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@cliobianca

3 months ago
Photo by clip on July 19, 2026. May be an image of one or more people, hair and glasses.
Photo by clip on July 19, 2026.
Photo by clip on July 19, 2026. May be an image of raft and tablecloth.
Photo by clip on July 19, 2026. May be an image of night.
Photo by clip on July 19, 2026. May be an image of signboard.
Photo by clip on July 19, 2026. May be an image of sparkler.
Photo by clip on July 19, 2026. May be an image of shuttle bus, windshield, minivan and bus.
Photo by clip on July 19, 2026. May be an image of glasses and tambourine.
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Posted On: July 20th 2026, 12:38 am
Tagged Users:
@evamwhite
evamwhite
@madelinehilby
madelinehilby
@ezranelson
ezranelson
HAGSWMG (having a great summer with my girls)
Comments (9)
sarahcannnon 3 months ago

sarahcannnon

IKTR !!!!

madelinehilby 3 months ago

madelinehilby

loving summer with my girls & gays 💚🤩

_appelmom 3 months ago

_appelmom

Omg are u a MUNA fan toooo?! Are u going to their concert!

evamwhite 3 months ago

evamwhite

BEST SUMMER YETTTTT

leaht_oneil 3 months ago

leaht_oneil

where is me tf

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Boy George London, 1988. An oversized jacket, layers of beads, a prominent cross and one of the most recognisable faces in British pop. Long before international fame, George was making and adapting his own clothes. His mother, a seamstress, helped with some of his early outfits, whilst George experimented with cutting, sewing and putting different pieces together. David Bowie, punk, disco and London's club scene all helped shape George's approach to dress. As the frontman of Culture Club, George brought his distinctive style and soulful voice to audiences around the world. Do You Really Want to Hurt Me?, Time (Clock of the Heart) and Karma Chameleon were amongst the band's biggest hits. His appearance attracted enormous attention, but the music was just as memorable. Following Culture Club's initial run, George continued recording as a solo artist. His reggae influenced version of Everything I Own reached No.1 in Britain in 1987. The following year, he released No Clause 28, a song opposing Section 28, which restricted local authorities in how they could address homosexuality. It was during this period of George's solo career that Brad photographed him in London. Before establishing himself as a photographer, Brad had worked as a projectionist for silent film star Gloria Swanson. The influence of classic cinema stayed with him, particularly its use of light and shadow, which became such an important part of his own photography. In this photograph, the quiet intensity of George's gaze and the richness of the grey tones are beautifully rendered in Brad's monochrome palette. Photography: Brad Branson Subject: @boygeorgeofficial London, 1988 #BradBranson #BoyGeorge #CultureClub #BritishPop #MusicPhotography
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