The First Pride Was a Riot

In the early hours of June 28, 1969, something extraordinary happened on a quiet stretch of Christopher Street in New York City. After years—decades—of police harassment, social invisibility, and the criminalization of queer existence, a group of drag queens, trans women, gay men, and lesbians refused to be silent. When officers raided the Stonewall Inn—a dingy, Mafia-run gay bar in Greenwich Village—the community inside and outside the bar erupted in defiance. What followed were six nights of protest, resistance, and righteous rage. The Stonewall Riots weren’t the beginning of LGBTQ+ activism, but they were the spark that ignited a global fire.

“The First Pride Was a Riot.” That slogan adorns t-shirts, protest signs, and banners today as a reminder that our liberation was not handed to us—it was demanded. It was thrown back in the faces of billy clubs, shouted in the streets, and carved into the consciousness of a country that would rather not have seen us at all. Marsha P. Johnson, Sylvia Rivera, Stormé DeLarverie—names that should be shouted from rooftops—were part of this uprising. They fought not just for acceptance, but for dignity. For survival.

The summer of 1969 marked a turning point. In the year that followed, LGBTQ+ organizations across the U.S. multiplied, and on the anniversary of Stonewall in 1970, the first Pride marches were held in New York, Chicago, and Los Angeles. These were not corporate-sponsored festivals with rainbow floats. They were loud, political, and unapologetic marches for visibility, safety, and rights.

Stonewall happened in a cultural moment when the world was already in upheaval: the Civil Rights Movement, the Women’s Liberation Movement, and anti-Vietnam War protests were reshaping the American political landscape. The gay rights movement joined that chorus—and for a time, especially into the 1970s, it began to sing with joy and newfound sexual freedom. The 1970s became a decade of exploration and visibility. Gay men in particular embraced a new culture of liberation: discos pulsed with rhythm and energy, bathhouses became places not of shame but of connection, and artists, writers, and activists pushed boundaries in the public eye.

But the joy of that revolution would come under brutal siege in the 1980s with the emergence of the AIDS crisis. As friends and lovers died in staggering numbers, the government remained indifferent, slow, and cruelly silent. The queer community rallied again—not just to mourn, but to fight. Groups like ACT UP and the Gay Men’s Health Crisis forced a reluctant nation to see us, to acknowledge our grief and fury. Stonewall had taught us how to protest. AIDS taught us how to organize for our lives.

And still, here we are.

Today, we celebrate Pride with parades, with community, and yes, with joy—but we cannot forget the riot that began it. Nor can we ignore the threats we continue to face. In this current political climate, with a Republican administration openly hostile to LGBTQ+ rights, we are watching hard-won freedoms come under attack. Trans healthcare, anti-discrimination protections, even the right to teach honest history in schools are being stripped away state by state. Pride is not just a celebration—it is a protest. A defiance. A promise that we will not go back.

The Stonewall Riots were not polished, pretty, or corporatized. They were angry, spontaneous, and necessary. We owe our thanks to those brave souls who threw bricks, linked arms, and stood their ground. And we honor them best not just with rainbows—but with resistance.

So wear that shirt with pride: The First Pride Was a Riot. And remember why.

🏳️‍🌈⸻🏳️‍🌈

What does Pride mean to you this year? How do you honor the history while living in the now? Share your reflections in the comments below.


Pic of the Day


Isabella Pic of the Week


Male-Order Desire: The Bold Legacy of International Male

Long before Grindr profiles and Instagram thirst traps, gay men turned to other sources for affirmation, fantasy, and fashion. And for many, there was nothing quite like opening the mailbox to find the latest issue of International Male—a glossy, unapologetically flamboyant catalog filled with mesh shirts, tight pants, deep V-necks, and men whose smoldering stares made it very clear: this wasn’t just about buying clothes.

From its founding in the 1970s through its peak in the ’80s and ’90s, International Male became a low-key lifeline for gay men across America. And even if it never explicitly said the word “gay,” the message was clear: these clothes—and these bodies—were for you.

International Male was launched in 1974 by Gene Burkard, a San Diego-based entrepreneur with an eye for flamboyant fashion and emerging markets. His goal? To create a mail-order catalog for men who wanted more than just workwear and flannel. This was high-collared, disco-era glam for men who wanted to be seen—and desired.

Though never overtly labeled as gay, the catalog’s aesthetic left little doubt. Muscular male models posed in silky robes, sheer tank tops, and outrageously tight trousers, often in settings that felt more boudoir than boardroom. But because it was technically a fashion catalog, it flew under the radar. For closeted men in conservative towns, this was covert contraband—an acceptable, even respectable way to engage with queer desire.

At its peak in the 1980s and early ’90s, International Male had over 3 million customers. Its sister brand, Undergear, took things even further, focusing almost entirely on underwear and swimwear. Both catalogs were often tucked under beds, stuffed in gym bags, or secretly flipped through while pretending to look for a new blazer.

The magic of International Male was never really about the clothes. It was about fantasy. About possibility. About creating a world where men could be sexy, flamboyant, and free.

For gay men—especially those in the pre-Internet era—the catalog served as coded affirmation. It said, “You’re not alone.” It offered a vision of masculinity that didn’t have to be rugged or repressed. It could be styled, sensual, even sultry.

As queer studies scholar Shaun Cole writes in Don We Now Our Gay Apparel, catalogs like International Male offered not just fashion but “performances of masculinity” that pushed boundaries and created new scripts for how men could look and be seen.

Other Icons of Queer Print Culture

International Male wasn’t alone. There was a whole universe of catalogs, zines, and magazines that played pivotal roles in gay history:

Physique Pictorial (1951–1990)

Launched by Bob Mizer, this “fitness” magazine was the first to feature nearly nude muscular men in a semi-legit format. It helped launch the careers of models like Joe Dallesandro and inspired generations of artists, including Tom of Finland.

Honcho, Mandate, and Blueboy (1970s–1990s)

Glossy gay lifestyle and erotica magazines that blended porn, interviews, fashion, and personal ads. They gave gay men access to a world far larger and more glamorous than their own.

A&F Quarterly (1997–2003)

While technically a catalog for Abercrombie & Fitch, under Bruce Weber’s lens it became a bold, glossy celebration of homoerotic youth culture—shirtless boys in golden fields, bathed in natural light and coded desire.

Undergear

A spinoff of International Male, this catalog was even more explicitly erotic—offering thongs, jockstraps, sheer briefs, and loungewear photographed with far less subtlety.

BUTT Magazine (2001–2016)

Launched in Amsterdam, BUTT was an indie, raw, and refreshingly honest publication that celebrated gay sex, intimacy, and everyday life. Pink pages, candid interviews, and gritty photography made it a cult favorite.

The Argument for Art

As with erotic photography and gay porn cinema, there’s a growing argument that catalogs like International Male should be remembered not just as pop culture oddities but as legitimate artifacts of queer history and visual art.

They reflect the shifting landscape of male identity. They archive our fantasies, our insecurities, our attempts to be beautiful in a world that once told us we didn’t belong.

Today, collectors preserve International Male catalogs as kitsch, camp, and cultural gold. Exhibitions of old issues have appeared in queer history museums, and documentaries (like All Man: The International Male Story, 2022) are reclaiming the catalog’s legacy as both fashion history and queer resistance.

For many gay men, flipping through International Male was a ritual—a private moment of longing and laughter. It was how you discovered new shirts and new dreams. How you imagined a body that might one day be yours—or in your bed.

And perhaps that’s the enduring power of such catalogs and magazines: they made desire visible. They turned clothing into code, fashion into fantasy, and mail-order into memory.

So, here’s to International Male—to its satin shirts, its sultry stares, its sneaky subversiveness. It was never just about the clothes. It was always about the possibility of being seen.

Further Reading and Viewing


Pic of the Day


Running on Empty This Morning

I know that today is usually when I post one of my art history pieces, and I do actually have one written and ready… but I just haven’t had the chance to gather the images for it yet. Honestly, I would have worked on it last night, but I was at the museum working until nearly 9:00 pm, giving tours. By the time I stopped for gas and got home, it was close to 10:00 pm, and I was wiped out.

My throat felt raw from talking loudly for two solid hours (the realities of leading big group tours). I always keep a bottle of water nearby between tours, but I can’t bring one along during the tours themselves—no food or drink allowed inside the museum. So when I finally got home, I was simply too tired to pull together the post.

The tours themselves went well, though! These were high school students visiting as part of a summer camp. One of the groups in particular was fantastic—really engaged, asking great questions, and interacting with me throughout. Of course, not all groups of teenagers are like that (group dynamics are always interesting), but that one made the long evening worthwhile.

I’m still feeling a bit worn out this morning, but I have another regular workday ahead of me. I’ll try to have the art history post ready for tomorrow. Thanks, as always, for reading.


Pic of the Day


“To a Stranger”

“To a Stranger”
By Walt Whitman (from Leaves of Grass, 1860 edition)

Passing stranger! you do not know how longingly I look upon you,
You must be he I was seeking, or she I was seeking, (it comes to me as of a dream,)
I have somewhere surely lived a life of joy with you,
All is recall’d as we flit by each other, fluid, affectionate, chaste, matured,
You grew up with me, were a boy with me or a girl with me,
I ate with you and slept with you—your body has become not yours only nor left my body mine only,
You give me the pleasure of your eyes, face, flesh, as we pass—you take of my beard, breast, hands, in return,
I do not ask who you are—that is not important to me,
You can do nothing and be nothing but what I will infold you,
To one side for you is the onward road and to my side the same, I give you my hand,
I give you my love more precious than money,
I give you myself before preaching or law,
Will you give me yourself? will you come travel with me?
Shall we stick by each other as long as we live?

About the Poem

In “To a Stranger,” Walt Whitman captures a moment many queer people know intimately: the electric, instantaneous recognition of someone—another man, perhaps—whose presence stirs desire, curiosity, and a sense of deep, unexplainable connection. The poem unfolds in a fleeting encounter on a street or in a crowd, a stranger seen and felt in passing. But within those seconds, a whole imagined history blooms. This is not just a glance; it’s a lifetime distilled into a gaze.

Whitman’s poem belongs to his “Calamus” cluster—arguably the most homoerotic section of Leaves of Grass. In it, he expresses a spiritual and physical love between men with tenderness and boldness rare for the 19th century. Though the poem never explicitly mentions gender, the “stranger” often reads, in context and tone, as a man. Whitman universalizes desire while also encoding a personal and radical queer perspective. The fluidity of the poem mirrors the fluidity of identity, attraction, and intimacy.

This encounter is imagined as eternal and reincarnated: “I have somewhere surely lived a life of joy with you.” Whitman’s speaker does not ask for a name or demand recognition—only that the stranger accept his open hand and heart. The poem dares to believe that love and recognition can transcend boundaries, even if unspoken. During Pride Month, it feels especially poignant as a celebration of queer connection in a world that still too often passes by without noticing.

About the Poet

Walt Whitman (1819–1892) is widely considered one of the foundational poets of American literature, and Leaves of Grass remains a revolutionary work in both form and content. His radical embrace of the body, sensuality, and nonconformity challenged the poetic conventions of his time. Though Whitman never openly declared himself gay (the concept didn’t exist as it does now), his writing speaks volumes. The poems in the “Calamus” section express a loving, spiritual intimacy between men, often autobiographical in nature.

Whitman lived in Brooklyn and Washington, D.C., working variously as a printer, journalist, nurse, and government clerk. During the Civil War, he tended wounded soldiers—experiences that deepened his compassion and his poetic vision. Scholars and readers alike have long recognized the homoerotic dimension of his poetry, even as it was obscured or censored in his own time. Today, Whitman is embraced as a queer literary forefather—one who gave voice to the sacred beauty of male love in a society still bound by silence.

In “To a Stranger,” Whitman offers not just a look or a line, but an invitation. As we close this Pride Month poetry series, it’s worth asking his final question once more: “Shall we stick by each other as long as we live?” In community, in love, and in remembrance—we say yes.


Pic of the Day


On the Edge of War?

Like many of you, I am alarmed — and honestly, frightened — at the news that Trump has ordered the bombing of Iran. It’s hard to shake the feeling that we may be standing on the edge of a true global crisis. If Iran retaliates — which they very well may — we could soon find ourselves plunged into a conflict that might spiral far beyond anything we’ve seen in decades.

In blunt terms: this is a provocation of war. And Iran would be within its rights to formally declare war on the U.S. in response. The prospect of World War III no longer feels like the stuff of history books or far-flung hypotheticals — it’s something we are suddenly forced to consider, right here and now.

I also can’t help thinking of my friends who live in or near major cities, military bases, and other strategic targets. While living here in Vermont provides a small sense of safety — we are, after all, far from those centers of power — there’s always that unsettling thought: will this administration stoop so low as to create a domestic target? Vermont is a liberal stronghold. Could a false flag attack be used to further sow fear and division? The paranoia is starting to feel not so paranoid.

What makes this even more terrifying is how unprepared we are. Most military analysts have long said that the likeliest form of nuclear attack would not be traditional bombs, but dirty bombs — radioactive material dispersed in populated areas. Yet the very departments tasked with detecting and responding to these kinds of attacks have been gutted in recent months.

It’s hard to sleep at night when it feels like the world is careening toward disaster — and yet here we are. I just needed to say this out loud tonight. I imagine many of you are feeling the same dread and uncertainty. I don’t know where this will lead, but I do know that in times like these, we need to stay informed, stay connected, and keep speaking out.

Stay safe. Stay aware. And if you’re feeling anxious — you’re not alone. ❤️

“Patriotism means to stand by the country. It does not mean to stand by the president.”— Theodore Roosevelt