Still images from the DVD video Naked Producers In Blue Frost, Kansas, also available on DVD here. Excerpts from the script, and images from the scenes the dialogue is from... It's the full story, start to finish, with key digital images from every twist and turn in the plot. All 7 1/2 naked men, and the story behind the story! Full frontal male nudity, color, 40 pages. This is a one of a kind paperback book, available exclusively on Amazon.com.

Male Nude Photography book. Intimate moments from Matt Prince's 1st nude photo shoot. Full frontal male nudity, color photographs and digital stills from DVD video, 46 pages. Matt Prince is 23 years old, and this is his first photo shoot and first nude experience ever. Exotic look, great blue eyes. Aspires to be a reality TV personality. Has moved to LA and auditions for all those VH1 and MTV series. Matt is one of The Next Body Guards, and the video DVD of his 1st nude photo shoot is also available.

From the classical ideal to contemporary icons, the male body is a symbol of perfection in art. This pocket-size volume, which offers a fascinating visual survey of the nude, features nearly sixty paintings, sculptures, and photographs spanning classic to contemporary art.

"I'm fascinated by boys who spend their lives trying to be complete girls." Andy Warhol's witty, stylish and sensual drawings elevate the ordinary to the extraordinary. Some 240 illustrations, photographs and paintings of men are collected together for the first time in this latest in the Andy Warhol line.

Nick Baer's portfolio collection of male nudes taken in 2006. Included are individual images of models who are also featured in their solo pictorial books here, as well as digital stills of the key actors from Nick Baer's cinema video "The Naked Producers in Blue Frost, Kansas", which is available on DVD. Full frontal male nudity, color, 40 pages.

The reception of Thomas Gainsborough’s Blue Boy from its origins to its appearances in contemporary visual culture reveals how its popularity was achieved and maintained by diverse audiences and in varied venues. Performative manifestations resulted in contradictory characterizations of the painted youth as an aristocrat or a "regular fellow," as masculine or feminine, or as heterosexual or gay. In private and public spaces where viewers saw the actual painting and where living and rendered replicas circulated, Gainsborough’s painting was often the centerpiece where dominant and subordinate classes met, gender identities were enacted, and sexuality was implicitly or overtly expressed.

This work reveals the often racy, ribald, and sexually charged nature of the vaudeville stage, looking at a broad array of provocative performers from disrobing dancers to nude posers to skimpily dressed athletes. Examining the ways in which big-time vaudeville nonetheless managed to market itself as pure, safe, and morally acceptable, this work compares the industry's marketing and promotional practices to those of other emergent mass-marketers of the vaudeville era in the late nineteenth and early twentieth century. Included are in-depth examinations of important figures from the vaudeville stage such as Annette Kellerman and Eva Tanguay. The work attempts to address historical context as one means of understanding these performers with an appreciation for their rebelliousness. It discusses censorship and content control in the vaudeville era, and concludes with an analysis of film's part in the fall of vaudeville. Many photographs, cartoons, and other illustrations are included.

South Asian Pornographies is the first consolidated volume that explores the relationships between pornography, obscenity, law and desire in South Asia. Focusing on case studies from India, Sri Lanka and Bangladesh while gesturing towards other countries in South Asia, the authors of this volume come from fields as varied as history, literature, media and communication, and the visual arts. The book proposes that as a geo-political location, South Asia has a unique relationship to pornography, given the multiplicity of cultural and legal-censorial regimes that define the obscene and the permissible. South Asian case studies can demonstrate how pornography in the region is often defined in oblique terms, finding reflection in various modes of popular (and sometimes underground) culture, bypassing legal and censorial constraints. Like questions of identity that can only be answered in the plural (identities rather than identity), this book demonstrates how a range of pornographies constitutes the force field of sexualized media in South Asia. It will be of interest to researchers and advanced students of Communication Studies, Cultural Studies, Film Studies, History, Sociology, and Social and Cultural Anthropology. The chapters in this book were originally published in the journal Porn Studies.