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We have a contender for the crown of Most Alpha Pose.

The current holder of the crown is the contrapposto pose:

This alpha stance is not random. It’s a classical pose called contrapposto that Michelangelo sculpted for his masterpiece David. It suggests a relaxed and vulnerable appearance, exactly the sort of self-possessed mental state an alpha male would convey through his body language. I believe girls are hardwired deep in their electric hams to be sexually drawn to a man standing contrapposto.

Contrapposto looks like this:

Michelangelo’s David stands in the contrapposto. It’s an oddly familiar, mythic pose for a good reason: chicks dig it.

Hold on, an upstart dares to challenge contrapposto for the title. Meet the Holbein Pose.

In 1536, King Henry VIII suffered from a tiltyard wound in his right leg that never healed. Because of the chronic wound, the king grew stout, haunted by the ghost of his previous athleticism. After several wives, he still had not produced an heir. Daily, the king needed to perfume the wound to keep the leg from stinking up his surroundings.

In 1537, German Artist Hans Holbein, produced one of the “best pieces of propaganda ever” painted. It was an illusion to a king that had once been: strong, capable, and virile. Moreover, it was the first portrait of a king in full figure — legs spread , feet apart, a fist on his hip, striking the now famous Holbein Pose.


The legs spread, feet-grounded pose has become a staple of strong and connected masculinity for centuries. In 1950, when RKO produced the television show, Superman, starring George Reeves, the ad executives turned to the Holbein Pose for guidance. The image reverberated so much so that Warner Bros. pulled from the same icon in 1978 when Richard Donner brought the series to the big screen with a movie starring Chris Reeves.


The pose was confident and strong. I adapted it into my own life until it became second nature. I used it in board meetings, staff meetings bars, and family gatherings — any function in which I needed to appear as king.

One thing I did learn through market research is that a man on a horse is a buzz kill. The viewer sees the man on the horse as powerless. The horse has the power. If you are advertising a Western, keep your guy on the ground and spread his legs a tad.

This is why women look sexy on horses (and why (mostly BPD) women like to ride horses): the fulcrum of a woman’s sexuality is her vulnerability. Her powerlessness — which is the opposite of a man’s fulcrum of sexuality.

A powerless woman astride a powerful horse amplifies the woman’s sexuality. A man on a horse, unless it is galloping and he is swinging a broadsword cutting down enemy infantry, is diminished by the greater power of the horse, and therefore his sexuality is also diminished.

Chicks dig powerful, masculine men who can provide protection.
Men dig beautiful, feminine women in need of protection.

As for which pose holds the crown, I’d give the nod still to contrapposto. The Holbein Pose is no doubt kingly, but it’s also a bit over the top, and could seem comical in a modern soy-drenched context. Contrapposto is the more relaxed of the two alpha male poses, and more suited to courtship arenas that flow with alcohol instead of enemy blood.

Holbein is aggressive, contrapposto is ZFG. These poses project two alpha attitudes that occupy complementary spheres of social relevance, but only contrapposto truly captures and leverages the spirit of the 21st century American sexual market.

We need one alpha male pose to rule them all
one pose to find them
One pose to bring them all and in the darkness bind them

PS Straight talk from Gregory Hood: Western Civilization is White Civilization.

It’s not surprising that “Western Civilization” is offensive to those who are offended by “white identity.” Defining Western Civilization into nonexistence or defining it in universal terms amount to the same thing. It robs whites of their past, a prelude to robbing them of their future. The classical world shows whites they have a real, positive identity deeply grounded in history. Whites aren’t just a newly invented “social construct.”

For that reason, if whiteness is to be destroyed, leftists must abolish the idea that whites are the heirs of the classical world. Similarly, just as conservatives won’t admit the link between whites and American identity or whites and American conservatism, so they defend Western Civilization only in terms of its openness to non-whites. Of course, just as America would not exist in any meaningful sense without whites, Western Civilization would not exist without whites.

Western Civilization is white civilization. No one can credibly claim to “defend Western Civilization” without defending the people that created it. “To read about your own culture is a revolutionary act,” said Jonathan Bowden in one of his speeches. In today’s world, there is no greater act of rebellion—for whites—than to defend their own identity. To be a white person is to be heir of a tradition and culture that stretches from the Greco-Roman and Germanic civilizations of the past into the limitless horizons of a potentially glorious future. Yet that future will be ours only if we have the moral courage to defend our right to exist. That battle starts by claiming ownership of our own history.

A-fucking-men. My only added thought is that Hood should begin capitalizing “White”. It bothers the degenerate freak mafia.


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