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He was drawn to Drummer because, at the age of 16, the Irish-Catholic boy from Long Island had had an epiphany while looking at beefcake photos of leathermen in gritty Times Square porn shops. He photographs princesses like Margaret, bodybuilders like Arnold Schwarzenegger, rock stars like his best friend Patti Smith, and night trippers nameless in leather, rubber and ropes.”ĭrummer needed his homomasculine photos of leathermen as urgently as he needed its 40,000 subscribers – to grow his fanbase when people still thought his last name rhymed with “apple” rather than “maypole”. We published nine of his fetish photos and profiled him in what was his first coverage in the gay press: “His camera eye peels faces, bodies and trips. In 1978, I gave him his first Drummer cover, providing my friend Elliot Siegal as his model. At the age of 16, he had an epiphany looking at beefcake photos of leathermen in Times Square porn shops
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I vouched for him when he wanted to shoot the dominatrix Cynthia Slater in the dark dungeon of the Catacombs fisting palace. I drove him to scout the cement bunkers on the Marin Headlands for the “piss-photo” shoot that gave us Jim and Tom, Sausalito – a shot, now owned by the Los Angeles County Museum of Art, in which one man urinates into another’s mouth. I watched him at work in the Twin Peaks condo where he shot my other lover, physique champion Jim Enger. Liberated from the controlled environment of his Manhattan studio, and unobserved by critical New York eyes, he found joy in gonzo locations.
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In San Francisco in the late 1970s, Robert lived a free life shooting some of his most famous leather photographs. One night, during stoned pillow talk, he exhaled a stream of Kool menthol smoke: “I want to be a story told in beds at night around the world.” We both giggled. He described ideal passion as “intelligent sex”. I want to be a story told in beds at night around the world It was sex, love, art, letters, phonecalls and business. An acolyte of Rimbaud, he was keen on my book about Anton LaVey, founder of the Church of Satan. We were both re-quivering Catholics mixing the sacred and the profane. We became bi-coastal lovers for more than two years and remained friends for ever. He was more beautiful than the pouty Botticelli rock star Jim Morrison. It was the Titanic 1970s, when the first-class party sped on, innocent of the iceberg of Aids that lay dead ahead. The romantic comedy of our bromance bloomed the instant Robert opened his gorgeous portfolio, mind and body for me when I was editor of Drummer, a San Francisco magazine targeted at gay men with an interest in leather. It is a victory that he is being celebrated this year in two major exhibitions in the US, and in the documentary Mapplethorpe: Look at the Pictures, out next month. The sort of sex pictures he dared to shoot are now shot every day by millions, minus his style, on Snapchat and Grindr. In 1990, at the height of US hysteria over Aids, a witch hunt in Cincinnati put seven of his frames on trial, aiming to sort art from obscenity. His work too was on trial: it ran gauntlets of homophobia to hang today in such international sanctuaries as the Tate in Britain, and the J Paul Getty Museum in Los Angeles.
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Born in Floral Park, New York, in 1946, he was on trial all of his short life, anti-gay legislation making him a sexual outlaw. He had assaulted American concepts of race, sex, gender and morality. Robert left a legacy of thousands of beautiful photographs of faces, flowers and fetishes when he died of Aids on 9 March 1989 at the age of 42.