Body Health, celebrity, fashion, LGBTQ, pop culture

THINK TWINK: “welcome to the age of the twink”

T, the New York Times Style Magazine, published a piece yesterday called, “Welcome to the Age of the Twink.” Firstly, I love that title and it makes me think of a Jetson’s-era world of beautiful twinks in Lycra bodysuits and astronaut helmets, jetting around on those little space-cars. Oh! They could go to Hamburger Martian’s for drag queen bingo!

But after I got over thinking about that (a good twenty minutes) and after I realized that T is something I’ve not really gotten around to reading much of (it’s shocking!), I put Troye Sivan’s “Bloom” on repeat, took a hit of poppers and read the article. Just kidding, I didn’t read the article!

The thesis of the piece, the piecis if you will, is this: as women begin to dismantle the “legacy of toxic masculinity,” twinks represent a similar departure from the male shackles. “These twinks, after all, aren’t just enviably lean boys or the latest unrealistic gay fantasy, but a new answer to the problem of what makes a man.”

First, after bingeing several T articles, I’ve noticed that they’re (mercifully, because I can’t handle some long diatribe) short and typically include a final graph that pivots to make some larger, societal point. It’s a cute look, and one that I definitely am guilty of, but I wish that this piece was longer. Give me more, hon!

The piece introduces itself with a scene from Call Me By Your Name, where Oliver (Armie Hammer) steals Elio’s (Timothée Chalamet) drink and gives him a brief, tense massage. The author notes that Oliver’s body – broad, hairy and muscled – is in stark contrast to Elio’s – smooth, lithe. In the negative space, it draws comparison and highlights the youth of Elio as well as the older appeal of Oliver.

The author, Nick Haramis, touches upon the rising popularity of “twink” models in more mainstream culture: Ryan McGinley’s photo-series of slim, sloppily dressed Saint Laurent models; leading men Tye Sheridan (Ready Player One), Lucas Hedges (Lady Bird, Manchester by the Sea), Nick Robinson (Love, Simon); singer Troye Sivan and celebrity-child-savant Jaden Smith. As these men, and their bodies, are being pushed to the forefront of culture and propped up as sexual objects as desire, their twinkiness, and its entrenchments in effeteness and femininity, are similarly propelled.

It’s a little too close to Chris Pratt having to totally reinvent his entire body in order to get a leading role in a movie for me to safely see the rising prevalence of twinkish body types as anything more than a trend or the beginning of a movement.

However, I do agree that prioritizing body types other than the traditional “Leading Man” body – any of the Hollywood Chrises – is a step in the right direction, and the appreciation for androgynous, lithe and sometimes-feminine bodies in men is worthy of attention. But what that made me realize is that, for the most part, twinks still operate within a certain paradigm of toxic masculinity.

Twinks, at least the ones that came to mind when I read the piece as well as the ones who were mentioned in the article itself, are typically portrayed as white or white-passing. The cover photo of “Welcome to the Age of the Twink” includes men of color, but the overarching notion of “twink” is young, cis, white, attractive, slim.

There is the notion that twinks are, inherently, slim. There can be branches:  Haramis discusses “twunks” (he mentions Zac Efron; I counter with Tom Holland), Euro twinks (the BelAmi boys) and femme twinks (Adam Rippon). I would argue that otters – slim, hairy men – exist on the twink spectrum; and who among us has not fallen in love with a tattered-knee skater boy or a stoner, drawn gaunt by the love for their respective crafts?

So twinks can be slim, or muscular, or hairy, but they are never fat. They always adhere to the beauty standard that thinness is ideal. Through the promotion of twinks in mainstream culture, we are saying that we are widening the lens of attractiveness – but not that wide. We will dip outside of our ideals, but just slightly.

An essential part of twinks is the idea of prioritizing youth. I’m not saying there aren’t old twinks, looking at you Charlie Hides, but when you look at that through a critical lens, you realize: if twinks are young, then they are meant to idealize youthful, boyish figures. I wonder if their bodies are prized only because it is implied that they are temporary; no one stays young forever, so the twink body will eventually evolve into something else. You can be feminine, but only because eventually you will become something else.

The point of the piece, in my eyes, was acknowledging and celebrating that different types of bodies are being seen as viable, valuable and attractive. And I loved thinking about twinks and bodies and queerness for an hour, so I’m grateful for the piece. But I love it more for reminding me that we still have a long way to go in terms of body inclusivity. Ugh, I did the T thing of putting my thesis (my piecis!) at the very end!


Alternative titles include, but are not limited to, “Pretty N’ Twink,” “Twink Twice,” “Twinkin’ About You,” “Twinkpiece,” or “Twink or Swim.”
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Essay, LGBTQ

MY VOICE IS MY VOICE

A few weeks ago I was hosting my sister and her friends at my apartment. Cram five queens into a three-by-three-foot box, and it’s pretty hectic. But whatever, it was fun and they bought me Patron (the toilet Patron from “ONE-TWO-THREE”!) as a thank-you present. On Saturday, when they were heading out to da club and I was heading to a house party, one of my sister’s friends brought over a friend from the area.

He walked in and my high-school-heart beat a little bit faster. He was just like every frat boy-wannabe I went to high school with (an all-boys Catholic prep school)—non-psycho American Psycho hot face, slicked back long hair, Oxford shirt buttoned tightly over lacrosse muscles, canoe-like leather shoes and blue jeans. Yung Wall Street.

And when I introduced myself to him, it wasn’t me. It was a strong, firm handshake and a voice that was like mine, but several octaves lower and controlled. “Hey, I’m Danny,” he/me said.

It’s a voice I pulled out a lot that weekend as I met my sister and her friends’ straight guy friends. That afternoon, I was downtown and I got out of my car. “What’s on your sweatshirt?” said-shouted a straight guy on line outside the bar I was going to. I looked down. I had pulled on a cross country hoodie from my sophomore year of high school, underneath an olive-green bomber jacket.

I shifted my jacket and showed him. “Fuckboy Prep,” he said (name has been changed, because duh). “Yeah, do you know it?” I asked, my voice hitched in the bottom of my throat, my vowels pitching backward into my esophagus.

It’s difficult to describe the “straight” voice, but it’s like that: instead of projecting forward, the words make a boomerang: out from the bottom of my throat, below my Adam’s apple, jut forward and then careen back into my collarbone.

“No, but I went to Yung Money Prep in Maine,” he said. We nodded at each other. End of conversation.

It’s a voice that I unearthed from the deepest recesses of my early tweenhood. Monotone, soft, deep. A voice I had discarded when I came out at fifteen and, shaky in my gayness, hurtled towards the opposite end of the scale and went full “Agaytha Christie.” What a gay joke. Neither were my actual voice, which is decidedly average and can veer equally into deep monotone and higher-pitched modulation.

It’s something I do when I’m meeting straight guys for the first time. I drag my voice back into low-pitched “sups” and “yo.”

I do it for a few reasons: I want to be taken seriously by another man, and I want to survive.

“Survive” sounds so extra, but let me remind you—I went to an all-boys Catholic high school where I was already harassed enough. Lowering my voice into a monotone was at least one attempt on my end to make myself seem like less of a target.

I have one vivid memory of sitting at a lunch table at fourteen. I was saying something when across the table, a mean hot redhead said to me, in brusque masculine tones,

“Talk like a boy.”

This was before I came out, so I was vibrating with anxiety about being “found out.” I couldn’t respond to him, so I picked up my tray, shakily threw out my trash and hid in the library. In the moment, I was doused in ice-water dread. Later, I would feel a coiled mixture of revulsion and attraction to him. Revulsion that he could embarrass me with four words, and attraction to him and his masculinity.

Because that’s what it comes down. We as queer boys are taught to hate our femininity and strive towards masculine attributes. It might be why gay guys work out so hard at the gym, sculpting Adonis bodies and artfully manicured scruff. Why we put “masc for masc” on our Grindr profiles. We eschew femmes and shame bottoms because we never, ever want to be put in that vulnerable position again.

So instead of living our truth, we shut it off and hate it. We fight against it. We slit the throat of our femininity and let it drop to the floor, a sick survivalist instinct to protect ourselves in a masculine, heteronormative world.

But in that “passing” is a hidden desire uncomfortable to admit: that part of passing for straight is not just out of a survivalist instinct, but undeniable envy.

I would imagine that queer people have thought about it; some of us have the ability to pass as straight in a heteronormative society. To not appear different or othered. It’s a dangerous thing because it’s a temptation to step outside of your marginalized group.

In a day-to-day scenario, it’s easier being straight than it is gay. When I’m walking late at night, with a female friend and we come across a group of straight guys, I put my arm around her, or I move closer. We both tacitly understand that those guys won’t respect a woman not wanting to talk to them, but they will respect a boyfriend because there is the notion of women as property.

And as much as it is a protection against catcalling for her, it provides me with a dangerous taste of heteronormativity. It provides me a glimpse of the luxury, respect and authority that being a straight white male awards you. The ability to express physical affection without wondering if it could get you gay-bashed. The respect given to you by straight men who don’t see you as Othered or predatory or sissy.

In a lot of ways, when I lower my voice, I’m still that skinny little kid who wants to impress straight boys. Look how manly I can be! Hear how low my voice can go!

It’s a muscle-memory reaction, a hit of fight-or-flight adrenaline, and it’s something that complicates me even now. It complicates my relationship to my sexuality because for so long, I have been taught to hate it. And when that didn’t do anything, I moved on to hating myself. And others. And everyone.

It’s easy to forget, six years on, that I have been irreparably damaged by the strain, stress and assault of living in the closet for fifteen years. And it’s easy to forget that that strain and stress does not disappear when you come out. That the reason I dress more plainly and simply now is a way to avoid being labeled as flamboyant. That I keep my hair messy to not seem prissy. That the reason I like mean guys is because in the hidden depths of me, meanness is associated with masculinity, and thus, idolization.

There is damage in having been Othered. There is damage in hating a part of you because society has deemed that part to be malignant.

But there is power in reclaiming that damage. I started wearing nail polish recently. And even that small bit of femininity has eased me a little. Because I am a feminine person in some ways. And in just as many ways, I am also masculine. Everyone is masculine and feminine; labeling or coding one as negative only serves to incur further damage.

My voice rings up high when I’m excited. I talk fast. I use my hands a lot. I’m expressive. These are just descriptors. They’re not bad or good, they just exist. My voice is my voice.

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