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SISSYDUDE LOVES: ANTONIO DA SILVA’S BRAZIL CARNIVAL…

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BRAZIL CARNIVAL by Antonio Da Silva

It is a film about the carnival in Rio de Janeiro, with bodies that dance, talk and get excited. The city becomes a jungle and everything is allowed. It is an explicit carnival with penises and butts dancing with the rhythm of samba.
It is a film that emphasises the freedom of expression.
Portraits the carnival as a kind of an orgy / a consented orgy, where you explore your desires and fantasies and be who you really are.

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(Subtitles available in English. Click on “CC” button on the video)

A film by Antonio Da Silva

Rent the full-length film and for 6$
Create username and password here

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SISSYDUDE LOVES: IBRAHIM KAMARA & KRISTIN-LEE MOOLMAN’s “2026”

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NYT: The British fashion stylist IB Kamara, originally from Sierra Leone, and the South African photographer Kristin Lee-Moolman have collaborated on a project titled “2026,” which addresses heteronormative attitudes to self-expression through fashion. The photographs imagine what men’s wear may look like in 10 years, through the use of fabrics rescued from garbage bins and thrift shops in Johannesburg and made into contemporary garments.

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“I wanted to create a utopia where you can be whatever you want to be, without emphasis on masculinity or sexuality,” Mr. Kamara said last week, as he put the finishing touches to the large-scale photographic prints of young African men in dresses now hanging from the walls of Somerset House, one of Britain’s grandest palaces. “I wanted men, in particular black men, to just be able to be and breathe like every other type of man has been able to breathe for centuries, without the pressure and policing of black masculinity lingering over them.”

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Articles & Images:

KRISTIN-LEE MOOLMAN tumblr & INSTAGRAM
IBRAHIM KAMARA’S INSTAGRAM
Full TRUE AFRICA story HERE.
FULL NYT STORY HERE.
FULL I-D story HERE.
Also DAZED DIGITAL full story HERE.

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INSPIRED LOOK OF THE DAY: “SUNKISSED” GABE LADUKE @ SUMMER DIARY PROJECT photos by RON AMATO

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SUNKISSED

SEE the FULL SHOOT HERE @ SDP

in Provincetown with   GABE LADUKE

featuring   NICK SCUCCIMARRI

photography by   RON AMATO   for Summer Diary

HATCHES HARBOR   |   PROVINCETOWN, MASSACHUSETTS   |   JULY 2016

Discover more on Ron’s tumblr and follow on instagram, twitter, and facebook for his latest works.

© The Summer Diary Project.  Follow us on Facebook + Instagram + Twitter

THREE THINGS: RICA SHAY by WALT CESSNA, GABE LADUKE by KELLY GRIDER and PYROKUB @ X-TUBE…

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More WALT CESSNA HERE
Rica Shay on INSTAGRAM

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More KELLY GRIDER HERE
Gabe LaDuke on INSTAGRAM


Evening Fuck Session & Toy Play powered by XTube

Just discovered PYROKUB a few days ago. I have been happily jerking off to the sexual exploits of versatile bearded hottie Wolfy and his Papa and Daddy Bear. I really like Wolfy getting fucked the best. In a tent, in a park, on a bed, on the floor… YES!!! See what you think. Several downloadable videos to enjoy! I LOVE YOU WOLFY! PYROKUB on X-TUBE


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R.I.P.SPECT: BILLY NAME

3 - 13 Most B Performance- Screen Test, Billy Name, photo by Rob Long

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WIKI P: William Linich, Jr. (February 22, 1940 – July 18, 2016), known professionally as Billy Name, was an American photographer, filmmaker, and lighting designer. He was the archivist of the Warhol Factory, from 1964 to 1970. His brief romance and subsequent friendship with Andy Warhol led to substantial collaboration on Warhol’s work, including his films, paintings, and sculptures. Linich became Billy Name among the coterie known as the Warhol Superstars. He was responsible for “silverizing” Warhol’s New York studio, the Factory, where he lived until 1970. His photographs of the scene at the Warhol Factory and of Warhol himself are important documents of the Pop art era.

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Name was responsible for taking still photographs at the Factory. Indeed, Name lived and worked at the Factory, having taken up residence in a closet at the back of the studio, at 231 East 47th Street. With the gift of Warhol’s 35 mm single-lens reflex Honeywell Pentax camera, along with its operating manual, Name taught himself the technical aspects of photography. He converted one of the Factory bathrooms into a darkroom, where he mastered methods of processing and developing film. These newly acquired skills, combined with his background in lighting and experimental approach to his work, resulted in a body of work which captured the “silver years” at the Factory (1963–70).

Name’s close friendship with Warhol – and his role in creating Warhol’s artistic environment – provided him with a unique perspective of the Factory, with a particular focus on a core group of “superstars”, who largely improvised before the camera. Name’s understanding of theatre and lighting was an important influence on the look and ambience of the Factory and of Warhol’s early films.

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