![dieworkwear's tweet photo. You are incorrect.
There's no connection between sexuality and gender identity. A man can be gay, straight, bisexual, or otherwise, and identify as masculine, feminine, or neither.
If you wanted artistic depictions of "robust masculinity," as you say, you can always go back to J. C. Leyendecker, a German-American immigrant responsible for producing some of the best commercial art during the early 20th century. Leyendecker, who is widely believed to be gay, created "The Arrow Man" for Arrow Shirts and hundreds of The Saturday Evening Post's covers. If you're into menswear, as I am, you are undoubtedly familiar with his work, as he created much of the menswear art during that period. "Trad" corners of Twitter also often put his art forward today as representations of "traditional Western society."
Or you can check out Osmar Schindler, whose works are markedly homoerotic. See Muskelspiel (Muscle Play, 1907) and Germanic Warrior with Roman Helmet (1902), pictured in the second and third slides below. These images celebrate "robust masculinity," but there are often layers of meaning, which makes his work interesting.
What you're hinting at is a stereotype that has always been around but, in my opinion, crystallized after the trial of Oscar Wilde. In his essay "Out of the Closet," Max Mosher writes about some of this history. An excerpt:
“Pansy, Nellie, swish, queen: the fairy went by many names, but one thing universally acknowledged was that he wasn’t a ‘real man.' Sexual theories of the time suggested that homosexuals were women in men’s bodies, unnaturally devoid of masculinity. But the easily recognizable identity proved useful for lonely men desperate to find each other. Gay men flocked to the stereotype like fairies to a flame. [Later], masculine gays felt alienated from an identity that didn’t represent them; early queer activists worried that the fairy stereotype gave the community a bad name.”
In the 1970s, gay men rejected this "fairy" stereotype and embraced over-the-top representations of masculinity, often forms connected to the working-class male. In San Francisco, some of these men were known as "The Clones" or "The Castroids" (for how they would hang around Castro Street, a historically LGBTQ+ area of the city).
Moser continues: “Clones had taken the look of the working-class male and sexualized it, emphasizing muscles through tight t-shirts, and shapely buttocks through deliberately shrunken jeans. The Clone Look was, in fact, a deconstruction of the traditional male, a kind of ‘butch drag.’ By dressing like ‘real men,’ clones had discovered that masculinity was a performance with costumes no less contrived than the fairy’s tailored suits or the radical drag queens’ gowns. The Clone Look, the first style to say it was okay to be both gay and masculine, may have encouraged thousands of men to come out.”
Today, much of this aesthetic has been co-opted by the far right, as conservatives wear skin-tight Buffalo plaid shirts, stretch denim, and work boots.
Regardless, I don't care for the original image not because it depicts masculinity — which I'm totally fine with and in fact have built a career in writing about as an aesthetic — but because it's cliché.
To be sure, it's remarkable as photojournalism, as it captures the moment when Secret Service agents rushed Reagan out of the Augusta National Golf Club when someone crashed the gate and took people hostage in 1983.
But people are not necessarily reacting to that moment; they are reacting to the semiotics of the image. I find the image cliché because it's so inert and overdetermined. There are no layers to the image; people are just into the accumulation of masculine tropes in a small frame — preppy clothes (symbolizing wealth), semi-automatic weapons (violence), and a sense of urgency (ACTION!!). I find it cliché the same way I find it cliché when a certain kind of guy loves referencing the Scarface scene where Tony Montana says "say hello to my little friend." The red-carpeted mansion (wealth), shootout with semi-automatic weapons (violence), and fast-paced scene (ACTION!!) have some obvious appeal. But... it's also pretty cliché.
You are easily impressed by low quality symbols, which is perhaps why our current political moment is so exciting for you.](https://pbs.twimg.com/media/HPTvQizb0AABSlD.jpg)
![dieworkwear's tweet photo. You are incorrect.
There's no connection between sexuality and gender identity. A man can be gay, straight, bisexual, or otherwise, and identify as masculine, feminine, or neither.
If you wanted artistic depictions of "robust masculinity," as you say, you can always go back to J. C. Leyendecker, a German-American immigrant responsible for producing some of the best commercial art during the early 20th century. Leyendecker, who is widely believed to be gay, created "The Arrow Man" for Arrow Shirts and hundreds of The Saturday Evening Post's covers. If you're into menswear, as I am, you are undoubtedly familiar with his work, as he created much of the menswear art during that period. "Trad" corners of Twitter also often put his art forward today as representations of "traditional Western society."
Or you can check out Osmar Schindler, whose works are markedly homoerotic. See Muskelspiel (Muscle Play, 1907) and Germanic Warrior with Roman Helmet (1902), pictured in the second and third slides below. These images celebrate "robust masculinity," but there are often layers of meaning, which makes his work interesting.
What you're hinting at is a stereotype that has always been around but, in my opinion, crystallized after the trial of Oscar Wilde. In his essay "Out of the Closet," Max Mosher writes about some of this history. An excerpt:
“Pansy, Nellie, swish, queen: the fairy went by many names, but one thing universally acknowledged was that he wasn’t a ‘real man.' Sexual theories of the time suggested that homosexuals were women in men’s bodies, unnaturally devoid of masculinity. But the easily recognizable identity proved useful for lonely men desperate to find each other. Gay men flocked to the stereotype like fairies to a flame. [Later], masculine gays felt alienated from an identity that didn’t represent them; early queer activists worried that the fairy stereotype gave the community a bad name.”
In the 1970s, gay men rejected this "fairy" stereotype and embraced over-the-top representations of masculinity, often forms connected to the working-class male. In San Francisco, some of these men were known as "The Clones" or "The Castroids" (for how they would hang around Castro Street, a historically LGBTQ+ area of the city).
Moser continues: “Clones had taken the look of the working-class male and sexualized it, emphasizing muscles through tight t-shirts, and shapely buttocks through deliberately shrunken jeans. The Clone Look was, in fact, a deconstruction of the traditional male, a kind of ‘butch drag.’ By dressing like ‘real men,’ clones had discovered that masculinity was a performance with costumes no less contrived than the fairy’s tailored suits or the radical drag queens’ gowns. The Clone Look, the first style to say it was okay to be both gay and masculine, may have encouraged thousands of men to come out.”
Today, much of this aesthetic has been co-opted by the far right, as conservatives wear skin-tight Buffalo plaid shirts, stretch denim, and work boots.
Regardless, I don't care for the original image not because it depicts masculinity — which I'm totally fine with and in fact have built a career in writing about as an aesthetic — but because it's cliché.
To be sure, it's remarkable as photojournalism, as it captures the moment when Secret Service agents rushed Reagan out of the Augusta National Golf Club when someone crashed the gate and took people hostage in 1983.
But people are not necessarily reacting to that moment; they are reacting to the semiotics of the image. I find the image cliché because it's so inert and overdetermined. There are no layers to the image; people are just into the accumulation of masculine tropes in a small frame — preppy clothes (symbolizing wealth), semi-automatic weapons (violence), and a sense of urgency (ACTION!!). I find it cliché the same way I find it cliché when a certain kind of guy loves referencing the Scarface scene where Tony Montana says "say hello to my little friend." The red-carpeted mansion (wealth), shootout with semi-automatic weapons (violence), and fast-paced scene (ACTION!!) have some obvious appeal. But... it's also pretty cliché.
You are easily impressed by low quality symbols, which is perhaps why our current political moment is so exciting for you.](https://pbs.twimg.com/media/HPTvPt3a0AADWNv.jpg)
![dieworkwear's tweet photo. You are incorrect.
There's no connection between sexuality and gender identity. A man can be gay, straight, bisexual, or otherwise, and identify as masculine, feminine, or neither.
If you wanted artistic depictions of "robust masculinity," as you say, you can always go back to J. C. Leyendecker, a German-American immigrant responsible for producing some of the best commercial art during the early 20th century. Leyendecker, who is widely believed to be gay, created "The Arrow Man" for Arrow Shirts and hundreds of The Saturday Evening Post's covers. If you're into menswear, as I am, you are undoubtedly familiar with his work, as he created much of the menswear art during that period. "Trad" corners of Twitter also often put his art forward today as representations of "traditional Western society."
Or you can check out Osmar Schindler, whose works are markedly homoerotic. See Muskelspiel (Muscle Play, 1907) and Germanic Warrior with Roman Helmet (1902), pictured in the second and third slides below. These images celebrate "robust masculinity," but there are often layers of meaning, which makes his work interesting.
What you're hinting at is a stereotype that has always been around but, in my opinion, crystallized after the trial of Oscar Wilde. In his essay "Out of the Closet," Max Mosher writes about some of this history. An excerpt:
“Pansy, Nellie, swish, queen: the fairy went by many names, but one thing universally acknowledged was that he wasn’t a ‘real man.' Sexual theories of the time suggested that homosexuals were women in men’s bodies, unnaturally devoid of masculinity. But the easily recognizable identity proved useful for lonely men desperate to find each other. Gay men flocked to the stereotype like fairies to a flame. [Later], masculine gays felt alienated from an identity that didn’t represent them; early queer activists worried that the fairy stereotype gave the community a bad name.”
In the 1970s, gay men rejected this "fairy" stereotype and embraced over-the-top representations of masculinity, often forms connected to the working-class male. In San Francisco, some of these men were known as "The Clones" or "The Castroids" (for how they would hang around Castro Street, a historically LGBTQ+ area of the city).
Moser continues: “Clones had taken the look of the working-class male and sexualized it, emphasizing muscles through tight t-shirts, and shapely buttocks through deliberately shrunken jeans. The Clone Look was, in fact, a deconstruction of the traditional male, a kind of ‘butch drag.’ By dressing like ‘real men,’ clones had discovered that masculinity was a performance with costumes no less contrived than the fairy’s tailored suits or the radical drag queens’ gowns. The Clone Look, the first style to say it was okay to be both gay and masculine, may have encouraged thousands of men to come out.”
Today, much of this aesthetic has been co-opted by the far right, as conservatives wear skin-tight Buffalo plaid shirts, stretch denim, and work boots.
Regardless, I don't care for the original image not because it depicts masculinity — which I'm totally fine with and in fact have built a career in writing about as an aesthetic — but because it's cliché.
To be sure, it's remarkable as photojournalism, as it captures the moment when Secret Service agents rushed Reagan out of the Augusta National Golf Club when someone crashed the gate and took people hostage in 1983.
But people are not necessarily reacting to that moment; they are reacting to the semiotics of the image. I find the image cliché because it's so inert and overdetermined. There are no layers to the image; people are just into the accumulation of masculine tropes in a small frame — preppy clothes (symbolizing wealth), semi-automatic weapons (violence), and a sense of urgency (ACTION!!). I find it cliché the same way I find it cliché when a certain kind of guy loves referencing the Scarface scene where Tony Montana says "say hello to my little friend." The red-carpeted mansion (wealth), shootout with semi-automatic weapons (violence), and fast-paced scene (ACTION!!) have some obvious appeal. But... it's also pretty cliché.
You are easily impressed by low quality symbols, which is perhaps why our current political moment is so exciting for you.](https://pbs.twimg.com/media/HPTtZq4aMAE_Ua8.jpg)
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If we can’t fix it we will continue to be fucked.
By telling them that he would make the people they hate suffer.
COPS cheer a man who PARDONED men who beat and assaulted cops on Jan 6.
If ever a photo captured how completed F-UP the world is in 2026 it's this one.
No photo shows the brain washing of America better than this one IMO.
This photo is exactly why women don’t report being raped.
You are incorrect.
There's no connection between sexuality and gender identity. A man can be gay, straight, bisexual, or otherwise, and identify as masculine, feminine, or neither.
If you wanted artistic depictions of "robust masculinity," as you say, you can always go back to J. C. Leyendecker, a German-American immigrant responsible for producing some of the best commercial art during the early 20th century. Leyendecker, who is widely believed to be gay, created "The Arrow Man" for Arrow Shirts and hundreds of The Saturday Evening Post's covers. If you're into menswear, as I am, you are undoubtedly familiar with his work, as he created much of the menswear art during that period. "Trad" corners of Twitter also often put his art forward today as representations of "traditional Western society."
Or you can check out Osmar Schindler, whose works are markedly homoerotic. See Muskelspiel (Muscle Play, 1907) and Germanic Warrior with Roman Helmet (1902), pictured in the second and third slides below. These images celebrate "robust masculinity," but there are often layers of meaning, which makes his work interesting.
What you're hinting at is a stereotype that has always been around but, in my opinion, crystallized after the trial of Oscar Wilde. In his essay "Out of the Closet," Max Mosher writes about some of this history. An excerpt:
“Pansy, Nellie, swish, queen: the fairy went by many names, but one thing universally acknowledged was that he wasn’t a ‘real man.' Sexual theories of the time suggested that homosexuals were women in men’s bodies, unnaturally devoid of masculinity. But the easily recognizable identity proved useful for lonely men desperate to find each other. Gay men flocked to the stereotype like fairies to a flame. [Later], masculine gays felt alienated from an identity that didn’t represent them; early queer activists worried that the fairy stereotype gave the community a bad name.”
In the 1970s, gay men rejected this "fairy" stereotype and embraced over-the-top representations of masculinity, often forms connected to the working-class male. In San Francisco, some of these men were known as "The Clones" or "The Castroids" (for how they would hang around Castro Street, a historically LGBTQ+ area of the city).
Moser continues: “Clones had taken the look of the working-class male and sexualized it, emphasizing muscles through tight t-shirts, and shapely buttocks through deliberately shrunken jeans. The Clone Look was, in fact, a deconstruction of the traditional male, a kind of ‘butch drag.’ By dressing like ‘real men,’ clones had discovered that masculinity was a performance with costumes no less contrived than the fairy’s tailored suits or the radical drag queens’ gowns. The Clone Look, the first style to say it was okay to be both gay and masculine, may have encouraged thousands of men to come out.”
Today, much of this aesthetic has been co-opted by the far right, as conservatives wear skin-tight Buffalo plaid shirts, stretch denim, and work boots.
Regardless, I don't care for the original image not because it depicts masculinity — which I'm totally fine with and in fact have built a career in writing about as an aesthetic — but because it's cliché.
To be sure, it's remarkable as photojournalism, as it captures the moment when Secret Service agents rushed Reagan out of the Augusta National Golf Club when someone crashed the gate and took people hostage in 1983.
But people are not necessarily reacting to that moment; they are reacting to the semiotics of the image. I find the image cliché because it's so inert and overdetermined. There are no layers to the image; people are just into the accumulation of masculine tropes in a small frame — preppy clothes (symbolizing wealth), semi-automatic weapons (violence), and a sense of urgency (ACTION!!). I find it cliché the same way I find it cliché when a certain kind of guy loves referencing the Scarface scene where Tony Montana says "say hello to my little friend." The red-carpeted mansion (wealth), shootout with semi-automatic weapons (violence), and fast-paced scene (ACTION!!) have some obvious appeal. But... it's also pretty cliché.
You are easily impressed by low quality symbols, which is perhaps why our current political moment is so exciting for you.
Officer Austin Abdelnabi was a 30-year-old U.S. Marine Corps veteran with over two years on the Las Vegas Metropolitan Police Department who died in the line of duty. They booed him because they've been taught that people with different sounding names are bad.
"Socialism never took root in America because the poor see themselves not as an exploited proletariat but as temporarily embarrassed millionaires."
- John Steinbeck
I have never seen anything so disrespectful to our US Service Members in my entire life.
But if you blame all white people for slavery they get really mad
and this clip wouldn’t have happened had the staffer gotten her way. let this be a lesson about the downsides of overzealous principal management!
Will my political career survive Elevatorgate?!
Mitch McConnell’s staff have declined to answer basic questions about what work he is doing—37 days after he was loaded into the back of an ambulance and vanished from public view. https://t.co/ZKAXUn6WJp
This is why Trump HATES @ossoff: He’s too good at this.
OSSOFF: Did the President pardon a man who worked with the Sinaloa Cartel to facilitate massive narco trafficking into the US?
CLAYTON: Word Salad… He was a convicted narco trafficker.
OSSOFF: Did the President of the United States pardon a convicted narco trafficker?
CLAYTON: Yes.
Sen. @Ossoff: Who won the 2020 election?
DNI nominee Jay Clayton: I'm not going to do this with you
Ossoff: This is a job interview. You have an obligation to be honest with the committee.
Clayton: I'm not gonna get into that with you
Ossoff: You refuse to answer a basic question about who won a presidential election, but you ask to lead America's intelligence community. Isn't it humiliating to be unable to answer this question? To have to indulge the president's delusions?
Nicole Wallace ☠️☠️☠️
"Riddle me this: when Obama ran intelligence, the election was secure and Donald Trump won in 2016.
When Biden ran the government and the intelligence, the election was secure and Trump ran in 2024.
But when Donald Trump and all of his boobs were running US national security, it got all effed up. Is that the theory?"
Representing @metrolosangeles on The Metro
Two Metro’s moving America during 250th & World Cup.
Next up Freedom 250 Grand Prix, 2027 NFL Draft, 2027 Super Bowl & 2028 Olympics plus so much more.
Nice swag game, almost as good as someone else 😉
The Graham Platner fiasco proves that the Democrat Party is far too tolerant of sexual predators.
by Matt Gaetz, Roy Moore, Pete Hegseth, Jim Jordan, Dennis Hastert, Blake Farenthold, Trent Franks, Herman Cain, Cory Mills, Clarence Thomas, Brett Kavanaugh, and Donald J. Trump
BREAKING: Nurses at Mitch McConnell's hospital bedside say they've yelled into his ears, "There's a Black president trying to fill a Supreme Court vacancy!" and he didn't stir at all.
somewhere in America, in a state that is hundreds of miles from New York city, a man who makes $45,000/year has had his day RUINED by this news.
Now this is how you respond to bigotry
I bet this goes hard if you’re fucking stupid
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