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Now Reading Men Talk About Their Penises (NSFW)
The penis carries a lot of baggage. In pop culture, it's often depicted as comical (how many comedies are powered by male nudity gags?). Perhaps it's causing its owner grief in some way — by failing to perform sexually, for example — and is a spectacle for onlookers to ridicule. Either that, or it’s shown as threatening, as in some porn: a disembodied symbol of aggression with a mind of its own (consider the term "thinking with his dick"). Rarely is it presented as just another body part — sometimes sexual, yes, but also functional in other ways, and most of the time just there, one among many parts of a body that belongs to a person with a mind that is not, in fact, controlled by genitals. And it's time we looked at it this way.
Outside of porn, or maybe art museums, we have few opportunities to witness penises in this way if we do not either have one or have a partner — at the very least, a sexting partner — who does. The scarcity of explicit representations of male genitalia in mainstream media led to an internet frenzy when Game of Thrones ' latest episode featured a close-up of a penis , held by its owner as he inspects it for warts.
Reactions to the new cast member were mixed. Game of Thrones star Emilia Clarke was delighted, appearing on The Late Show to advocate for "junk equality." Others were disappointed that the penis shot was so aggressively unsexy, particularly in contrast to the frequent and sexualized female nudity on Game of Thrones. One Twitter commenter argued that "a closeup of a flaccid penis being examined for genital warts is not 'equal-opportunity nudity.'"
The argument offers an interesting study in our relationship to nudity — especially male nudity.
"Given how much symbolic baggage these body parts carry, it’s difficult and I think worthwhile to try to have a conversation about the more personal relationships that people have with their bodies," Lisa Wade , PhD, an associate professor of sociology at Occidental College, tells Refinery29. "The symbolism of our sexual body parts is so strongly gendered. It’s not the same in every society, but in contemporary American society, the idea that women’s sexual body parts are desirable, perhaps beautiful, and perhaps fragile and vulnerable, is a really common way of thinking about them."
But penises, she continues, are portrayed as "instruments of power" and "symbols of virility and strength" — and people who have them are left wondering whether they measure up. "They are constantly in a position of wondering, Am I, as represented by this body part, going to be able to live up to these expectations? " Dr. Wade says. "[Penises can] become not instruments of power, but instruments of humiliation."
A respect for individuals' personal relationships with their penises guided Geoffrey Berliner when he shot the 14 following penis portraits, accompanied here by the subjects' thoughts on their genitalia. Berliner — the executive director of the Penumbra Foundation , a nonprofit devoted to photography education, research, and outreach — developed these portraits as tintypes through the Penumbra Tintype Studio , hand-pouring chemicals on thin metal plates to create direct positive images of the penises. It's a technique that was popular during the Civil War, and a far cry from the iPhone dick pics to which some of us may be accustomed.
"I didn’t approach this in any other way than I would approach making portraits," Berliner says. "Each one of the subjects I met, I sat down, I talked to each man, and got to know them a little bit and then worked with how they were interacting with their penis. Each person had a particular attitude toward his penis, moved it a certain way, held it a certain way."
"I could say it’s portraits of penises, but a penis is always attached to a person," he continues. "It’s really a portrait of a person that’s cropped. I don’t see them as just pictures of penises."
Dr. Wade says that depictions of genitalia that fall outside of power-and-humiliation narratives could help people of all gender identities develop better relationships with their bodies. "More diverse representation of anything is almost always better," she says. "When we complain about media images, the answer is we need more diverse images, not less media." And while some argue that sexual anatomy shouldn't be shown in any public context, the reality is that it already is — in porn.
"There’s pornography everywhere," Berliner says. "There is a time to be sexual, but there’s no reason why you have to just look at a person for their penis, or look at a woman because of her breasts. Showing the penises as they were, in an artistic sense, [and] connected to a person is a way of normalizing the way we look at the human body."
"The only reason I can think of to want to minimize representations of sexual body parts is a belief that they are inherently problematic body parts — dangerous, disgusting, immoral, or shameful," Dr. Wade adds. "The only reason to do that would be to say, Well, unlike the elbow, these body parts are X. Maybe we need [more diverse] representation particularly because these body parts are so powerfully symbolic."
Click through for 14 portraits of penises, along with some thoughts from the people to whom they are attached.
This story was made possible in part by LELO HEX, a new generation of condom coming in summer 2016. Click through to LELO's website to find out more about this advance in condom technology.
Creative concept and reporting by Kelly Bourdet .
Penis Pictures- Real Men Penis Photos
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Once again, a photo of a well-proportioned cock.
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Just to clarify, the rest of the slideshow will be like this. You’re definitely going to get six more images of tremendously big, veiny penises here. The next photo is going to be a giant cock, followed by another huge dick, and then another, and so forth.
You guessed it: another huge cock. Look, you had to realize what you were signing up for when you clicked on this link, right? You had to.
No, we’re not going to throw in a photo of something that isn’t a giant cock in order to be clever or misleading. You are, honest to God, getting nothing but really big cocks here. That’s it.
Your persistence is admirable, if misguided given the way the rest of the slideshow will transpire. This is the cock of the guy who made this slideshow, by the way.
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Okay, then. You’ve seen eight colossal cocks so far. Up for a ninth?
This is actually a drawing of a giant cock. A photo of a giant cock was used as a reference.
Well, there you go. You just clicked through a slideshow of giant cocks. That’s where your life is at right now. Enjoy your day.

In the early 1950s, TV antennas sprouted all across the nation’s rooftops replacing long lines and SRO seating which until recently had universally predominated movie theaters. The Hollywood studio system flailed helplessly before its ruinous competition from the techno-upstart television. First trying 3-D and widescreen novelties to lure audiences back to the movies, then scrambling to attract new teen consumers by co-opting rock and roll, and then ultimately manufacturing male pin-up models to be idolatrized. As with Henry Willson’s invention through his beefcake boys, the Hollywood-wide standardized version of Henry’s Dream Factory was the natural progression of a fresh marketing opportunity in a last-ditch effort attempt by the struggling studios to rescue the movie business by selling it wholesale to the newly identified youth market. This youth market was at first called “bobbysoxers,” then identified as “teentimers,” and finally morphing into the ubiquitous term we still hold dear today, that of “teenagers.”

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While researching yesterday’s blog entry about Guy Madison, I found that there was as much or more to write about the fascinating real-life caricature who was Guy’s agent, Henry Willson. Sure, I’d heard the agent’s name before, primarily in connection with his most famous client, Rock Hudson – that Henry Willson’s secretary was the bride chosen for Hudson during his brief marriage to counter the rampant gay rumors that were swirling about him in Hollywood as he grew into a star in the early 50s. Still I had no idea what a powerhouse this man was as the cornerstone for the male actor “dreamboat” and “beefcake” manufacturing industry that Hollywood evolved into during the 1940s and 50s. So I decided old Henry deserved a blog spot all his own today.
Henry Leroy Willson (1911 ~1978) – and yes, that’s “Willson” spelled with two l’s plus, appropriately enough, a “son” added on at the end – was an older gay man, what today we would call a notorious “chicken hawk” of an old queen, frequenting gentlemen’s night clubs along the Sunset Strip bar scene where he wooed younger men for both personal as well as professional reasons.
You see, Henry Willson also just so happened to be the head of talent at David O. Selznick’s newly formed Vanguard Pictures. (Now how’s that for a pick-up line?)
His business card literally read: “If you’re interested in getting into the movies, I can help you. Henry Willson, Agent.” And he could help, too, in more ways than one. Willson earned his sobriquet of “fairy godfather of Hollywood” through his single-minded focus on newly arrived young male hunks to the Sunset Strip, with whispered enticements like, “You could be a star…. You’re better looking than any movie actor here.” Moving closer, to advance the intimacy, he would confide: “You are a star. Now it’s up to me to let Hollywood know.” What red-blooded All-American college quarterback or baseball pitcher or basketball star or figure skater or sailor on leave could resist such a pitch?
Certainly none of the 1950s dreamboat beefcake movie star wannabes could resist, those young men who ended up with the tender attentions of Henry Willson as their agent, including his role in shaping gay or bisexual actors into ostensibly straight-arrow silver-screen idols. Such young gay actors were no secret in the business, yet jealously and zealously kept under wraps from the audiences who bought tickets for the fantasy played out on movie screens and in fan magazines. Willson provided the face of a cynical system, supported by an unseen infrastructure of fixers and studio connections who enabled and perpetuated the mythmaking process inside the red carpeted closet of Hollywood. 
Henry Willson made himself a key player in the Hollywood social and commercial stratosphere by implementing a unique business model as that of agent and career coach, investing thousands in living expenses, cosmetic makeovers, fashion guidance, and acting lessons for his hopeful wannabe starlet studs.
A look into the life of Hollywood mogul agent Henry Willson today gives us a unique insider glimpse at the dilemmas of his gay clients living a double life, straight leading man by day while conducting lively after-hours same-sex affairs and sexual liaison trysts under the very flashbulbs of the publicity machine which had created their iconic statures in the first place.
This retrospective examination shines a proverbial spotlight on the hidden sociocultural history of the American movie studio system through the late 1950s, which itself began to rupture in the 1960s with the sexual revolution as “outing” became a national passtime. Even at that time, for a gay actor to come out of the closet was akin to committing career hara-kiri, not to mention that it was prosecutable to boot (not just among actors, of course). While today certain high-profile producers and directors and even a spattering of movie stars are now out and presumably proud, it can easily be said that more than a few gay actors and their handlers are still saddled with problems that Henry Willson, Agent, would recognize all too well.
“If a young, handsome actor had Henry Willson for an agent, ‘it was almost assumed he was gay, like it was written across his forehead,” recalls Ann Doran, one of Willson’s few female clients.
The closeted dilemma of the gay actor traces its roots in the movie industry further back, however. During World War II, thousands of soldiers, sailors and airmen on their way to the Pacific theater were granted their last stateside leave in the port city of Los Angeles. Predictably, many of them headed out to the local bars to blow off steam before deploying.
In June 1942, the Navy took the unusual yet fascinating action of placing about 30 bars and nightclubs across the city off limits to sailors.
“These taverns and bars are not safe or proper places for servicemen to patronize,” a Naval commander reported to the LA Times. “Firm handling is necessary to eliminate that undesirable fringe of the industry.” 
The precise nature of the unsafe and improper activities going on in these night spots was left unstated — but it must have been pretty bad if the Navy felt the need to protect sailors from it, especially since the country was sending these same men off to risk life and limb in the Midway, Guadalcanal and other death traps across the Pacific.
There is one possible clue, however. Two of the Navy’s blacklisted clubs were smack-dab in the middle of the Sunset Strip — Chez Boheme at 8950 Sunset Blvd  and Cafe Internationale at 8711 Sunset Blvd — both of which were, using today’s term, “gay friendly.” (Gay bars as we know them today — clubs that cater pretty much exclusively to gay men or women — were strictly a post-war phenomenon.)
The headliner star attraction at Chez Boheme in that summer of '42 was Rae Bourbon, a female impersonator and one of the last big stars of the Prohibition era “Pansy Craze.” Caf é Internationale, on the other hand, was owned and operated by Elmer and Tess Wheeler and catered to women. As the 1940 guidebook, “How to Sin in Hollywood” put it:
“When Your Urge’s Mauve, go to the Café Internationale on Sunset Boulevard. The location offers supper, drinks, and the ability to watch boy-girls who neck and sulk and little girl customers who… look like boys.”
Like Chez Boheme, Café Internationale offered cross-dressing performers, but these singers were women dressed in male drag. As a result of the Navy ban, California state authorities revoked the liquor licenses for both Chez Boheme and Cafe Internationale. A new club, the Starlit Room, opened in the Chez Boheme space three years later, and early drag queen entertainer Rae Bourbon returned there for a six-month run.
In the early part of the 1930s, one of Henry’s first clients, and reportedly also his younger male lover, was Junior Durkin. Durkin’s career would be cut too-soon short by a fatal automobile accident on May 4, 1935. Interesting to consider is the idea that Durkin might have been one of Willson’s early name reconfiguration efforts. Born Trent Bernard Durkin, he began his acting career on stage in the New York theater. Durkin ventured West to Hollywood and entered films in 1930 where he met and presumably fell in love with Willson. Junior might best be remembered for playing the irascible Huckleberry Finn in “Tom Sawyer" in 1930 and then reprising the title role a year later for "Huckleberry Finn" in 1931.
Under contract with RKO Radio Pictures, Junior Durkin was cast in various comedic roles for a series of "B” rated films seeking to capitalize on his gangly yet perceptively adorable young boy appearance. He achieved more success and greater recognition in “Hell’s House” (1932) co-starring then newcomer Bette Davis.
Somewhat prescient of James Dean’s youthful death some twenty years later, Junior was traveling with his friend, fellow actor Jackie Coogan, and three other people in 1935 when the vehicle he was driving was involved in a serious accident in San Diego. Jackie Coogan was the only survivor of the accident. At the time of his death, Durkin was living with his agent Henry Willson and the two were said to be lovers.
In the fallout aftermath of the tragic death of the young man who well might have been the only real love of his life, Willson quickly became widely known for his stable of good-looking, well-built, albeit marginally talented (not to mention predominantly homosexual) male actors, each of them with unusual names which Wilson himself personally had bestowed upon them.
Henry Willson personally discovered and named the likes Rock Hudson, Troy Donahue, Tab Hunter, Chad Everett, Robert Wagner, Nick Adams, Doug McClure, Ty Hardin, Clint Walker, Van Williams, John Derek, Race Gentry, Guy Madison, and Rory Calhoun, among others (including my personal favorite first
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