmybehavioursandthoughtswereincriminating.Asifmy
conditionwereacrime.Andsuchaseriouscrimethatitneededtobepunished
withthetoughestsentenceofall:tostopsinging.WhenIgottoMsBongiornos
officeIwasnerveracked,afteralongsleeplessnight.Ihaveadmiredheruncondi
tionallyforyears,andallofasuddensheopenedupanwholenewworldformeby
saying,inafirmtoneandwithafrankexpressiononherface:Theresnothingbetter
thantoturntoacriminallawyerwhenyoudontneedone!Ismiledatthat.Butnot
withmylips,oratleastnotonly.Ismiledinside:aftersolong,Ifeltaweighthadlifted
offmyshouldersatlast.Ifeltunderstood,supported.Maybeevenprotected,insome
ways.Protectedaftersomanyyearsspentalone,inthetrenches,tryingtofathom
wheretheenemywashiding,onlytoreachtheconclusionthatImyselfwasmyonly
enemy,caughtinthecruelunawarenesswithwhichIwasstubbornlytakingonlife.
Thereisatimeforeverything:atimetotalk,atimetobesilent.Silenceisprecious,
andnowIwantthisbooktodothetalkingforme.
Thenarrativeofcomingoutandtheinterplaybetweenthewritingandthe
visualsinCorrieredellaSeragivevoicetotwointertwineddiscourseswhichI
havecalledthecountercriminaldiscourseandthemercifulfatherdiscourse,both
designedtojustify,legitimizeanddefendhomosexuality.Itisusefultostartwith
theletterbythesinger.ItisinterestingtoconsiderthemetaphorFerrouses.Atthe
endoftheletterhecompareshimselftoacriminal:IwenttoseeGiuliaBongiorno,
oneofItalysleadinglawyers...Subconsciously,Ihadturnedtoacriminallawyer!
Asifmybehaviourandthoughtswereincriminating.Asifmyconditionwerea
crime.
TheentirepageofthenewspaperisconstructedinsuchawaythatTizianoFerro
isnotaccusedofacrime;insteadheisshowntobeinnocent,notguilty.Thewhole
narrativestructureofthispageaimstolegitimizeandtoprotecthim,todecrim
inalizehishomosexuality.Ontheonehandtheletterreevokesandtriestooppose
Lombrosos(1906)19thcenturyideaofhomosexualashomocriminalis4and,on
theother,itplaysonareferencetothemeaningoftheoppositeofcriminal,i.e.
innocent(notguilty)thatevenledmetoconnectthetexttoCatholicrhetoric.
Innocentishewhohascommittednosinsandisthereforefreefromguilt.Guilt
andsinaretwotypicaltermsoftheCatholicsystemofrhetoric,andtheCatholic
Churchcontinuestoholdhomosexualactstobesinfulandatthesametimeto
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invitegaypeoplenottopractiseanyhomosexualbehaviour.5IntheCatholic
Church,guiltisusedtodescribethefeelingofremorseorconflictthatcanoccur
whenapersonhasengagedinsometypeofbehaviourandpracticesassociatedwith
sexualitysuchasabortion,premaritalsex,extramaritalsex,masturbation,homo
sexuality,andusingbirthcontrol.Othersourcesofguiltmayincludedivorceand
notgoingtochurchonSunday.AsapersonwhogrewupinaCatholicsociety,I
receivedveryclearmessagesaboutwhichtypesofpracticesarewrongandwhich
arenot.
Thetextconstitutesthesingerasinnocent,withnoguilttoatonefor.Itisasif
thispageofthenewspaperhascomealivewithmanyvoices,allinsupportof
Ferro.Therearetwoactorspositionedattheheartofthisstoryagainstthecrim
inalizationofhomosexuality:thefatherandthelawyer.Thefirstcentralvoiceisthe
mercifulfather.Hewelcomes,celebrates,forgivesandfabricatesTizianoscelebrity
(Listen,yourlifeisspecial,becauseyouarespecial.).Thisimageevokesthepar
ableoftheprodigalsonintheGospelofLuke,whichsomeBibleinterpretersprefer
tocalltheparableofthemercifulfather.WhatIwouldliketoaffirmisthatthe
discourseofthemercifulfatherjustifiesFerroscomingout,recallingboththe
importanceofthetraditionalpatriarchalItalianfamily,andthevaluesofapro
foundlyCatholiccontext.
So,TizianoFerroreturnshomeafterachievinghugesuccess.Thediscourseis
connectedwiththecapitalisticlogicoftheselfmade,middleclassmanwho
becomesupperclass:itisareenactmentofJesusparableinneoliberalterms.
Andinthisneoliberallogic,successrequiressacrifice,somethingmustbe
renouncedtogainit:affectforexample.Inthiswaythestoryrecallsthecapitalistic
idealofthewhitemanwhosacrificeshimself,whoburnshimselfoutatwork:
learningforeignlanguages(English,SpanishandFrench),writingandcomposing
lyricsandperformingallaroundtheworld.Marshallclaimsthat...theexpansion
ofcelebritystatusincontemporarycultureisdependentonitsassociationwith
capitalismandisaneffectivemeansforthecommodificationoftheself(Marshall,
1997:2526citedinMacGee,2010:70).Soontheonehand,celebritystatusis
totallylinkedtocapitalismandthecommodificationoftheselfand,ontheother
hand,therhetoricofneoliberalismisoneoffreedom.Yetfreedom,including
sexualfreedom,inthesetermsismerelylegalistic:itisindividualized,unequal,
accessibleonlytothosewhohavethecapitaltoexerciseit(Balibar,1994;
McMurtry,1998).Followingthislineofthought,Ferroscasecouldbereadas
anexampleofnewneoliberalsexualpolitics(ornewhomonormativity)produced
tomakehomosexualityacceptable.Newneoliberalhomonormativityhasbeen
identifiedasapoliticsthatdoesnotcontestdominantheteronormativeassump
tionsandinstitutionsbutupholdsandsustainsthemwhilepromisingthepossibility
ofademobilizedgayconstituencyandaprivatized,depoliticizedgayculture
anchoredindomesticityandconsumption(Duggan,2002:622).
GiuliaBongiornoisthesecondtopositionherselfcentrallyasaprotectorofthe
singer.InadditiontothefamilyandtheChurch,twoadditionalforcesnowtake
thefieldtodecriminalizehomosexuality:thelegalandthepoliticalsystems.Sheis
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rightthattheresnothingbetterthantoturntoacriminallawyerwhenyoudont
needone,becausesodomywaspermanentlydecriminalizedinthenorthofItalyin
1861andbyanewpenalcodeacrossthewholecountryin1889(Barbagliand
Colombo,2001).InItaly,homosexualityiscriminalizednotbythelawbutbythe
dominant(Catholic)morality.
FerroclosesbyquotingabiblicaltextfromEcclesiastes:Thereisatimefor
everything:atimetotalk,atimetobesilent.Butthissilenceisfullofcountless
additionalvoices.Iwasverystruckbyhowthetextandimagesconstructthetwo
discourses,byhowthetextandimagesgivevoicetoothercharacters.Infact,ifone
movesawayfromthewrittentextandlooksattheentirepageitiseasytoseehow
manyotherpeoplearecalledupontomaketheirvoicesheard,tofillthesilence,to
pronouncetheverdictthatthesingerisinnocent.
OnthispageFerroislocatedcentrestage:asimple,honestandhappyguy,
surroundedbyseveraladvocatesforthedefencewhoproclaimhisinnocence.
Clockwisefromright,heissurroundedandprotectedbythefollowing:
RightcentrelawyerGiuliaBongiorno.Recentlyshetookanimportantrolein
theorganizationofapubliceventnamedSenonoraquando?(Ifnotnow
when?)dedicatedtotherespectanddignityofwomen.
ActorPierFrancescoFavino,describedasoneofthemostvirileactors
inItaliancinema,whoconfessesthatinaninsecureearlierphaseinhislife,
heattemptedtohavearelationshipwithaman.Thisarticle[3A],apparently
neitherconnectedtonorcontradictingthemessageshiddeninthisentertain
mentsection,reportsthatFavinoclaimstohavevotedfortheopenlygay,
leftwingNichiVendolaandnowmightalsovoteforGianFrancoFini
(arightcentrepolitician).Hereitisthepoliticalsystemthatisdefending
homosexuality.
HarryPotteractorDanielRadcliffe,castinghisspellagainsthomophobiaand
otherformsofdiscrimination.RadcliffeandFavino,bothmaleactors,give
voicetotwocompletelydifferentcontexts.RadcliffeconnectsFerroscoming
outtoaninternationalenvironmentwhereasFavinogivesvoicetotheItalian
politicalcontextandtheItalianmalestereotype.Boththevirileactorandthe
maghetto(inItalyHarryPotteristhelittlewizard)castaknowingwinkat
Tiziano.
FerrosfriendLauraPausini[5P],anapparentlyheterosexualItalianpopular
singer.Throughouttheircareerstheyhaveoftenworkedtogether.Thephoto
showsTizianowithLaura,suggestingthatgaymencanbegoodfriends
withwomen,butalsohintingataheterosexualrelationship.Some
researchhasshownhowtherelationbetweenheterosexualwomanandgay
maninthemediaiscodedasromantictonaturalizeheteronormativity
(Shugart,2003).
Alltheseactors,supposedlystraight,proclaimFerrosinnocence.Atthesame
time,aswellasdefendingthesinger,theyalsocreateahierarchicalrelationship
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betweenheterosexuals(whogiveapprobation)andhomosexuals.Onecouldeven
interpretthepapa`fromTizianostitleasasuggestionthatthehighestCatholic
authorityhadgivenitsblessing:minusitsaccent,papa`(dad)becomesPapa(Pope),
sothetitlecouldbereadasTrentannieunachiacchierataconilPapa(Thirtyyears
andachatwiththePope).Thisdefensivechorusalsogivesvoicetothepolitical,
socialandculturalcontextofItaly.WhatImeanhereisthattheItaliancontextis
notinthesingersletter,butitspeaksthroughtheothervoicesandtextspresenton
thepageofthenewspaper.
So,Ferrospeaksabouthisanguish.However,hedoesnotexplainwhyhefeels
thisanguish,andthecontext,whichperhapsexplainshisanxiety,isimplicitinhis
letter.ButFerrodoesnotexactlyrant.Thejoboflashingoutmoreexplicitly
againsttheItaliancontextislefttotheothervoicesonthepageandtotheeditorial
transcribedinthefollowingextract.
CORRIEREDELLASERA6October2010:45
TizianoFerro:Ithoughtbeinghomosexualwasasentencetoserve
Iwasreadytoquitmusic
EditorialbyEliaPasquale
MILANMorethanaconfession,aliberation.Fromhypocrisy,conventions,
forcedlywornmasks,fromthedamagehewoulddotohimself.Andsayingthathe
hascomeoutwouldsimplybeanunderstatement.
BecauseitsasifTizianoFerrohadsteppedoutoftheblindinglightofnotorietyto
delveintothedarkestcornerofhislife,inordertoatlastfindhispersonalNorthStar
intheskyabovehim.Hehasfoundit,andduringhistroubledsearchhefoundhelpin
hisdiary(aswellasintwoyearsoftherapy),whichhebeganwritingwhenhewas
fifteenyearsold...HeisconvincedthatinItaly,ifyouhatesomeone,youaskthemif
theyregay,justsothatyoucanlabelthem,consideringthatinthiscountrytheissueis
stillahotlydebatedone.Whatsmore,thesingerobserves,theChurchisnohelpat
all...AchatwithDadwasallittooktotakealookathimselffromtheoutsideand
seehimselfforwhatIwas:alonelymaneternallyinconflictwithhimself,whoblamed
himselfforsomethinghealwayscarriedasahugeburden,smotheringanydoubtsthat
itwasnothingtobeashamedof.TherewasnothingIcoulddo,Ijustthoughtofitas
somekindofsin.Butitwasntjusthissexualpersonathatflungintodespaira
successfulartist,capableofsellingmillionsofalbumsbutunabletobehappy.
Tizianoalsohadtofendoffanotherbeast:bulimia,oneoftheinnumerable,sad
consequencesofthisimageobsessedworld,oneofthemany,sadgiftsthe21st
Centuryhasbroughtus.Ferroevenwroteasong...onthesocalledeating
disorder...Henowhastwoaims:Totellanyonewhoissufferingnottobeafraid,
totaketimetolookforanswersintheirpast,butabovealltolovewhotheywantto
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love.Iamdishonestinmypretenceofcheer,TizianoFerrousedtosing.Fromnow
on,hemaynolongerneedtopretend.
Thiseditorial,eventhoughitclaimsthattosayTizianoFerrohascomeout
wouldsimplybeanunderstatement,iscarefullyconstructedusingalltherhet
oricaldevicesofcomingoutofthecloset.Thecountercriminaldiscourseisinter
twinedwithanarrativeimbuedwithsadnessandbitterness,mixedwithrelief.
Here,asImentioned,thecontextisevidentandunderlineshowhomosexuality
inItalyisstigmatizedandtheChurchisnohelpatallthisreferencetothelack
ofhelpfromtheChurchestablishesajuxtapositionandcontradictionwiththe
mercifulfatherfigurethatcharacterizesthesingersletterandhastheeffectof
emphasizingthemercifulfather(whoismoreforgivingthantheChurch).One
canseeasubversivepossibilityinthefatherthatbecomesmoremercifulthan
theChurch:ifJesuscametosavetheworldandtowelcomesinners,whydoes
theChurchlashoutsoseverelyagainstgaypeople,tothepointwhereoverthe
yearsthissymbolicviolencehasincreased,aboveallinItaly(Riglianoetal.,2012)?
However,evenifthefathercontradictstheChurch,atthesametimehispresence
broughtTizianoFerrosstoryintotheconfessionalcliche(Iwillcomebacktothis
pointintheanalysisofLaRepubblicascoverage).
Eventheclassicrhetoricofcomingoutreturnswhenthisperformanceis
describedasanactofliberation,aresurrection,thestartofanewlife,anew
world.Itfallstotherhetoricofcomingouttodescribethestoriesofpeoplewho
leadadoublelife,whosufferastheyarestigmatizedbysocietyandretreatinto
isolation,intoexile.Therepresentationofcomingoutasakindofliberation,a
revolutioninonespersonalandprofessionallifehasitslimitsbecauseitassignsto
theperformanceamagicaltransformativepower,asifcomingoutismiraculous.
ThismagicalformulawillalsobediscussedalongsidetheLaRepubblicainterview.
Inallevents,Ihopethiswillberealforthesingerthatthetransformationoccurs
anddoesnotloseitsmiraculousenergybutImustaskwhatlegacywillremainfor
thosewho,evenaftercomingout,cannotshareinFerrosnewfoundecstasy,and
continuetofeelsadandashamed;andwhataboutthosethatdonotsharethesame
cushionedrelationshipwiththeirfather?
Inthiseditorialthecountercriminaldiscoursemeetsanothertypicalthemeof
comingout:thepathologizingofhomosexuality.Homosexualityisdescribedin
connectionwithexistentialdisease,sadness,bulimiaandpsychotherapy.Theend
ofFerrosdiaryandhereIamalsoreferringtohisautobiographyisaletterto
anunspecifiedfriend,writtenonthedayonwhichFerrohaddecidedtocommit
suicide,beforechanginghismind.OfallthetextsIhaveread,thebeginningofthis
editorial,thelettertotheCorrieredellaSeraandthisletterattheendofhisbook,
arethemostdramatizeddescriptionofhispersonallife.
ThediscoursesthatIhavedescribedconstitutethesingerastheobedientson,
thegoodfriendofwomenandthegoodgaywhomadeit.Herewehaveaconfes
sionalindividualizednarrative,anillustratededitorial,tolegitimizehomosexuality
withnormativediscourses(thepatriarchalfamily,theCatholicChurch,thelegal
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andpoliticalsystems).Countercriminaldiscourseandthemercifulfatherdis
courseconstitutethesingerastheunthreateninggoodgay.Theaudiencecannot
bescaredeitherofFerrohimselforhomosexualityingeneral:thereisnothing
wrong,nosin,nocrimeinbeinghomosexual.Ferroisnotadissolutelibertine,
heisnotthemafia.Attheenditseemsasifnoonereadingandlookingatthis
pagecouldcriticizehishomosexuality.Butattheendofthedaynoneoftheactors
stronglyandunwaveringlylashoutagainsttheItaliancontext.Iwillcomebackto
thispoint.
LaRepubblica:Authenticitydiscourseandagain
themercifulfather
Onthesameday,6October2010,Ferromadeheadlinesalsointhecentreleft
newspaperLaRepubblica.FromthefirstpageIwasinvitedtoreadtheentertain
mentsectionshowninFigure3.
ThestructureofthepageisdifferentfromthatintheCorriere:halfwayupisa
pictureofthesinger,whosmilesatthereaderashepresentshisbook.Herea
strategyofpromotinghisautobiographyismoreexplicit.Asmallpictureofthe
singeronstagemakesaconnectionbetweenthetophalfofthepageandthe
bottomhalf,wherethereisaninterview.Startingfromthetitle(TizianoFerros
truth)andthesubtitle(Freetobehomosexual),thetextconnectsFerroscoming
outtotheclassicdiscoursesofauthenticityandliberationalreadyfoundinthe
Corriereeditorial.Ferrosstoryispresentedaccordingtotheclicheofthecoming
outnarrativesofthelastcenturywhichspeakinitiallyofadeeppain,afrustration,
ananguish...Theyspeakofasilenceandasecrecywhichmayneedtobe
broken...Thesearealwaysstoriesofsignificanttransformations(Plummer,
1995:50).Thesenarrativesarebuiltonaseriesofbinaryoppositionsbefore/
after,shame/pride,secrecy/visibility,hell/heaven,hypocrisy/truth,repression/liber
ationwherethesecondtermisalwaysmorepositivethenthefirst.Inthefollow
ingIpresentsignificantinterviewextracts,theEnglishversionofwhichI
downloadedfromFerrosofficialwebsiteinDecember2010.
LAREPUBBLICA6October2010:62
NowIfeelfreetobehomosexual.
Thegreatestsenseofliberationwasbeingabletotalkwiththepeoplewhoareclosest
tome,withmyfather,myfamilyandfriends,therestcamenatural.Therestbeingthe
mosthonestrevelationevermadebyapopstar,atleastinItaly.Fromdenial,silence,
andanalmostparanoidprotectionofhispersonallife,tothepublicationofhisper
sonaldiaries...inwhichhelaysbareallhisproblems:frombulimiaasanadolescent
tothenonacceptanceofhishomosexuality,fromdepressiontohisinabilityto
love...Heseemsrelieved,lighterhearted,asiffreedfromahugeburden...[W]hat
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emergesfromthemisapassionateandunexpectedportrayal:fragility,depression,
yearningforlove,escapesabroad...
Youvelivedthroughterribleyears,itseems.Buthowcouldthatbepossible?
Theyreallywereterribleyears.Somepathshavetobetroddentotheveryend,that
seemsquiteobvioustomenow...TheproblemwasthatIwasintotalreclusion,hiding
somethingthatwastormentingme...Mytrulydecisivestep,inmanywaysmadepos
siblebymydecisiontogointotherapy,wastoremovethisformofrestraint:Ithought
otherpeoplewerentinterestedinmyproblems,soIisolatedmyself.Totally.
Figure3.FirstpageentertainmentsectionofLaRepubblica,6October2011:62.
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Whydoyoumentionyourfatherrightinthetitleofthebook?
OnedayIwenttoseehimtotellhimthatIwantedtoquitmusic,despiteallmylove
forit.MydecisionwastheresultofaparanoiaIhadbuiltupoveryearsofsolitary
reflection.Iwantedtotellhimbecauseitseemedthehonestthingtodo,andDad
explainedtomethatIwasbeingdaft:ifthereasonswere,say,myhomosexuality,I
wasmakingabigmistake.Itwasmyproblem,somethingIwasexperiencingassuch,
butnotthosewholovedme.AtthetimeIsaidtomyself:okay,hessayingthis
becausehesmyDad,buttheneveryoneelse,allmyfriends,saidthesamething.
Ultimately,Ionlyhavemyselftoblame.
Didyoudrawsupportfromthesereactions?
Yes,Idid.Everyoneseemedrelieved:wecouldalltalkhonestlyatlast,becauseuntil
thenIwouldntreallygobeyondacertainpoint...Mymanager...saidtome:I
considerthisabiggiftfromyou,Iwouldneverhavespokentoyouaboutitoutof
respectforyoursensitivity,butIwassickandtiredofseeingyousosadafterconcerts,
ofknowingthatyouwerentenjoyingwhatyouhad.Iwanttohelpyou,wellfinda
waytogether.ThemostabsurdthingisthatIhavenoonetoblame:Ididntgrowup
inanenvironmentwherehomosexualityisdenied,itwasallmydoing,theproblem
hasalwaysbeenme...
Andhowdoyoufeelnow?
AsifIwereinabubble,inwhicheverythingseemssurreal.TwoyearsagoIwentinto
therapy,andtheytoldme:youhavedepression,youneedhelp.HadtheytoldmeI
wouldbeabletocomesofar,Iwouldnthavebelievedthem,butImgladformy
health...Imlivingthroughaphaseofgreatcuriosity.Theworldwillchange,Im
lookingatitwithdifferenteyes,andIhopethisblockhasdisappeared,althoughIstill
needtoworkonit.NowIfeelthatalifefullofopportunityisouttherewaitingfor
me.
InLaRepubblicathecountercriminaldiscoursedisappears.Thisdifference
couldbeexplainedifwetakeintoaccountthattheCorrieredellaSeraisamore
conservativenewspaperthanthecentreleftLaRepubblica.Theritualofconfession
(Duff,2010;Foucault,1976)isusedtomadehomosexualityacceptable.Thisidea
evokesthebiblicalpassagefromJohn8:32Andyoushallknowthetruth,andthe
truthshallmakeyoufree.Thehomosexualityrevelation(revelationofthetrue)to
familymembers,friendsandhisownmanagerfreesFerrofromtheweightofthe
past.ThisstoryrecallsEllenDeGeneres(Dow,2001)wheretheconfession(simply
throughbeingaconfession)hastheeffectofempoweringthesubject.Thedeclar
ationtoanaudiencetoaconfessorpurifies,dispenses,redeemsandfreesthe
subjectfromtheirfault,butthisfreedomisonlyapparentbecauseatthesametime
itdeliversthesubjectintothehandsofthelistener/confessor(inthiscase,thefather
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andmanager).Andyet,inordertocomeout,Ferrostillneededthehelpofa
therapist:Mytrulydecisivestep,inmanywaysmadepossiblebymydecisionto
gointotherapy,wastoremovethisformofrestraint.
WhenFerroblameshimself,makeshimselffeelguilty,bothintheletterandin
theinterview(itwasallmydoing,theproblemhasalwaysbeenme),helost
anopportunitytointerpretthemalevolencetowardshimselfasaneffectofthe
contextaneffectofdisciplinaryheterosexualityorheteronormativity(Chambers,
2003,2007).Theinterviewanditsimagesreinforcethemercifulfatherandincrease
thenumberofpeoplegivinglove,comprehension,support,protectionandwelcome.
Afterthefirstcomingoutwithhisfatherandthankstothatasifinachain
reaction,Ferrocomesouttothelawyer,tofriendsandtohismanager,untilhe
finallycomesouttothebigpublicaudience,andpotentiallyhehastocontinuead
infinitum.WeseeinthesescenesSedgwickspointthatgaypeoplearenevercom
pletelyinorout:Closetednessitselfisaperformanceinitiatedassuchbythe
speechactsofsilencenotaparticularsilence,butasilencethataccruesparticularity
byfitsandstarts,inrelationtothediscoursethatsurroundsanddifferentiallycon
stitutesit(Sedgwick,1990:3).Thismeansthatbecauseofthedisciplinaryhetero
sexuality,evenacelebritywhohascomeouttothebigaudience,isnevercompletely
out:evenforacelebrity,theclosetisaliminalcondition,andcomingoutisanever
endingstory.
Thetwopagesfromthetwonewspapersdivergeontheimages.InLa
Repubblica,thesingerisaloneapartfromhisdad(evokedthroughthebook
titlesreinforcementofthehierarchybetweenfatherandson).Thelittlepicture
withtheraisedhandsuggeststhatFerrohassucceeded:hedidit!Thisraisedhand
towardtheskyisalsoanindividualisticgesture:Ferroisaloneandcompletely
focusedonhimself.Intheend,inthiscomingoutofthecredenzaeverythingis
resolvedinanindividualisticactthatcombinesloveandunderstandingfrom
father,friends,lawyerandmanager,butwithoutareferencetoanLGBTQ
world.Thisobservationtakesustowardtheconclusion.
TizianoFerrohasthrownopenthedoorofthecloset,
sowhatnext?
Ipointedoutatthebeginningofthearticlethatcomingoutoftheclosetisa
nomadicexpression,wendingitswayfromEnglishtoItalian.Duringthispilgrim
age,whathaschanged?Whataretheconsequencesandrisksimpliedinthiscoming
outframe?Whatpricehastobepaidtoobtainvisibilityandwhatkindofvisibility
isachieved?Sometypicaldiscoursesfromthecomingoutformulacanbetracedin
thesingersstory:forexample,discoursesrelatedtovictimization,pathologization
anddecriminalizationagainsthomosexualityandthebeliefinthetransformingand
liberatingpoweroftheperformance.Butwhatisdifferent?Inthisstorywhatcomes
intoplayassomethingunexpectedandnew,sothathomosexualityismadesuit
ableandacceptablefortheItaliancontext,isthemercifulfatherdiscourse.HereI
arguethat,duringthemigrationfromtheAngloSaxontotheItalianworld,the
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classicdiscoursesofcomingoutformulainFerroscasereappearedtogetherwith
differenthegemonicdiscoursessothatgayidentityismadeacceptable.Aboveall,
thedeclarationofhomosexualityreinforcestraditionalItalianconservativevalues.
Therearetypicaldiscourses:religiousandpatriarchalfamilydiscourses,inflectedin
aneoliberalversion.Inviewofthisstorysomecouldarguethat,asacceptabilityof
homosexualityisnotamainstreampositioninItaly,thisqueerstrategyisper
fectlyappropriateinchallenginglesbianandgaydisplacement. 6Thispositionsug
geststhatTizianoFerroscomingoutisbetterthannothing.
HoweverIwouldarguethatwithinthiscomingoutstorythereareconsequences
andrisks.InrelationtothisIwouldliketoconsiderAlthussersidea(1971)of
interpellation.Thisenablesustoviewthesingerandhisaudienceasconstituted
andcreatedinterpellatedviaideologicalsystemsoperatingsilentlyandtaken
forgranted.Theconsequenceofthisviewisthatboththesingerandthereader
havetheillusionofbeingabletocreatetheirsubjectivities,tobetheauthorof
themselves.Followingthisperspective,authorandreaderareimprisonedinthe
discoursesthatembodythem.Discourses,accordingtoFoucault(1976),actas
mechanismsthatregulate,normalize,classifyandmonitortheindividualsin
theirexpressionsoftheirsubjectivity:Thesemechanisms...worksilentlyand
invisiblybecausetheyoperateatthelevelofthemicropower...Individualsessen
tiallybecomedocile:thatis,theyincorporatetheknowledgeanddiscourses
aboutthemanddisciplinethemselves(Baez,2002:49).
Therefore,whatrisksareTizianoandthereadertaking?Aswebecomeusedto
thisideaofcomingoutofthecloset,towhatdowebecomedocile,blindand
indifferent?Thereistheriskthatwewillremainlimitedbythestrengthofthese
hegemonicdiscourses,thatwebecomesensitiveonlytothepersonalmeaningof
Ferroscomingoutandsowelosesightofthepoliticalandsocialcontextthat
constitutesthepremiseofthatstory.Discoursesofauthenticityandliberation
(flavouredwithemotionaltorment)madeFerroscomingoutanindividualistic
moment,somethingthatconcernsonlyTizianoFerro,andissetapartfromits
politicalimportanceandrelevance.Throughthenewspaperpagesallthecharacters
arecalleduptodefendFerro,nottopositionthemselvesagainstthecontext(apart
fromoneweakreferencetotheChurch).Thisdynamicreducescomingouttoan
acceptancebyothersandtoanempoweringeffectforthesinger.Ultimatelyitdoes
notunderminetheconservativediscoursesthatsurroundhomosexualityinItaly.
Ferrointhisstorydoesnotopenlytakeastandagainstsexualdiscriminationor
inequality;hedoesnotargueinfavourofcivilunions,orforgaycouplesrightto
undertakeadoptions.Aromanticrelationshipwithsomebody,othergaypeople,
gayandlesbianfriendsallthesearetotallyabsent:hiscomingoutisindividual
istic,personal,somethingthatconcernsonlyhimandhisstory.
Inotherwordstheprevailingpersonalandindividualisticmeaningofthis
comingoutreinforcesthepositionofanaudiencethatlovesandprotects
TizianoFerrobutisdesensitizedtopoliticalinstancesanddemands.Ilike
TizianoFerrossongs;buttellingushispersonaltruth,discussingthelovethat
hereceivedfromhisfatherdoesntgofarenoughtochangetheconditionsof
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Italianheterosexismandhomophobia.SoforTizianoFerro,beingabletodeclare
publiclythatheisgayisavictory;butthereistheriskthatthisindividualistic
victoryfailstochallengetheItalianstatusquo,andinsteadreinforcestraditional
discoursesandinequalities.
Andfinally,whatabouttheparticularimageofhomosexualthathesuggests?
TizianoFerrohasgiveninterviews,writtenabook,andappearedinnewspapers,
magazinesandonTV,sohehaspromotedrepeatedlyhisimageofthegoodson,
thegoodfriendandthehappygay.Thereisariskthatthisimageofahomosexual
continuesindefinitelythissingulartypeofhomosexual.Andwhatabouttheother
peoplewhoarenotlikethisproper,valuedandlicitwhitegaymale?Whatabout
fluididentitiesorvariantsexualitypeople?Theydonotfindtherightofcitizenship
inthisstory.
However,thisAlthusserianviewitselfpresentsarisk:itoffersanoverdetermi
nisticpictureofboththesingerandtheaudience.ThisiswhyIwanttostressthat
Ferroscomingout,evenifundertakenfromaprivilegedpositionandindeference
totraditionalvalues,representsacaseofpossibledisruptionfortheinterpellation
ofotherwaysofbeing:nonormsnohegemonicdiscourseareeversecureand
thereisalwaysroomfordisruptionandchallengestoregulatorysystems.The
definitionofthenormalandpropergayhappensininteractionswithallthe
otheractors(Ferroandhisreaders,audienceandlisteners)whointerpret,under
stand,categorize,positionandrepositionthemselves,andredefinetheiridentities.
Subjectivityisdisciplinedbyregulatorydiscoursesandistheresultofrepetitionbut
itisnevercompletelypredetermined,fixedorrigid.Therepetitionisariskthat
mustbetaken,accordingtoButler(1997),ifwewanttodisruptorinterruptthe
termsanddiscoursesthroughwhichperformativeactsareusuallydone.HereI
wanttorecallButlersideaofgenderidentityasakindofimprovisationwithina
sceneofconstraint(Butler,2004:1),whichhelpsmereadthisstoryinaless
oppressiveway.TheconstructionoftheFerronarrativeimbuedwithtraditional
Italianvalueandregulatorydiscoursesconstrainsthepossibilitiesofgender
improvisationsavailabletothedifferentactorsinthefield:genderandsexuality
areeffectsofregulatoryforcesandnorms.Nevertheless,withinthisschemaButler
opensthepossibilityforindividualstoperformgenderedactswithoutnecessarily
enactingthetraditionalmodel.SexualityaccordingtoButlerisneverreducibleto
aneffectofregulatorypower:itemergespreciselyasanimprovisationalpossibility
withinafieldofconstraints...itisextinguishedbyconstraints,butalsomobilized
andincitedbyconstraints,evensometimesrequiringthemtobeproducedagain
andagain(Butler,2004:15).
Toconclude,Iaskiftherearestillpotentialconflicts,andhencepotentialfor
disruptionforreadersatleastintheunholyallianceofhegemonicdiscourses
suchasChurchorState,withhomosexualpractices.Onecouldimagine,for
instance,thatotherreligiousfiguresorpoliticiansmightatsomelaterdateresist
suchnormalizationofhomosexuality.Andperhaps,inthefuture,willother
homosexualpopularsingers,withalltheirassociationsoffrivolity,bizarreness
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andcreativity,havethepotentialtounsettlestereotypicalnotionsofthegood
homosexualandhomonormativity?
AsIwritethesepages,thissymbiosisbetweenindividualandmediacontinues.
Afterayearofsilencesincethepublicationofhisbook,on28November2011,
FerrohasreleasedanewCD:Lamoreeunacosasemplice(loveisasimplething).
Atthesametime,hehasannouncedinaninterviewwithVanityFairthatheisin
lovewithaman.So,whatisnewinthesetexts?HeclaimsthatoverChristmas
2010,twomonthsaftercomingoutofhispersonalcredenza,hefoundaspecial
personandthatthisexperiencemademeconfrontthelimitsthatIhadthought
insurmountable,[suchas]simplethingsliketidyingup,doingthewashing,sharing
spaces(Brocardo,2011).Throughoutthistexttherelationshipwiththeunnamed
andunknownhimisonlyhintedat,andthefewcluestherearegiveanimpression
ofhomonormativity.HereIreadagoodexampleofprivacyanddomesticity
makinghomosexualityacceptable.Thisnewbigannouncement,thishappycoin
cidence,alsoremindsus,thatcelebritiesareinextricablymatchedwiththeneedto
reinventidentity,reawakenaudiencesandguaranteecommercialsuccess:asinthe
casesofGeorgeMichaelandSherylSwoopes,hereitseemsthatthecommercial
agendaisatplay.
Itwillbeinterestingtocontinuethisresearchinthefutureandfollowhow
homosexualdiscoursewillevolveinthepubliclifeofthesinger.Butalsoit
wouldbeworthinvestigatinghowgaydiscourseswillevolvewithintheCorriere
dellaSera,whichisquiteaconservativenewspaper:perhapsthereissomebodyhere
thathasanagendatochangetherepresentationofhomosexualityinItaly.
Moreover,havinganalysedthecaseofTizianoFerro,moremightbelearned
throughacomparativestudyofTizianoFerrosandRickyMartinsrespective
comingsout:theyarebothcelebritiesfromLatincountries,sowhatarethesimila
ritiesordifferencesbothbetweenthemandwithotherAngloSaxoncelebrities?
Thisarticle,intheend,isnotaconclusion,butraisesasignificantresearchagenda
forthefuture.
Acknowledgements
MythanksareduetotheEducationandSocialResearchInstituteofManchester
MetropolitanUniversityforaVisitingResearchFellowship(September2010toFebruary
2012).IamgratefultoJanetBatsleer,FrancescoBilotta,EricaBurman,NeilCarey,Helen
Colley,NigelHall,MaggieMacLure,IlanaMountian,KarenNairn,IanParker,Maria
ChiaraPizzornoandHarryTorrance,fortheirpreciousadviceandforthediscussions
thatfuelledandaccompaniedthecreationofthesepages.IamalsoindebtedtoHuw
Bell,whohelpedmeexpressmyideasinalanguagethatisnotmymothertongue.
FinallyIamalsoappreciativeofthecriticalfeedbackreceivedfromthethreeanonymous
reviewersofSexualities.
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Funding
IacknowledgetheUniversityofValledAostathatfinancedmyresearchprojectoncoming
outofthecloset.
Notes
1.CredenzaisonepossibleItaliantranslationofcloset.IusecredenzabecauseinItalianthis
wordmeansalsobelief.Thedoublemeaningofcredenzaformeunderscoreshowcoming
outoftheclosetchallengestheassumptionsandbeliefsofheterosexuality.
2.Tobeprecise,GeorgeMichaeldidnotcomeout;hewasforcedtocomeoutonCNN
afterhewasarrestedforlewdconductwithamaninapublicbathroom(Kooijman,
2004).
3.Anotherapproachonecantaketowardsanalysingthismaterialistoconsideritas
accounts:statementsmadetoexplainuntowardsbehaviourandbridgethegapbetween
actionsandexpectations(ScottandLyman,1968:46).HoweverasIaminterestedin
rhetoric,themostsuitableapproachisdiscourseanalysis.
4.AsDereckDuncanwrote:InDuparallelismentrelhomosexualiteetlacriminalitee
innee,ashortarticlepublishedin1906,Lombrosomakesexplicithisviewthathomo
sexuality,asanatavisticsymptom,isakintocriminality(2006:19).
5.TheideaofsinandguiltarecentralinCatholicdoctrine.AccordingtotheCatechism:
FollowingStPaul,theChurchhasalwaystaughtthattheoverwhelmingmiserywhich
oppressesmenandtheirinclinationtowardsevilanddeathcannotbeunderstoodapart
fromtheirconnectionwithAdamssinandthefactthathehastransmittedtousasin
withwhichweareallbornafflicted,asinwhichisthedeathofthesoul.Becauseofthis
certaintyoffaith,theChurchbaptizesfortheremissionofsinseventinyinfantswhohave
notcommittedpersonalsin(VaticanArchive,n.d.).Forananalysisofthepositionof
ChurchtowardshomosexualsseeHerman(1997)andinparticularforthepositionof
CatholicChurchseeBilotta(2008)andRigliano,CilibertoandFerrari(2012).
6.ForexampleCalhounarguedthatintheUSAinthe1980s[t]heincreasingvisibilityof
successfulgayandlesbianfamiliesaswellasthepublicizingofempiricalstudieschallen
ging,forexample,theideasthatgaysandlesbiansconstitutethemajorityofchildmoles
tersandthattheyaremorelikelytoproducegayandlesbianchildren,havemadeit
increasinglydifficulttosustaintheclaimthatgaysandlesbianareunfitforfamilylife
(Calhoun,2000:122).
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AngeloBenozzoisSeniorLecturerinWorkandOrganizationalPsychologyand
QualitativeResearchMethodsattheUniversityofValledAosta.Hiscurrent
researchinterests