“Hairy Ginger Dad - Remixed by Frank Butcher” Part 2 That primal moment between two masculine men, when one man shares his semen with another, is as beautiful as anything in nature! With HairyGingerDad and his hot n’ furry fuckbud! 🐻😈🥵💪🏼🧔🏻♂️ Come visit me at to check out the... show more
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![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://image.24vids.com/tw-2086563138481381888/amplify_video_thumb/2086557586678251520/img/ynB1h_6haBQvlPbO.jpg)
![Michelangelo Buonarroti, (1475-1564) - The Last Judgement - Vatican - Rome Michelangelo di Lodovico Buonarroti Simoni (Italian: March 1475 – 18 February 1564), known mononymously as Michelangelo (English: ˌmaɪkəl] was an Italian sculptor, painter, architect, and poet of the High Renaissance. Born in the Republic of Florence, his work was inspired by models from classical antiquity and had a lasting influence on Western art. Michelangelo's creative abilities and mastery in a range of artistic arenas define him as an archetypal Renaissance man, along with his rival and elder contemporary, Leonardo da Vinci. Given the sheer volume of surviving correspondence, sketches, and reminiscences, Michelangelo is one of the best-documented artists of the 16th century. He was lauded by contemporary biographers as the most accomplished artist of his era. Michelangelo achieved fame early. Two of his best-known works, the Pietà and David, were sculpted before the age of 30. Although he did not consider himself a painter, Michelangelo created two of the most influential frescoes in the history of Western art: the scenes from Genesis on the ceiling of the Sistine Chapel in Rome, and The Last Judgment on its altar wall. His design of the Laurentian Library pioneered Mannerist architecture. At the age of 71, he succeeded Antonio da Sangallo the Younger as the architect of St. Peter's Basilica. Michelangelo transformed the plan so that the Western end was finished to his design, as was the dome, with some modification, after his death. Michelangelo was the first Western artist whose biography was published while he was alive. Three biographies were published during his lifetime. One of them, by Giorgio Vasari, proposed that Michelangelo's work transcended that of any artist living or dead, and was "supreme in not one art alone but in all three." In his lifetime, Michelangelo was often called Il Divino ("the divine one"). His contemporaries admired his terribilità—his ability to instill a sense of awe in viewers of his art. Attempts by subsequent artists to imitate the expressive physicality of Michelangelo's style contributed to the rise of Mannerism, a short-lived movement in Western art between the High Renaissance and the Baroque. Life Early life, 1475–1488 Michelangelo was born on 6 March 1475 in Caprese, known today as Caprese Michelangelo, a small town situated in Valtiberina, near Arezzo, Tuscany. For several generations, his family had been small-scale bankers in Florence; but the bank failed, and his father, Ludovico di Leonardo Buonarroti Simoni, briefly took a government post in Caprese, where Michelangelo was born. At the time of Michelangelo's birth, his father was the town's judicial administrator and podestà or local administrator of Chiusi della Verna. Michelangelo's mother was Francesca di Neri del Miniato di Siena. The Buonarrotis claimed to descend from the Countess Matilde di Canossa—a claim that remains unproven, but which Michelangelo believed. Several months after Michelangelo's birth, the family returned to Florence, where he was raised. During his mother's later prolonged illness, and after her death in 1481 (when he was six years old), Michelangelo lived with a nanny and her husband, a stonecutter, in the town of Settignano, where his father owned a marble quarry and a small farm. There he gained his love for marble. As Giorgio Vasari quotes him: If there is some good in me, it is because I was born in the subtle atmosphere of your country of Arezzo. Along with the milk of my nurse I received the knack of handling chisel and hammer, with which I make my figures.](https://image.24vids.com/tw-1859987869609152605/ext_tw_video_thumb/1859984634307629056/pu/img/ownzkVtbwSxpHjw7.jpg)
![I was honored to share the TED AI stage with Ilya on Oct. 17. His speech video is out today (mine's still being edited). I think it provides relevant context tokens to the ongoing events. Transcript starting at ~10'20": As AI continues to progress, as technology advances, [...] What I claim will happen is that people will start to act in unprecedentedly collaborative ways out of their own self-interest. It's already happening right now. You see the leading AGI companies starting to collaborate, such as the Frontiers model forum. And we will expect that companies, even competitors, will share technical information to make their AI safe. We may even see governments do this. As another example, at OpenAI, we really believed in how dramatic AGI is going to be. So, one of the ideas that we were operating by, and it's been written on our website for 5 years now, is that when technology gets such that we are very close to AGI, to computers smarter than humans, if some other company is far ahead of us, then rather than compete with them, we will help them out, join them, in a sense. And why do that? Because we appreciate how incredibly dramatic AGI is going to be. And my claim is that with each generation of capability advancements, as AI gets better and as all of you experience what AI can do, as people who run AI efforts and AGI efforts, and people who work on them will experience it as well, this will change the way we see AI and AGI. And that will change collective behavior. And this is an important reason why I'm hopeful that, despite the great challenges posed by this technology, we will overcome them. @TEDAI2023](https://image.24vids.com/tw-1726763792556839253/amplify_video_thumb/1726761633660497920/img/x_EXQcjYHPxsm0Y5.jpg)
