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Contents:

• A BRIEF HISTORY OF GAY SIGNALG, OM HANKY S TO THAT 'WHAT GAY GUYS ARE ACTUALLY LIKE' VIO
• GAY PRI COLLECTN

A BRIEF HISTORY OF GAY SIGNALG, OM HANKY S TO THAT 'WHAT GAY GUYS ARE ACTUALLY LIKE' VIO

It is important to note that the same-sex soc-sexual behavr observed the study is distct om homosexual behavr bee s motivatn and purpose are social, said Jean-Baptiste Le, who studi primate behavr at the Universy of Lethbridge Canada and was not volved the new rearch. To be classified as te homosexual behavr, the form, motivatn and functn would all have to be sexual nature, he said.

Maybe you've seen the recent vio that purports to show "what actually happens when gay guys see other gay guys and straight people aren't around. " While I n't nfirm or ny the accuracy of the clip's subject matter (still wag on clearance om the Gay Agenda), I n say that s edy is rooted a rich history of signalg, flaggg, and other forms of non-verbal munitn between gay Pulls a CharlottvilleThe vio fds actors/edians Brian Jordan Alvarez, Stephen Guaro, and Mch Silpa nng to one another their apartment buildg's regnizg one another's gayns, and realizg they're a space utterly void of heterosexualy, the three men lnch to some light nway……'80s face-molg 101……talog at-hangg……and low-key Bernatte-ery……wh a llective "Bnch! " at the unrlyg tensn of the scene stems om the ia that the men are only ee—or perhaps safe—to unleash their purt gay selv the pany of others like them.

GAY PRI COLLECTN

Halper wr How to be Gay. )The need to navigate one's inty through different social suatns, mixed wh the sire for regnn, has led gay men (and women, obvly, but this article is foced on the male si of this phenomenon) to velop subtle, often wordls methods of munitn wh others the of the systems have been historilly ed to broadst sexual sir, like the hanky , which saw s peak age the 1970s and '80s. In Gay New York, Gee Chncey c red neckti as one of the major "fairy" signifiers of the 1890s, and the 1930s there was "practilly a homosexual monopoly" on dark brown and gray sue sho the 1930s.

Physil mannerisms,, why do gay men ntue to create and cultivate the systems of mostly non-verbal munitn wh each other?

I thk a lot of has to do wh the fact that gayns don't e wh hered physil tras or other visible intifiers on the body; we're forced to create our own. Throughout the twentieth century, clothg has been ed by lbians and gay men as a means of exprsg self-inty and of signalg to one another.

By the eighteenth century, many ci Europe had veloped small but secret homosexual subcultur. London's homosexual subculture was based around ns and public ho where "molli" ngregated.

Male homosexuals ntued to cross-drs both public and private spac throughout the neteenth century.

In the 1920s, the Harlem drag balls offered a safe space for gay men (and lbians) to cross-drs. Cross-drsg performers, monly known as drag queens, ed women's cloth to parody straight society and create a gay humor.

The tradn has been rried on by gay drag performers such as Amerin performers Dive and RuPl and Brish televisn star Lily Savage. Overt gay men, who did not want to go so far as to cross-drs, sometim adopted the most obv signifiers of female mannerisms and drs: plucked eyebrows, rouge, eye makp, peroxi blond hair, high-heeled Women's Sho blo.

Adoptg such an appearance was dangero, for was risky to be overtly homosexual. Drsg as a "flamg queen" was a means of enterg to the subculture of gay society. The adoptn of effemate drs s began to wane wh the rise of gay liberatn, but has ntued to play a role gay life.

The illegaly of homosexualy and the moral disapproval that attracted forced gay men and lbians to live virtually visible liv the first part of the twentieth century. Up until the gay liberatn movement of the late 1960s, the most important crern of drsg public, for the mass of gay men and lbians, was to be able to "pass" as heterosexual.

Ined, the lor green had been associated wh the effemate and sometim sodomil maronis of the 1770s and ntued to have gay associatns clothg through the first part of the twentieth century. " Other signifiers for gay men clud a red necktie (worn New York Cy before World War II) and sue sho (one of the most ternatnal and endurg gay signifiers).

Durg the "menswear revolutn" of the 1960s, the associatn of fashn and homosexualy began to dimish.

Carnaby Street fashns were ially sold to a gay "theatril and artistic" clientele by a former physique photographer by the name of Vce om a shop near Carnaby Street. " worn primarily by gay men, was sold om "boutiqu" Greenwich Village, New York, and Wt Hollywood Los Angel.

Gay Men and Masculy. By the late 1960s, lbians and gay men throughout the Wtern world had begun to qutn their posn as send-class cizens and their stereotype as effemate "queens" or "butch dyk.

" Along wh the mands for equaly and regnn, lbians and gay men began to addrs their appearance. There had always been gay men who drsed a nventnally mascule style, but the early 1970s, gay men New York and San Francis looked to the epom of Amerin masculy-the wboy, the lumberjack, the nstctn worker-for spiratn for a new drs style. The hypermascule image has ntued to be important even after the supposed ath of the clone the late 1980s, when the image beme associated wh an olr generatn of pre-AIDS gay men.