I found a link that has male stars like R. Kelly, Father MC, Tommy Lee and others with full frontal male nudity.

Click on the link. Then look on the right in the box that says "Strip Search" and scroll down to the person's name. R. Kelly is under the letter "K", Father MC is under the letter "F", and Tommy Lee is under the letter "L".

Warning: This site contains full frontal nudity, if that offends you, do not open it.

Here's the link:

http://www.pridesites.com...links.html

I can't understand why so many women fall for Brad Pitt. His nude pics are totally boring

And the Tommy Lee one contained his cumshot- ewwwww

alright now..are those pics of Roddy MCDowell and Tab Hunter real?


and did anyone else check out the Vincent Gallo gallary?

vainandy said:

The Dickologist will have to check this out as part of her research. Thanks for the heads up.

Hotlegs said:

u must check out the pic of marlon brando giving head..i never knew.

u must check out the pic of marlon brando giving head..i never knew.[/quote]


Home > Arts
Masculine/Feminine
How Marlon Brando redefined American notions of manliness
By Michael Bronski
Published: Wednesday, July 14, 2004

Marlon Brando


The death of Marlon Brando on July 1 came as something of a shock not because people expected him to live forever - he was 80 years old - but because he was such a central fixture on the American cultural scene that it was difficult to imagine that he would never be there. Even as he grew older and made films in which he was clearly less than invested - remember the quirky remake of "The Island of Dr. Moreau" in which he seemed, I guess, to be doing an imitation of Charles Laughton from the original film- any performance by Brando was an event.

The screen legend's death made front page news across the world and a wealth of "think" piece are still being published. But for all of this press, hardly anyone got to the heart of Brando's cultural importance. He was described as intense, passionate, magnetic, sexy, and powerful - all true - but really, in the end, Brando will be most remembered as the man who changed what it meant to be a man in American culture. It is not that Marlon Brando was gay - although he did state in interviews and in his autobiography that he was bisexual and had had sex with men - but rather that, emotionally speaking, Marlon Brando had a queer eye for American masculinity.
In the years before World War II masculinity was sharply defined in American culture, particularly culture as defined by Hollywood. With he possible exception of Chaplin's Little Tramp, men didn't cry in Hollywood. It in inconceivable to think of the icons of U.S. masculinity - Clark Gable, Randolf Scott, John Wayne, Gary Cooper, James Cagney, Edward G. Robinson, Dana Andrews, Humphrey Bogart - crying or even showing any emotions that were not stalwart, or repressed. Marlon Brando changed all of that; he was the first leading man - and a sexy one at that - to cry on the Hollywood screen. In the context of American gender and sex roles this was, indeed, the beginning of a revolution.

Brando first became famous in 1948 for his performance as Stanley Kowalski in Tennessee Williams's "A Streetcar Named Desire" in which he famously stalked the stage in his tight jeans and t-shirt and painfully screamed and wept "Stella!" as he expressed his desire for and his angst over losing his wife. In 1951, he played Stanley on screen. It was an electrifying performance that signaled a sea-change of how men might be represented in theater and film. But even before "Streetcar" was released in movie theaters, Brando was changing how men were represented on screen. In 1950 he brought his brooding sexuality to "The Men" in which he played a disabled WWII veteran. This was, again, a revelation: in Hollywood, real men were not in wheelchairs. After "Streetcar," Brando continued bringing this new male sensitivity to the screen. In 1952, he was a sensitive Mexican revolutionary in "Viva Zapata" and a sensitive Marc Antony in "Julius Caesar." Later that year, he was a very sensitive motorcycle gang member in "The Wild One." In 1954, he was both a sensitive Teamster in "On the Waterfront" and a sensitive Napoleon Bonaparte in "Desirée."

There is a cultural myth that in the postwar 1950s gender roles became very fixed; that women were "women" and men were "men." But that is untrue; the war scrambled all of those gender stereotypes and more than anyone, Marlon Brando pushed this new permission to be the "sensitive man" - the break from the constricting limitations of heterosexual masculinity - and invented the new American male. He didn't do this alone. Certainly Montgomery Clift had pioneered some of this affect in the years before Brando came to the screen. And clearly James Dean was exploring the same idea in his stage and screen work - his emotional breakdown that opens "Rebel Without a Cause" is as shocking as Brando's "Stella!" in "Streetcar" - but in many ways Brando was the clear leader and cultural icon here.

So what does this mean for queer history and culture? Well, Brando was bisexual and both Clift and Dean were predominantly, if not exclusively, heterosexual. Did this have an effect on their acting or on their public persona? It's hard to think that it didn't. Masculinity in post-war American culture was is confusing flux - the devastation of the war on men's bodies (and lives) was foremost in the minds of most Americans. The old habits and manners of masculinity seemed to matter much less and the new sexual freedoms of the post-war years promoted the emergence of very public, urban centered, gay and lesbian communities. Brando - and Clift and Dean -were at the forefront of these changes. It doesn't matter if Marlon Brando was "gay" - undoubtedly he had emotional and romantic relationships with far more women than men - but he was certainly queer. He taught men in the 1950s that it was OK to cry, it was OK to express your emotions, it was OK not to be strong and powerful as the only way to express maleness. He told us that it there were many ways to be a man. In essence, Marlon Brando embodied the death of traditional heterosexual masculinity.

He continued to do this in his films, notably his remarkable performances as the repressed homosexual in 1967's "Reflections in a Golden Eye" or the grief-stricken sexual hedonist in 1972's "Last Tango in Paris." His is a cultural legacy that literally changed how we think about what it means to be a man and one that will always be with us.

sosgemini said:

did and that was deep.

meltwithu said:

Home > Arts
Masculine/Feminine
How Marlon Brando redefined American notions of manliness
By Michael Bronski
Published: Wednesday, July 14, 2004

Marlon Brando


The death of Marlon Brando on July 1 came as something of a shock not because people expected him to live forever - he was 80 years old - but because he was such a central fixture on the American cultural scene that it was difficult to imagine that he would never be there. Even as he grew older and made films in which he was clearly less than invested - remember the quirky remake of "The Island of Dr. Moreau" in which he seemed, I guess, to be doing an imitation of Charles Laughton from the original film- any performance by Brando was an event.

The screen legend's death made front page news across the world and a wealth of "think" piece are still being published. But for all of this press, hardly anyone got to the heart of Brando's cultural importance. He was described as intense, passionate, magnetic, sexy, and powerful - all true - but really, in the end, Brando will be most remembered as the man who changed what it meant to be a man in American culture. It is not that Marlon Brando was gay - although he did state in interviews and in his autobiography that he was bisexual and had had sex with men - but rather that, emotionally speaking, Marlon Brando had a queer eye for American masculinity.
In the years before World War II masculinity was sharply defined in American culture, particularly culture as defined by Hollywood. With he possible exception of Chaplin's Little Tramp, men didn't cry in Hollywood. It in inconceivable to think of the icons of U.S. masculinity - Clark Gable, Randolf Scott, John Wayne, Gary Cooper, James Cagney, Edward G. Robinson, Dana Andrews, Humphrey Bogart - crying or even showing any emotions that were not stalwart, or repressed. Marlon Brando changed all of that; he was the first leading man - and a sexy one at that - to cry on the Hollywood screen. In the context of American gender and sex roles this was, indeed, the beginning of a revolution.

Brando first became famous in 1948 for his performance as Stanley Kowalski in Tennessee Williams's "A Streetcar Named Desire" in which he famously stalked the stage in his tight jeans and t-shirt and painfully screamed and wept "Stella!" as he expressed his desire for and his angst over losing his wife. In 1951, he played Stanley on screen. It was an electrifying performance that signaled a sea-change of how men might be represented in theater and film. But even before "Streetcar" was released in movie theaters, Brando was changing how men were represented on screen. In 1950 he brought his brooding sexuality to "The Men" in which he played a disabled WWII veteran. This was, again, a revelation: in Hollywood, real men were not in wheelchairs. After "Streetcar," Brando continued bringing this new male sensitivity to the screen. In 1952, he was a sensitive Mexican revolutionary in "Viva Zapata" and a sensitive Marc Antony in "Julius Caesar." Later that year, he was a very sensitive motorcycle gang member in "The Wild One." In 1954, he was both a sensitive Teamster in "On the Waterfront" and a sensitive Napoleon Bonaparte in "Desirée."

There is a cultural myth that in the postwar 1950s gender roles became very fixed; that women were "women" and men were "men." But that is untrue; the war scrambled all of those gender stereotypes and more than anyone, Marlon Brando pushed this new permission to be the "sensitive man" - the break from the constricting limitations of heterosexual masculinity - and invented the new American male. He didn't do this alone. Certainly Montgomery Clift had pioneered some of this affect in the years before Brando came to the screen. And clearly James Dean was exploring the same idea in his stage and screen work - his emotional breakdown that opens "Rebel Without a Cause" is as shocking as Brando's "Stella!" in "Streetcar" - but in many ways Brando was the clear leader and cultural icon here.

So what does this mean for queer history and culture? Well, Brando was bisexual and both Clift and Dean were predominantly, if not exclusively, heterosexual. Did this have an effect on their acting or on their public persona? It's hard to think that it didn't. Masculinity in post-war American culture was is confusing flux - the devastation of the war on men's bodies (and lives) was foremost in the minds of most Americans. The old habits and manners of masculinity seemed to matter much less and the new sexual freedoms of the post-war years promoted the emergence of very public, urban centered, gay and lesbian communities. Brando - and Clift and Dean -were at the forefront of these changes. It doesn't matter if Marlon Brando was "gay" - undoubtedly he had emotional and romantic relationships with far more women than men - but he was certainly queer. He taught men in the 1950s that it was OK to cry, it was OK to express your emotions, it was OK not to be strong and powerful as the only way to express maleness. He told us that it there were many ways to be a man. In essence, Marlon Brando embodied the death of traditional heterosexual masculinity.

He continued to do this in his films, notably his remarkable performances as the repressed homosexual in 1967's "Reflections in a Golden Eye" or the grief-stricken sexual hedonist in 1972's "Last Tango in Paris." His is a cultural legacy that literally changed how we think about what it means to be a man and one that will always be with us.[/quote]
Interesting.

There's a picture of Eminem with his ass bent all over and it's all red. He looks like someone's been spanking him.
[Edited 4/30/05 15:04pm]

vainandy said:

Father mc

I was just watching the "lisa baby" video the other day. It has kci and jojo on backing vox. Love that track. Newjack rap was father. He copied bobby brown in image though.

Mary j can be heard on the excellent "one night stand" which I also have the video of. Puff daddy can be seen dancing on "treat 'em ow they wanna be treated", another fun track. Father MC made alot of good jams.

U hear "natalie" in the film "strictly business" (a film I kept from usa and I just cannot find it here in UK). Halle is danicng to it I think? Yet song was not on soundtrack? Luckily it was off a later album.
[Edited 4/30/05 15:18pm]

Don't tell Anxiety that David Bowie is on this site, he'd probably flip out and ban AB7777!! I wonder if anyone tried to look up the org namesake, I wouldn't be surprised? And DAMN if Marlon Brando ain't teasing the tip


Hey, at least it proves that most celebrities are quite normal in the area, I don't envy anybody there.

UncleGrandpa said:

I think you have a point.