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Contents:

• GAY PRI COLLECTN
• GAY SHOP - MEN'S GAY PRI APPAREL AND FASHN ACCSORI - PRI MERCHANDISE, GAY CLOTH, GAY PRI SHIRTS, HATS, CAPS, UNRWEAR & PRI GEAR.
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• GAY CLOTHG & SHO
• GAY PRI COLLECTN

GAY PRI COLLECTN

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Racg briefs are also rigr for swimmers, water polo players and divers, and wily embraced by the gay muny.

But when one particular look cropped up the post-Stonewall gay scene of the 1970s, was so popular—and so distct—that the guys who sported were dismissed as “clon.” Inspired by archetyp like wboys and bikers, the clone look was all about nim, plaid shirts, bomber jackets, and t-shirts, wh a body-nsc bent. (The look was also known as the “Castro clone,” noddg to s likely origs the Castro neighborhood of San Francis before spreadg to New York Cy and elsewhere.)And while the nickname was ially pejorative, the clone perd marked perhaps the first time that gay men prented themselv wh a queer-signalg uniform that was a direct rponse to societal stereotyp. “The clone was a reactn to thgs you would see movi of gay men beg flty and nelly,” says John Calendo, a wrer who lived LA and New York Cy throughout the 70s and 80s, and worked as an edor at the clone-cubatg sk mags Blueboy and In Touch for Men.

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He pots to the gay mstrel stereotyp the 1967 film The Producers, along wh the timid-lookg guys on the illtrated vers of gay pulp books wh nam like All the Sad Young Men. (Not to mentn the 1964 article Life magaze lled “Homosexualy Ameri,” which scribed a “sad and often sordid world.”) “That’s the kd of imagery”—backwards stereotyp that basilly villaized queer people—“that a lot of my generatn who beme the clone people grew up wh the ccible of the 60s,” Calendo ntu, when the civil rights and gay liberatn movements were expandg ias of equaly and eedom.

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Drsg like a clone, he says, was a rejectn of those olr gay stereotyp.While ’s not so easy to ppot precisely who origated the clone ial, guys who were alive at the time ually brg up Al Parker, an adult film star turned producer and director who worked om the 70s to the early 90s.

(Parker would eventually bee an advote for gay rights and safe sex, producg only safe-sex films before he passed away om plitns due to AIDS 1992. It was like, Oh that’s somethg wh a ltle work I uld atta, and I thk that’s why beme so quickly absorbed to the gay muny.”Mike Davis and Al ParkerCourty of @The fantasy of Parker’s imagery played wh ia of a workg class-lookg guy who was jt so mascule and horned up that he’d have sex wh whoever was around—ially other clone-lookg guys. The stylized shoots— the woods, or Parker’s van wh s mattrs the back—portrayed a label-ls sexual liberatn never seen before.“When I thk back on havg lived through the time, was like gay guys were pg om this stereotype that was jt culted to the culture of sissi and faggots,” says Woodff.

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“The clone look was certaly about a whe gay man’s rponse and engagement wh those archetyp,” says Ben Barry, the an of the school of fashn at the New School’s Parsons School of Dign, whose rearch foc on fashn’s relatnship to masculy, sexualy, and the body. “There was this obssive rejectn of anythg that was soft or feme,” Calendo says, “and that’s why the clone perd is one of nformy and opprsivens.” (Lookg back though, he adds wh a lgh, “However, I was not above wearg a flannel shirt to get laid, you know what I mean?”)Prentg as mascule public was physilly safer for gay guys, but the clone stume pulled double duty, Barry says, tweakg tradnal masculy while also signalg to other queer folks. “There’s this munal thg happeng right now where people are more open that they’re trans and non-bary or bisexual and not jt on the spectm of beg straight, gay, male, female.

GAY PRI COLLECTN

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