Chus Martinez On Sissymaker Video Porn

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Sissy (derived from sister, also sissy baby, sissy boy, etc.) is a pejorative term for a boy or man who violates or does not meet the standard male gender role. Generally, sissy implies a lack of courage and stoicism, which are thought important to the conventional bourgeois male role.

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A man might also be considered a sissy for being interested in traditional feminine hobbies or employment (e.g., being fond of fashion), displaying effeminate behaviour (e.g., saying “mua mua” before hanging up the phone or using creams), being unathletic, or being homosexual.

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Sissy is, approximately, the male converse of tomboy (a girl with masculine traits or interests), but has none of the latter’s positive connotations. Even amongst gay men, behaviour thought of as sissy or camp produces mixed reactions. Some men reclaim the term for themselves.

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The term sissyphobia denotes a negative cultural reaction against “sissy boys”. Sissyphobia has more recently been used in some queer studies; other authors in this latter area have proposed effeminiphobia as an alternative term.

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Sissyphobia arises as combination of misogyny and homophobia. Acting straight regardless of sexual orientation produces and reproduces anti-femininity and homophobia. For example, feminine gay men are often labelled “fem,”“bitchy,” “pissy,” “sissy,” or “queen. They are perceived as acting like “women,” spurring straight-acting gay men to have negative attitudes toward gay feminine men. This is sissyphobia.

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Masculinity has been (historically) defined as the flight from women and the repudiation of femininity. Thus, sissyphobia becomes a strategy for straight-acting gay and straight men to justify and empower their masculinity.

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Sissy takes on more specific meanings in the transgender, infantilist, and BDSM communities (especially through forced feminization or petticoating practices). In the BDSM practice of forced feminisation, the male bottom undergoing cross-dressing may be called a sissy as a form of erotic humiliation, which may elicit guilt or sexual arousal, or possibly both, depending on the individual.

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In infantilism, a sissy baby is a man who likes to play the role of a baby girl.

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In recent years a new genre of porn has emerged that claims to cure straight-acting men (regardless of their actual sexuality) of their straightness and sexism – the sissymaker video. These are fast cut scratch-style shorts of various conventional porn acts spliced with hypnotic, psychedelic and subliminal or near subliminal elements that allegedly turn straight-acting men into sissies!

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Whether sissymaker videos actually do what their makers’ claim is a moot point, but watching porn (and especially shemale porn) just became even more fun!Image


Chus Martinez On Lisa Ann

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Lisa Ann (born May 9, 1972) is an American actress who became famous as a MILF porn star in the noughties. She was born in Easton, Pennsylvania. Lisa Ann began erotic dancing in 1990 to pay her way through school to become a certified dental assistant.

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In July 1993, Lisa Ann became an adult actress, but quit in 1997 due to an AIDS scare. She spent several years touring as a feature dancer at strip clubs around north America, before returning to the sex industry as an agent, and later also as a performer. Her talent agency, Clear Talent Management, was formed in November 2006, was later renamed Lisa Ann’s Talent Management and eventually closed in July 2010. Her first MILF (Mothers I’d Like to Fuck) comeback movie was released on February 2, 2006.

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On October 2, 2008, Lisa Ann was confirmed to star in Who’s Nailin’ Paylin? parodying 2008 Republican Vice Presidential candidate Sarah Palin. The movie, produced by Larry Flynt’s Hustler Video, portrays Lisa Ann in sex scenes with other female porn stars parodying well-known female political figures, such as Hillary Clinton (played by veteran porn star Nina Hartley) and Condoleezza Rice (played by Jada Fire). This movie was released on US election day November 4, 2008 and made Lisa Ann the favoured MILF fantasy of mostly north American male teenagers.

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On October 31, 2008 Hustler announced that Lisa Ann was going to star in Obama is Nailin’ Paylin – a scene that continued on the adventures of Lisa as Sarah Paylin except this time US  President Barack Obama would be lampooned as well. The scene is only available through their Hustler members website and on the Blu-ray release of the movie. It is not available on the DVD release. This “bonus scene” was released on election eve November 3, 2008. Lisa Ann reprised her role as “Serra Paylin” in “Letterman is Nailin’ Paylin”, a second full-length parody movie released on August 26, 2009. Lisa Ann also revisited her role as “Serra Paylin” in a cameo appearance on Eminem’s music video “We Made You” where she was cast at director Joseph Kahn’s suggestion.

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After some encouragement from porn actor friend C.J. Wright, Lisa Ann made her directorial debut with the interracial porn movie, Hung XXX, released on September 2009 by Justin Slayer International. In December 2009, it was announced that Lisa Ann had signed on to be the spokeswoman for RealTouch, a mechanised artificial vagina produced by AEBN.

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In March 2010, Lisa Ann revealed herself to be as reactionary (and every bit as behind the times) as the right-wing Republican politician she’d lampooned, when she appeared in a Public Service Announcement for the so called Free Speech Coalition (which acts to restrict free speech by backing ‘anti-piracy laws’) on the topic of internet piracy of adult content. The spot was directed by Michael Whiteacre and entitled the “FSC All-Star Anti-Piracy PSA.” It showed Lisa Ann (and other reactionary adult performers) as standing in opposition to those who subvert capitalist cultural commodification and homogenisation.

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Lisa Ann made her name through her parody portrayals of Sarah Palin, but by 2010 she had exposed herself as holding views every bit as poisonous as the politician she was allegedly lampooning.  Her ‘anti-piracy’ and anti-file share stance reveals this actress to be a money-grabbing counter-revolutionary.

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Chus Martinez On Lina Romay

ImageLina Romay (born Rosa María Almirall Martínez; 25 June 1954 – 15 February 2012) was a Spanish actress who often appeared in films directed by her long-time companion Jess Franco.

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Romay was born in Barcelona. Following graduation from high school, she studied the arts, married actor/photographer Raymond Hardy (they later divorced), and began acting in stage productions.

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She began appearing in Jess Franco’s films soon after their first meeting in 1971. She appeared in more than a hundred feature films – most of them directed by Franco. The majority of these films were in the adult porn genre, but Romay also starred in many horror, comedy and action/adventure films. Among the most famous of her cult horror movies are The Bare Breasted Countess (aka Female Vampire), Jack the Ripper, Exorcisms and Black Masses, and Barbed Wire Dolls.

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Romay admitted to being an exhibitionist in interviews and many of her X-rated films involved oral sex and lesbianism. She took the name Lina Romay from a 1940s actress and jazz artist.

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Lina Romay and Jess Franco cohabited for dozens of years, but they weren’t officially married until April 25, 2008. Romay died on February 15, 2012, aged 57, from cancer in Málaga, Spain. By using an alternative diminution of Franco’s first name (Jesus) which might be shortened to Chus in Spanish rather than Jess, and combining it with Romay’s original surname (Martinez), it becomes apparent that Franco and Romay as a couple also functioned as the multiple identity Chus Martinez (a very common Spanish name for both sexes).

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Chus Martinez On Soledad Miranda

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Soledad Miranda was born Soledad Rendón Bueno on 9 July 1943 in Seville, Spain. The eldest of six children born to Portuguese parents, Soledad (whose name translates as solitude or loneliness) was the niece of Spanish singer-actress-flamenco dancer Paquita Rico. Soledad’s parents were poor and in order to make money, from the age of eight Soledad worked as a professional flamenco dancer and singer, first in the “Youth Galas” at the Seville Fair and San Fernando theatre, and then throughout southern Spain.

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Soledad’s ambition was to become an actress. At the age of sixteen she moved to Madrid and adopted the stage name Miranda. She made her film debut in 1960 as a dancer in the musical La bella Mimí. She struggled with acting at first but eventually found regular work. Miranda was often in the tabloid papers since she was rumoured to be the girlfriend of the most famous bullfighter of the time, Manuel Benítez (El Cordobés).

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Soledad became a well-known face in Spanish cinema and appeared in over thirty films between 1960 to 1970. There were epic adventures (Ursus, Cervantes); horror films (Sound of Horror); dramas (Canción de cuna, Currito de la Cruz); comedies (Eva 63, La familia y uno más); and even a Spaghetti western (Sugar Colt). American producer Sidney Pink gave Soledad roles in his international productions The Castilian and Pyro. Her singing and dancing skills were utilised in several movies as well as on stage in Spanish folkloric shows, and she also released some yé-yé pop records in the mid-1960s.

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In 1964, Soledad had made a trio of films in Portugal. José Manuel da Conceiçao Simões, a Portuguese racing driver, was a producer and also acted in them. In one of the films, Un día en Lisboa (A Day in Lisbon), they played a couple travelling between Estoril and Lisbon. They married in 1966. In April 1967, Soledad gave birth to a boy called Antonio. Soledad retired from performing in order to raise her son. Her husband also retired from racing.

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For nearly two years, Soledad did not work at all, but when she was offered a role in the western 100 Rifles she decided to take it, hoping she’d become internationally famous. In this second phase of her career, Soledad appeared in several films and on Spanish television shows.

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In 1969, the cult director Jess Franco was casting his film Count Dracula in Spain. Remembering Soledad as a girl who’d had a tiny cameo in his musical La reina del Tabarín nearly a decade before, Franco hired her and she became his muse and leading star.

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In the brief period between late 1969 and the summer of 1970, Soledad made seven films for Jess Franco, including Eugénie de Sade,  Vampyros Lesbos, She Killed in Ecstasy and The Devil Came From Akasava. Due to the erotic nature of these movies, Soledad was billed under the name Susann Korda (alternately spelled Susan Korday).

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In August 1970, as the filming of The Devil Came From Akasava drew to a close, Soledad and her husband took a short holiday in Portugal. She was thrilled that Jess Franco’s producer wanted her to sign a new multi-film contract. On the morning of 18 August 1970, reportedly on the way to sign this contract, Soledad and her husband went out driving along the Costa do Sol highway between Estoril and Lisbon, which was the same route they had taken years earlier in the film Un día en Lisboa. They were involved in a collision with a small truck that completely crushed their car. Though her husband, who was driving, only had minor injuries, Soledad was seriously hurt and left in a coma. She died hours later at the Hospital of São José in Lisbon, having never regained consciousness.

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Chus Martinez On Laura Gemser

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Laurette Marcia “Laura” Gemser (born October 5, 1950, Java, Indonesia) is exploitation film actress. She is best known for taking the lead role in a series of Black Emanuelle films and working with Italian directors such as Joe D’Amato and Bruno Mattei.

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Gemser left Indonesia at the age of four (in 1955) and moved with her parents to the Netherlands. She grew up in the Dutch city of Utrecht, where she attended the MULO Regentesseschool school. Later she studied at the Artibus Art School in Utrecht, where she specialized in fashion design.

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After modelling in various magazines in the Netherlands and Belgium, Gemser took roles in various softcore porn films. She became an international box office sensation after starring in a number of Black Emanuelle films in the 1970s.

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In 1975 Gemser moved to Italy. Gemser took on a more mainstream role as Laotian refugee Keo Sirisomphone in Michael Landon’s 1983 American television movie, Love Is Forever – in this she was billed as Moira Chen.

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After this Gemser continued to make films, albeit more often than not in supporting roles, and at times working with her actor husband, Gabriele Tinti. Gemser also appeared in at least one aerobics workout video in the mid-eighties.

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In the 1990s Gemser gave up acting and switched to doing costume design for film.

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Gemser’s husband Tinti died of cancer in 1991. Currently Gemser is retired and keeps a low profile in Rome.

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