Putting the carnal in Carnival

(Much about men’s bodies and mansex, in plain language, so not for kids or the sexually modest.)

On Shrove Tuesday (the 13th), the season of Carnival — etymologically, the time for putting away the flesh (for the season of Lent) — reaches its height. From NOAD:

noun carnival: a period of public revelry at a regular time each year, typically during the week before Lent in Roman Catholic countries, involving processions, music, dancing, and the use of masquerade: the culmination of the week-long carnival | Mardi Gras is the last day of carnival … ORIGIN mid 16th century: from Italian carnevale, carnovale, from medieval Latin carnelevamen, carnelevarium ‘Shrovetide’, from Latin caro, carn– ‘flesh’ + levare ‘put away’.

In the gay precincts of the world, we strive to put the carnal —

adj. carnal: relating to physical, especially sexual, needs and activities: carnal desire. ORIGIN late Middle English: from Christian Latin carnalis, from caro, carn- ‘flesh’.

into Carnival, to flagrantly celebrate the sins of the flesh. Recent bulletins: two Daily Jocks ads that largely abandon the pretense of selling comfort, support, and style in favor of providing outright soft gay porn; and a look back at a gay hard porn classic, Kristen Bjorn’s Carnaval in Rio, with a fond recollection of Gilvan Couto manfully coping with Caio Amaral’s astonishing 14″ uncut black dick (with some notes on race relations in the postcolonial world).

Pitsntits beefcake for Carnival. Combined with a cocktease — trunks pulled down to show the top of a black jockstrap. Open inviting mouth. All for Helsinki Athletica.

(#1) Take a sweaty Finnhunk to bed

Fargo adores his sleek body. Totally self-absorbed while performing a Carnival cocktease in his Code 22s. In public:

(#2) See me, feel me, touch me I

And admires his inflamed pouch:

(#3) See me, feel me, touch me II

Though this ad does come with high-style copy:


Carnaval in Rio: a Fat Tuesday cock. From my 2/26/13 posting “Kristen Bjorn”:

I came to Bjorn through the 1989 Carnaval, which is a triumph of hardcore porn, beautifully constructed and photographed

That posting dwelt especially on a long scene pairing lovers Erico Ventana and Renato Soares, but had notes on all sections of the film, including a scene between Caio Amaral and Gilvan Couto, who first encounter each other dancing on the street. From the Bjorn website:

The samba school parade is in full swing in Rio’s famous sambadrome. In the midst of the amazing parade are a pair of hot studs: dark skinned, mega hung Caio Amaral, and fair skinned, handsome Gilvan Couto. After the parade, the two go back to Caio’s place, and before they even have a chance to take off their flimsy costumes, Gilvan pulls out Caio’s gigantic [14″ uncut] dick and swallows it as deep as he can [which is not very deep]. Caio then pins Gilvan against the wall, and slides his huge boner into Gilvan’s tight, pink hole. Caio fucks deep [again, not all that deep, only about halfway in], and pulls out just in time to park a load of cum on Gilvan’s ass. The two then shoot another hot load of cum into each others mouths before the fucking starts all over again. During this scene, Gilvan shoots four times, and majorly hung Caio squirts a total of seven pop-shots all over Gilvan!

It’s all about cock and cum, very intense. You can see Gilvan about to go down on Caio (both still in remnants of their samba costumes) in an AZBlogX posting yesterday “Caio Amaral’s 14 inches”. In a cropped version:


From this scene alone, you can see that the 14-inch estimate has got to be close to accurate. One side benefit of Caio’s dick size is that his scenes with a receptive Gilvan are a feast for worshipers of visible cock, since Gilvan can take at most half of Caio’s meat down his throat or up his ass.

Then there’s the black-on-white aspect of the encounter. Not just black on white (though that’s how American viewers of the film will see things, through their own racial lens), but black on white in a modern Brazilian context, where there are three historically relevant social groups — descendants of the  indigenous peoples of Brazil, descendants of the colonizing European population (from Portugal, in this case), and descendants of sub-Saharan Africans brought to Brazil as slaves (plus descendants of various voluntary immigrant groups) — and various groups of multiracial people. Labeling for race and ethnicity is complex; from Wikipedia:

The Brazilian Institute of Geography and Statistics (IBGE), that conducts censuses in Brazil since 1940, racially classifies the Brazilian population in five categories: branco (white), pardo (brown), preto (black) [the Brazilian Census System uses only these three], amarelo (yellow), and indigenous. As in international practice, individuals are asked to self identify within these categories.

… As the IBGE itself acknowledges, these categories are disputed, and most of the population dislike it and do not identify with them. Most Brazilians see “Indígena” as a cultural rather than racial term, and don’t describe as such if they are part of the mainstream Brazilian culture; many Brazilians would prefer to self-describe as “morenos” (used in the sense of “tanned” or “brunettes”); some Black and parda people, more identified with the Brazilian Black movement, would prefer to self-describe as “Negro” as an inclusive category containing pardos and pretos; and if allowed to choose any classification, Brazilians will give almost 200 different answers.

(In the Census system, Caio is preto and Gilvan blanco.)

In a postcolonial world, the details of race and ethnicity differ startlingly from place to place: the situation in the US in general is not the same as the situation in Brazil, Haiti, Cuba, or the British West Indies, and there are significant differences from place to place within these areas. In addition, populations move around, so that we now have (for example) significant groups of Haitians and Cubans in South Florida, and huge numbers of “blacks” in the UK, the largest portion of whom came from the West Indies.

In any case, Caio and Gilvan’s sexual encounter on-screen is racially charged — both transgressive and defiant — though not in quite the same way as it would be in an American or British context. (Kristen Bjorn — it’s a stage name — was born in London but raised in Washington DC, and makes gay porn for primarily American audiences, though set in locations around the world, using local men as actors.)


Leave a Reply

%d bloggers like this: