Gay Macho, “Martin P Levine”- Birth of the Gay Clone
“ I n the sence, Gay Macho captures a moment in time, an exuberant period when gay men had thrown off the opprobrium of social stigma as failed men and widely, ecstatically, and somewhat recklessly articulated a new kind of gay masculinity. No more were gay men the “pitful effeminates” that Magnus Hirschfeld has called them, the inverts, men trapped in woman’s bodies. Gay men were real men , and their sense of themselves as gay was shaped by the same forces by which the experience themselves as men: traditional masculinity.” Pg.1
Gay Macho, “Martin P Levine”- “ Raining Men”, The Sociology of Gay Masculinity
“The straight world has told us that if we are not masculine we are homosexual, that to be homosexual means not to be masculine… One of the things we must do is refine ourselves as homosexuals.” – Tony Diaman (1970) Pg. 10
Gay Macho, “Martin P Levine”- The Clone as a man
“All men in American culture, regardless of the future sexual orientation, learn the male gender role and sexual script, mainly because or culture lacks a anticipatory socialization for adult homosexuality. Regarding same- sex love as a loathsome aberration, the agents of socialization prepare all youths for heterosexual masculinity” – Dank (1971) Pg. 11
“Camp: a behavioral style entailing the adoption of feminine dress, speech, and demeanor.” Pg.21
Gay Macho, “Martin P Levine”- The Birth of Gay Macho
“ Gay activists formulated radically different images of the postcloset homosexual (Marotta 1981, chaps. 5-6). Some gay liberationists viewed this man as a politicized hippie who eschewed traditional manliness, conventional aspirations, and established institutions. He avoided the quick sex associated with the sexual marketplace and formed instead lasting relationships. And he wore “gender fuck” attire that mixed masculine and feminine (beards and dresses). (Marotta – 1981, 144.) Pg.28
“The image heralded the masculinization of gay culture. Gay men now regarded themselves as masculine. The adopted manly attire and demeanor as a means of expressing their new sense of self. They also adopted this look to enhance their physical attractiveness and express improved self-esteem. “ Pg. 28
“Since American culture devalued male effeminacy, they adopted manly demeanor and attire as a means of expressing a more valued identity.” Pg. 28
-My question is, is what makes a man? How many times when you think of the idea of a man do you not get caught up my the idea that has been put in front of you because of the culture that we live in. As young boys are given a dress code, G-I Joe’s and swords, and taught to be knights, doctors, and hero’s. What happens when one child doesn’t follow those rules, do we call him a rebel, weird, do we make up an excuse for his behavior, call him queer? The idea of a man is in us all man or woman and the expectations to live up to the idea sometimes are not as easy for some.
-BUT YOU JUST WANT TO FIT IN
-IS ONE SEX HOLDING BACK?
J. Craik, 1994, The Face of Fashion London: Routledge pp 176-203
Fashioning Masculinity – Dressed for comfort or style: fashionless men
“Men’s bodies have never simply stood for sex; consequently, their clothes never have either. Pitty the poor man who wants to look attractive and well dressed, but who feel that by doing so he runs the risk of looking unmanly.” (Steele 1989b: 61) Pg. 177
“Men’s appearance has been calculated to enhance their active roles (especially occupation and social status).” Pg.177
“The post -1960s reassertion of male fashion and male bodies.” Pg.178
“ Male fashion has been confined to particular groups and subcultures’, such as ‘gentlemen’, gays, popular entertainers, ethnic groups, and popular subcultural groups (Almond 1988;consgrove 1989; Kohn 1989; D. Lloyd 1988). Pg.179
“Perversely, normatively homophobic sportsmen have engages in blatantly homoerotic activities...
Please join StudyMode to read the full document