What Pfeiffer refers to as the Pines' "cult of hypermasculinity" most likely arose in spontaneous reaction to the depredations of AIDS. But there's another reason for the presence here of men who resemble cartoon figures, whose greatest pride is possession of impervious, action-hero physiques. "It's AIDS-reactive," says Pfeiffer, "but it's also acceptance-reactive. I had a gay brother who's gone now, and I used to come out here with him. The Pines felt like a safe place for us before our fashions and attitudes and sexuality were commodified. Now that we're mainstream, queers are looking for other ways to set themselves apart."
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