Popular Culture Review 29.1 (Spring 2018) | Page 123

Omar Little . It has been observed that the “ hypermasculinity found in certain lower-status male locales , such as [ in ] urban gangs ,” functions as an effort to establish and assert masculine identity and self-esteem in spite of low economic standing ( Pyke 531 ). In particular , men in these environments “ use the physical endurance and tolerance of discomfort required of their manual labor as signifying true masculinity ” ( 531 ). To further assert this particular form of masculinity , these men “ also engage in pervasive talk of their sexual prowess and a ritualistic put-down of women ” ( 532 ). This particular socioeconomic trend is accurately depicted in The Wire , as the vast majority of African American gang members in the series conform to “ a particular type of black masculinity … centered on sexual conquest , materialism , nihilism , respect , violence and vengeance ” ( Chambers and Waldron 182 ). Noted sociologist Patricia Hill Collins specifically identifies this certain type of masculinity as that of the “ gangsta ”:
When it comes to representations of Black male deviance , several important variations exist . The thug or “ gangsta ” constitutes one contemporary controlling image . […] The “ gangsta ” may be crafty , but the essence of his identity lies in the inherent violence associated with his physicality . ( 158 ).
Characters in The Wire who ascribe to this archetype are aggressive , sexually promiscuous , and entirely focused on protecting their street credibility and reputations , which they affirm to their rivals in the drug trade through displays of violence . Thus , gangsta masculinity similarly emphasizes macho values ( Scharrer 617 ). In contrast , Omar is an anomaly who breaks from his peers ’ conventions in numerous ways , with the most immediate example being his sexuality : Omar is openly gay . Cultural stereotypes of African American criminality are popularly associated with overt masculinity , which in turn is commonly associated with heterosexual hypersexuality ( Jackson 105 ). When viewed through the lens of early 2000s popular culture , the masculine identity conjured by Omar ’ s status as a dangerous criminal is not easily reconciled with his sexual orientation , as homosexuality was commonly portrayed in other contemporaneous television series as effeminate and unthreatening ( Avila-Saavedra 8 ). The cold open for the fourth season episode “ Home Rooms ” ( 9 / 24 / 06 ) best encapsulates Omar ’ s contradictory identity : Omar leaves to pick up cereal for himself and his romantic partner one morning , leaving behind his handgun after a humorous scene where Omar unsuccessfully attempts to conceal the weapon in his bathrobe . After buying cereal at the convenience store , Omar stops in the street to smoke a cigarette , coincidentally outside a local stash
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