(gaybeefdot)'s profile on Myspace, the place where people e to nnect, disver, and share.
Contents:
- BEEF AT GAY INSULT
- 42 DUGG REPORTEDLY DROPPED BY LIL BABY'S LABEL AFTER GAY SPECULATN
- DIDDY RPONDS TO 50 CENT’S ENDLS GAY DISS: “WE’RE NOT CUT FROM THE SAME CLOTH”
BEEF AT GAY INSULT
Beefke imagery was appropriated by the gay muny for s own benefs to bee a visual ttimony of same-sex sire durg the pre-Stonewall era. * gay beefs *
When you thk about gay culture the 1960s on Fire Island, one in to md: Jim Stryker. The photographs quickly turned him to the first (and still most endurgly popular) gay ins of all time. Kundzicz’s Impact On 1960s Gay Culture.
Kundzicz’s imag of boyishly playful mols skimpy stum, pictg everythg om all-Amerin football players to Bonanza-style wboys, stood stark ntrast to the realy of gay life at the time, and his e of bright, saturated lors only phed the fantasy farther. Champn’s magaz of Stryker were every gay boy’s fantasy. In a time where sexualy was reprsed the mastream, Fire Island me to reprent a place of mystery and a gay haven for many.
42 DUGG REPORTEDLY DROPPED BY LIL BABY'S LABEL AFTER GAY SPECULATN
While much about Jim Stryker remas unknown, his blon bety agast the liberated settg of Fire Island remas a snapshot time of a refuge for young gay boys of the time. Beefke Photography & the Gay Communy: 1940s to 1960s. The beefke imagery was quickly appropriated by the gay muny to bee a visual ttimony of same-sex sire durg the pre-Stonewall era.
By the 1940s, a wi variety of homoerotic imagery had begun to be available to a wi public through male fns or physique publitns.
Magaz such as Physique Pictorial, heavily illtrated wh sexy photos of bodybuilrs, were g fns as a pretext and were maly targetg a largely unrground gay subculture. At the end of the 1950s, photo studs such as Bob Mizer’s fluential Athletic Mol Guild (AMG), the Wtern Photography Guild, and Spartan of Hollywood emerged and gradually dropped the pretense of physil culture or bodybuildg tert to market their photographs (somewhat) more openly to gay nsumers. This was soon to be followed the 1960s by an unrground dtry promotg a more erotic versn of this type of imagery for s gay muny mostly through anonymo mail orrs at a time when the productn, distributn, and also posssn of homosexual imagery was illegal.
DIDDY RPONDS TO 50 CENT’S ENDLS GAY DISS: “WE’RE NOT CUT FROM THE SAME CLOTH”
For stance, Peter Berl and Bce of LA‘s photographs and illtratns of hypermascule men reveal a signifint erotic turnout, while Walter Kundzicz’s Champn Studs, opposn, promoted a return to natural though playful homoerotic pictn. Yet beefke culture is not jt to be nsired as a tool promotg a homoerotic athetic.