Lgbt People

"Flamboyant dishonor is not a failure of strength or courage. Men who are flamboyant dishonorable are flagrant in their disregard for the esteem of their male peers. What we often call effeminacy is a theatrical rejection of masculine hierarchy and manly virtues. Masculinity is religious, and flamboyantly dishonorable men are blasphemers. Flamboyant dishonor is an insult to the core values of the male group. Flamboyant dishonor is an openly expressed lack of concern for one's reputation for strength, courage and mastery within the context of an honor group comprised primarily of other men... Flamboyant dishonor is a little bit like walking into that room full of men who are trying to get better at jiu-jitsu and insisting that they stop what they are doing and pay attention to your fantastic new tap-dancing routine. The flamboyantly dishonorable man seeks attention for something the male group doesn't value, or which isn't appropriate at a given time."

"If there are females in your group, they will have plenty of hard and necessary work to do. Everyone will have to pull their own weight, but the hunting and fighting is almost always going to be up to the men. When lives are on the line, people will drop the etiquette of equality and make that decision again and again because it makes the most sense."

"Without strength, masculinity becomes something else- a different concept. Strength is not an arbitrary value assigned by human cultures. Increased strength is one of the fundamental biological differences between males and females. Aside from basic reproductive plumbing, greater strength is one of the most prominent, historically consequential and consistently measurable physical differences between males and females."

"Men who have more muscle tend to have and maintain higher testosterone levels, and men who have higher testosterone levels tend to have an easier time getting bigger and stronger. Men who increase their testosterone levels- either through training and diet or via artificial means- tend to look more masculine. Put differently, men with more muscle look less like most women, and more like the least androgynous men. This has absolutely nothing to do with culture. There is no human culture where men who are weak are considered manlier while women who are muscular are considered more womanly. The importance of strength varies from society to society (usually in some relationship to available technologies and the kind of work that is required of average people) but strength has been a masculinity quality always and everywhere."

"There is a difference between being a good man and being good at being a man. Being a good man has to do with ideas about morality, ethics, religion, and behaving productively within a given civilizational structure. Being good at being a man is about showing other men that you are the kind of guy they’d want on their team if the shit hits the fan."

"Courage is an animating spirit of masculinity, and it is crucial to any meaningful definition of masculinity. Courage and strength are synergetic virtues. An overabundance of one is worth less without and adequate amount of the other."

"The new, independent women should have no need to exploit a man's vestigial sense of chivalry. If they are truly suited to compete with men, they should be able to do so without special rules, privileges and protections. Men should not have to curb their behavior so that women can achieve. If "equality" were truly desired, men would never have to ask, "Mother, may I?"... To ask men to radically alter their behavior to facilitate the success of complete stranger with whom they may well be in direct or indirect competition is absurd. That's not "equality" any more than asking a boxer to fight with one hand tied behind his back and calling it a "fair fight." And yet this is exactly what feminists ask of men... Men need to reject this."

"Masculinity is about being a man within a group of men. Above all things, masculinity is about what men want from each other."

"For decades, people have been talking about a "crisis" of masculinity. Our leaders have created a world in spite of men, a world that refuses to accept who men are and doesn't care what they want. Our world asks men to change "for the better," but offers men less of value to them than their fathers and grandfathers had."

"Boys and girls don't pair off at birth and scurry off to a dank cave together. Humans have always been social animals. We live in cooperative groups. Our bodies sort us out into groups of males or females. We interact socially as members of one group or the other. These groups aren't arbitrary or cultural- they're basic and biological. Males have to negotiate male and female groups as males. Males aren't simply reacting to female groups as males. We react to other males, as males. Who we are has a lot to do with how we see ourselves in relationship to other males, as members of the male group."

"A clergyman once said to us, "Jealousy is a bad thing. But I must confess that I am sometimes jealous of the artist because the artist is closer to creation.""

"SM: Let’s start with a trivial question: why Gilbert and George and not George and Gilbert?"

"SM: You’ve always put yourselves in the center of your work and there’s a strong performance element in your practice. Has it changed throughout the years?"

"We don't want to know what we are doing. It's much better not to know. You have to express yourselves, once you've finished a group of works you have to start all over again. It's extraordinary stuff - what an artist has to do. You finish a big group of works, then the next day you have to begin again. Forty years we've been doing that."

"We want our Art to bring out the from inside the Liberal and conversely to bring out the Liberal from inside the Bigot."

"People used to refer to our art as "gay art"—though they never said the "gay art of Leonardo or Michelangelo." Much of our content used to be taboo and isn't considered that anymore, not just in the obvious ways of sexuality or bodies. The art world has moved to the point that Gilbert & George isn't on the radical edge anymore."

"If a performance artist started going on about England and our culture like that-in fact that's happened to Gilbert and George, they are about the only ones I know that have done anything of this sort. It seems to me that both yourself and other artists can talk about flags and America and all this… you can play with these ideas, you may not believe in it, that you can play such a close game with them without anyone being offended."

"But we don't want to think. It's exhausting enough without that. We didn't think when we did the Ginkgo Pictures, at all. Afterwards we found out all this stuff about them."

"It is important to us to publish our art in books and catalogues, so as many people as possible are able to see it, but we also want them to see the real pieces. We like it very much when the pictures take over. When they’re bigger than the viewer. You go to a museum to look at a picture, but we like it when the picture looks at you."

"George: One man naked is a male study; more than one, well... that's quite serious - two men naked are more naked than one."

"George: We say that how we are that day made us do that picture and we have to respect that. If you have another thought, that's another picture; it would be another one."

"If you are submerged in normal life, then your view will be normal. So we have to keep separate from normal life in order to be able to say something that is not known. People come to art for something that they don’t understand, that’s not in their life already."

"THE SINGING SCULPTURE brought Gilbert & George their first taste of fame in 1969. The piece consists of the artists performing a 1930s music hall song called "Underneath the Arches". Gilbert & George would stand on a table and sing along to a record of the old song, wearing tweed suits, with their faces painted bronze, and using a glove and a plastic walking stick as props. The song’s lyrics tell about the life of a tramp in London whose home is outdoors underneath the arches of a bridge. Gilbert & George first performed the piece under a bridge in London, and were soon invited to perform it in many European cities where it was always received as a sensation."

"To create, you must empty yourself of every artistic thought."

"Really creative thinking does not occur with regard to problems."

"We like to think that we’re forming our tomorrows, that we’re making pictures that don’t exist in reality, that maybe tomorrow will be a little bit more like our pictures than it would otherwise."

"THE LAWS OF SCULPTORS"

"We think of our art as just pictures, not as photographs. We are using photography, not being photographers."

"We are caught — trapped, some might say — in the web of fate, but we are each just as surely among its multitude of spinners. In our spinning lies our hope; in our spinning lies our destiny."

"Counter to the avalanche of messages from our culture, I recognize celibacy not as negation but as a joyous turning inward. “Inebriate of air am I, / And debauchee of dew,” wrote Emily Dickinson, most promiscuous of celibates. “Opulence in asceticism,” Marianne Moore wrote, a phrase that celebrates the solitary life even as it provides a sound bite for saving the planet."

"The word "restraint" implies the asking of an essential question, one that is more important now than ever, and is antithetical both to capitalism and to science as we practice them: Because we can do something, must we do it?"

"Fate suggests submission to the circumstances of life; destiny suggests active engagement. The former implies some all-powerful force or figure to whose will we must submit. The latter implies that each of us is a manifestation of one of the infinite aspects of creation, whose fullest expression depends in some small but necessary way on our day-to-day, moment-to-moment decisions."

"Any power-over position forwards a culture that oppresses the transgendered. We should look for positions that allow us to bring out the power we have within us, and to acknowledge the power of others."

"“Gender is not sane. It's not sane to call a rainbow black and white.”"

""The free man ... believes in destiny and believes that it has need of him," wrote Martin Buber, the great Jewish philosopher. "Destiny," added Marianne Moore, the spinster poet, when she quoted Buber. "Not fate." What is this distinction Moore takes such care to draw between destiny and fate?"

"There are only people who are fluidly-gendered, and … the norm is that most of these people continually struggle to maintain the illusion that they are one gender or another."

"Standing with freaks never hurt anyone - it’s when we agree that we deserve the oppression and the ridicule that accompanies the freak’s position in the culture - that’s when the wound is mortal."

"They believe (foolishly I think) that the power they have and exert over others is a good thing and they want to hang on to it, they're terrified of losing this stuff. What I'm talking about is what's been called '.'"

"I tell people that I’ve never been hurt by an honest question, and that’s true: it’s a cruel opinion that hurts, not a question."

"'Male privilege' is assuming one has the right to occupy any space or person by whatever means, with or without permission. It's a sense of entitlement that's unique to those who have been raised male in most cultures - it's notably absent in most girls and women. Male privilege is not something that's given to men in this culture; it's something that men take. It's not that women don't have the ability to have and wield this privilege; some do. It's that in most cases, this privilege is withheld from them culturally and emotionally. Male privilege is woven into all levels of the culture, from unearned higher wages to more opportunities in the workplace, from higher quality, less expensive clothing to better bathroom facilities. Male privilege extends into sexual harassment, rape, and war. Combine male privilege with capitalism (which rewards greed and acquisition) and the mass media (which, owned by capitalists, highlights only the reward of acquisition and makes invisible its penalties), and you have a juggernaut that needs stopping by any means. Male privilege is not the exclusive province of men; there are some few women who have a degree of this horrifying personality trait. Male privilege is, in a word, violence."

"If we don't show ourselves the same amount of compassion we show others, we'll eventually come to resent the compassion we have for others. I think there's little enough compassion in the world right now, so we need to grow our own to compensate for that."

"No medium is particularly better than any other medium for tackling pressing social issues. But, yeah, it really depends on what options I can do. Games happen to be the medium I'm most familiar with."

"J. Lo's new song 'Jenny From the Block', all about Lopez' roots. About how she's still a neighborhood gal at heart. But folks from that street in New York, the Bronx section, sound more likely to give her a curb job than a blow job. Or, uh. A block party. [...] Sorry about that slip-up there. I have no idea how that happened, but it won't happen again. And that's your news and the G Block as Fox reports this Monday, November the 4th, 2002."

"It's my show, and there's no place for opinion on my show. It's uninteresting to me. I don't care what Sean Hannity thinks and I don't care what Alan Colmes thinks and I guarantee they don't care what I think and they don't know, either. You know what's interesting to me? What's interesting to me is that the thing people want to know about is the part on which I spend absolutely no time."

"We are America! I don't give a rat's ass if it helps! We are America! We do not fucking torture! We don't do it!"

"And on that day, at that time, we as a collective being must not give in. On that day, we don’t have to change everything about our lives, we don’t have to add things that make us not a free people ... if we want to have a free nation, there’s give and there’s bend. If you see something, say something, but beyond that don’t freak out when it happens. Easier said than done, isn’t it?"

"[Trump] keeps repeating ridiculous throwaway lines that are not true at all and sort of avoiding this issue of Russia as if we're some kind of fools for asking the question. Really? Your opposition was hacked and the Russians were responsible for it and your people were on the phone with Russia on the same day it was happening and we're fools for asking the questions? No sir. We are not fools for asking this question, and we demand to know the answer to this question. You owe this to the American people. Your supporters will support you either way. If your people were on the phone, what were they saying? We have a right to know, we absolutely do and that you call us fake news and put us down like children for asking these questions on behalf of the American people is inconsequential. The people deserve an answer to this question at very least."

"In America you watch TV and think that's totally unreal, then you step outside and it's just the same."

"Every worker today stands on the shoulders of giants, people you will meet here like Lucy Parsons, Cesar Chavez, Bayard Rustin, Eugene V. Debs, and Walter Reuther."

"It is fascinating to notice that in the Montgomery boycott the various strands and origins of the idea of nonviolent resistance fused into a newly invigorated practice and theory of immense power. Dr. Martin Luther King, Jr., although he credited his formulation of "massive non-cooperation" to Thoreau, had been exposed to pacifist thought during his studies under the pacifist Allen Knight Chalmers, who was a Gandhian. Another long-time pacifist, Bayard Rustin, secretary of the Fellowship of Reconciliation since 1935, and later secretary of the War Resisters League, was one of the chief tacticians and organizers of the Montgomery boycott. It was he who counseled the use of nonviolent means at the outset of the boycott. Finally, probably unknown to most of the actors in the drama, there was a precedent for a bus boycott by a black community in the example of the 1892 Memphis, Tennessee, boycott of streetcars by the black community to protest a lynching. This boycott was actively supported by Ida B. Wells-Barnett and was, according to her account, highly effective."