To my readers......

Mitchell is on holiday.
I've set up some posts to publish automatically at weekly intervals but can't respond to comments until I return in mid March.
Thanks for visiting mitchmen!
(Feb 5th 2016)

Saturday, 25 February 2017

No Escape

Benjamin Gelle for Navy Diver

When he thought he was well clear of the pursuing guards Benjamin stopped running and tried to get the electric cage off his body. If he didn't he knew it would continue to send out homing signals leading them back to him. As soon as they got close enough again they would activate it's punishment function remotely and then it would subject his body to a fearsome barrage of electricity. An assault that would only end when the capacity of the battery pack, stored in the pouch at the front of his underpants, was exhausted. He doubted he would still be conscious when that happened. 

Anxiously he felt for the securing clips at the back of his body, but though he found them he could not budge them. Seconds were ticking by. Then his fingers found the padlocks and in his heart he knew he was doomed. Looking down he saw the buttons on his underpants lighting up, one by one, he braced himself and then he felt the tingling vibration round his ribs.........

Saturday, 18 February 2017

The Milking Factory

KW - The Farm (click to enlarge)
 This is the earliest example (2011) I have found so far of the Milking Factory Idea, although I suspect more might be unearthed in due course. KW visualises an alien-like construct with youthful subjects secured to posts and even suspended in the air while their juices are coldly and continuously extracted. The subjects provide an interesting array of facial expressions ranging from resignation and bewilderment to orgasmic excitement at the moment of delivery.
I'd welcome information on KW's identity/web location

Kami Tora - Night Shift
Kami Tora's take considers the requirement for a little stimulation to ensure plentiful production. Thus the natural pumping qualities of the vacuum tube are augmented by electrical stimulation of the testicles. The choice of supplementary, giant dildo rammers is a little more questionable since such equipment, though exciting to watch, is not necessarily conducive to maintaining an excited erectile state except in the mind of well-practised recipient. However, one might expect to witness a spectacular ejaculation from time to time. The expressions of these captive milkers are more exaggerated suggesting that they are not experienced users, possibly even straight since their minder is a female nurse. Her calm indifference as she monitors their production efforts on a clipboard is a signal that the process may be unremitting for some time yet. Notice how the brackets holding the dildo ram to it's base resemble a human hand. Nice touch.

more Kami Tora (Note it's femdom!)

Destor777 - Hunk Milk - Milking Factory (click to enlarge)
Destor777's version of the idea is much more humanitarian. The victims subjects are allowed to lie down on a platform (not obviously padded for comfort, be it said). They are loosely restrained, just enough to prevent interference in the process, and stimulation is limited to the pump itself and testicular electro-stim. Destor's recreation of the various stages of excitement and ejaculation is rather subtle and well observed and the loose restraint helps make that possible.

see Destor777 at Deviant Art

Kalabro - Milking Factory
Kalabro has acknowledged at his blog how he took his inspiration from Destor and he has effectively reworked the same image in his own style which will appeal to the lovers of bulkier, slightly older men. Personally I like his less spiky technique although Destor captures the movement of the captives rather well. Kalabro's innovation is to combine a catheter style draining bottle with a robotic pumping arm, perhaps the most aggressive approach to extraction of them all.

Kalabro - Milking Adam
Kalabro also sketched other ideas for the scene. This one using the customary pumping sleeve and just a suggestion of anal stimulation. Kalabro always names his characters and that approach here suggests a group of buddies undergoing the same experience together.

Kalabro - Milking Dave
Kalabro subjects Dave to an even tougher regime featuring testicular noosing and electro-stimulation plus a fearsome-looking dildo ram whose demanding effects are written across the subject's face and evident too in his straining arms and twitching feet. You can see the working of the drain tube/bottle device in this image.
Kalabro - Milking Jamie

The floppy-haired youth is a familiar face in Kalabro's stable of suffering and Jamie here seems to be destined to experience life after milking as his draining tube flies away at the very point of ejaculation and an unpleasant-looking robotic clamp-like device waits in the wings to take over. 

See more at Kalabro's blog

Friday, 10 February 2017

Vintage Season 17 - Set Me Free

Phil Lambert
The beautiful Phil Lambert looks as though he is awakening and about to abandon his artistic pedestal and step onto more solid ground here. The presence of visible hair on the model's body also marks a significant step too - towards a more real and open depiction of the naked male form. That body hair forms an integral part of the line that is the backbone of this picture - a sweeping arc that runs from his cheek down the length of his torso and away through his leg to the very tip of his toe.  If you imagine tracing that line with your fingers you will understand just how sensual the pose actually is, despite it's outward academic appearance (and all know how erotic the stretching of a tired leg actually feels!). The modesty-imposing G-string introduces a key stopping-off point on that arc, in fact it draws attention to it - as does the hair on the model's abdomen which is clearly 'undoctored' and free to play it's natural role as 'treasure trail' and pointer. The dark crevice formed below the pouch by the model's intersecting legs is like the dot on that pubic exclamation mark and darkly suggestive in it's own right.

Billy Joe Carr
This image of Billy Joe Carr trying to free himself from a restricting net provides an apt illustration of another step forward. His genitals are showing clearly through the flimsy fabric of the posing pouch with the creases running down from the top hem suggesting an equivalent, sexual straining at the leash. In this image the posing pouch itself is clearly aiding and abetting a sexual display.
Joe Lynes
Here's Joe Lynes, struggling to hang on to something pretty important. Another man perhaps? Or is he trying to bring that dangling tassel into contact with his pouch? These 'struggle' images were generally suggestive of virility but this one has a distinct flavour of resisting rather than controlling. His compact, shapely pouch adds it's intended emasculating touch, but there's a glimpse of resistance there too in the shape of a penis making it's presence felt.
Danny Alsop (WPG)
You will observe that there is a striking similarity between this image and the the one of Phil Lambert that tops this post. Notably the subtly erotic folded leg and dark crevice motif. The difference here is Danny's happy 'come-on' smile and the more open display of manhood. This informality greatly intensifies the suggestive undertones of the pose and you can see here how the hand-on-head element (present in both pictures) signals availability. 

These images come from a time when censorship was gradually fading away through a series of compromises which sought to balance the opposing views of conservatism and freedom, coupled with an increasing disinclination on the part of officialdom to actually apply any 'rules'. In this confusion there was an incentive for erotic photographers to push at the boundaries. The prospect of seeing much loved models totally nude excited loyal followers and commercial image producers alike. This was a golden era in more ways than one.

Dick Stark (Champion)
The display is even more overt in this picture of  Dick Stark and he looks well pleased doesn't he? I have questioned the authenticity of the contents of Champion's pouches in previous articles but that doesn't affect the significance of the imagery. It is however a reminder that these models faced a challenge not unlike that of movie stars in the dying years of the silent movie era. When fans finally got to experience 'the real thing' would it add to their 'reputation' or destroy it?

John Davidson
There's absolutely no compromise in this picture at all. The angle of the shot makes it's sexual intent completely clear as well as flattering the model's assets in a delightful way. There's no question in my mind that the shroud of pouch fabric does nothing to moderate the erotic punch of this image - it actually increases it, not least because of the way it gathers together and disappears between his buttocks. 

This picture is probably also by Champion but I have to say that this cock looks real enough to me. I suspect that a shape like this was possibly even more alarming to censors (and exciting to audiences) in the UK, since the uncut men who predominate here only reveal this detail when fully aroused. 

At the end of this little historical review, John Davidson can look towards a better future with head held high and cock pointing upwards, even if it's not quite erect yet. (As it turned out in the UK 'the angle of dangle' was to become another of the later, bizarre restrictions that for a time delayed the movement towards complete freedom of expression in sexual nudity). However, although this seems amusing looking back, we should not forget that the suppression of male nude images was part of a much wider framework of oppression intended to prevent gay men having any respect or freedom to enjoy their sexuality. 

It's no exaggeration to say that the ordinary gay men in these images and the photographers and publishers who stood behind them were heroes of the gay resistance, secretly reaching out to fellow gays around the world to reassure them they were not alone or forgotten. Their weapons of printed images were seemingly trivial in nature but their determination to be seen as human and beautiful, in spite of all the crude efforts of heterosexual society to make them invisible and ugly, played a vital role in undermining censorship and ultimately bringing the edifice of gay oppression tumbling down. 

As we have seen the humble, laughable, posing pouch was a key ingredient of that campaign, gradually transforming itself from defensive shield and instrument of oppression to the symbol of defiant Pride we see in the last picture. Even at this late stage the pouch is still crude in nature, inherently mannish I suppose, but it's an ironic reflection of its improvised nature and temporary role as what you might think of as something like prisoner clothing. It deserves our respect and love.

(of the beginning!)
Read this series from Part 1

Saturday, 4 February 2017

Vintage Season 16 - Awkward Moments and Atmospheres

David Selheim
I have expressed the view in the past that some items of erotic clothing such as jockstraps, look best on bigger men and David Selheim above, seems to demonstrate that the same might be true for G-strings. His well-developed thighs provide a natural valley that the pouch just seems to flow into, matching the shaping of his body in that area. 

This is another example of an image where contours of the G-string are smoothed-out to present only a minimal impression of bulk or shapeliness underneath. The 'feminising' effect of this is augmented by the model's hand-behind-the-head pose which is very typical of 50's female glamour shots (although the hairy armpit and chest is obviously not!). I have already mentioned how these images 'normalised' men as glamour subjects, but I think it's fair to say that this image is not at all demeaning to this model's masculinity and yet it is able to inherit all the sexual undertones of heterosexual G-string images which were common currency in popular culture long before gay emancipation.

model not identified
When a man with an undeveloped body like this wears a G-string, the effect is quite different. There's no disguise or dilution of the model's masculinity going on here and (unlike my grumble about jock-straps) the proportions of the garment look fine on his slender body. But somehow it all looks  contrived and awkward. That's partly down to his pose of course but the pouch itself seems like an accessory that doesn't quite belong here and that he's not quite sure about either. 
However, that actually gives the picture a certain charm. 

Doug De Witt (WPG)
This image conveys a similar impression. The spontaneous-looking pose shows a casual awkwardness and lack of self-awareness that is endearing. Even though the model's torso shows evidence of plenty of gym work his physique retains a youthful slenderness on which the pouch hangs loosely. It seems an almost irrelevant feature contributing little by way of erotic effect, as though the model has yet to grow into it. 

Kenny Owens (WPG)
The potent effect of combining an awkward pose and a posing pouch is not confined to younger models as this image shows. You might see this as a man cautiously dipping his toe in the water but there's almost a sense of gravitational pull in the direction of the bottom right corner and the plunging G-string line is well to the fore in establishing that. It's a pose that shows off the model's physique very well but the pouch's inherent unconventionality seems to emphasise his awkwardness, uncertainty and vulnerability.

This example is overtly formal in nature, but is so contrived to be casual at the same time that it is in danger of mocking the subject. His relatively baggy G-string seems to underline his slenderness and creates the impression of someone who might be old enough to smoke and hone his muscles but is not yet fully qualified to wear a pouch as though it belonged there.

The pouch seems more at home on this young man's body and it's a fairly classic pose. His is a very manly body from the neck down and the model does not have an excessively youthful face, but in some strange way the overall image somehow strips away his self evident maturity, it's as though the pouch demands a significant degree of maturity in it's wearer.

Dennis Lavia

It's the same with Dennis Lavia here who was a popular physique model in his day. Although he sports tattoos and a manly body-builder pose here, it is amazing how the innocuous pouch seems to highlight his youth.
Phil Lambert
This is Phil Lambert who we saw looking much more grown up in the last post. The G-strings in the last three images above don't have that sense of incongruity I mentioned earlier on and the model's poses are classic posing stuff. But the combination of youth with a garment designed for an very adult purpose seems to highlight their inexperience.

Jean-Pierre by Barrington
This low slung pouch in this picture by British photographer John Barrington has a youthful precociousness all it's own although it looks too well-padded to be sexy in it's own right. The presence of a fully-dressed man in the background and apparent proximity to civilisation just behind the model lends this image an atmosphere of daring which matches the way he wears the garment.

Duane Knaus
A startled-looking Duane Knaus seems as if he's just been summoned for some very serious purpose. Oiled up and ready to go, the skimpiness of his posing pouch augments the erotic atmosphere and accentuates his nudity and vulnerability. A great image.


More next time
Read this series from Part 1

Monday, 30 January 2017

Vintage Season 15 - Life Is Just A Bag Of........

Don Fuller
Don Fuller's bag of sweets might be the ultimate in grabbability. The contouring is supremely smooth and modest but it's bulk (whether genuine or not) is unmissable. The natural-looking pose of the model and close cropping of the image brings out strongly his masculinity. The whip in his hand adds power to that impression and with it's strategically-positioned, dangling loop of leather it is a visual proxy for the contents of his G-string. In addition, the shadow it casts emphasises the pouches roundness and thereby it's size. The shadows across Don's thighs are actually reminiscent of garters and stockings, I suppose this may be the photographer's deliberate joke.

Jim Dardanis (WPG)
Although this picture also utilises a weapon as an accessory and nature as a backdrop, it couldn't be more different.  There's no close-up or cropping, so instead of drinking in the model's masculinity, we are invited to admire his lithe, leanness and gritty muscularity. These qualities are emphasised by his artistic, stretched, arching pose. The emphasis of the composition is weighted towards Dardanis' arms and shoulders which frame his face. His physique also lacks Don Fuller's plushness, but nevertheless the G-string contributes an erotic flavour to this rather severe pose, one which it would entirely lack if the model were clad in swimming trunks. It's untidiness and flimsy appearance is both endearing and sexy in this context and it also has that element of grabbability - although this time we are given an impression of complexity and shapeliness rather than bulk. 

Jim Drinkward (WPG)
There's more iron-mongery in this picture. In this wilderness setting Jim Drinkward's chain seems even more incongruous than the weapons in the pictures above. However, it gives him an excuse to flex his muscles and show off his smoothly muscled body. The nicely-proportioned posing pouch does not look visually out of place here. It's simple, minimal functionality also fits in with the mild allusion to antique slavery. It's chunky shape is not exactly grabbable but it stands out suggestively enough to make the model's open pose, copying that of a spreadeagled prisoner, extremely inviting. (Others equally might see here a Greasetank-esque predator, flexing his muscles as he awaits a fitting subject for his chains to happen along.)

For gay men in the 50's/60's, an interest in captivity and slavery was inevitably linked, on the one hand to their own lack of freedom to express their sexuality and on the other to fantasies relating to the unavailability and potential hostility of desirable sexual partners. In this context the model's very modern, boy-next-door look in the image above is a powerful ingredient, dispelling any notion of historical reenactment.

Joe Lynes
This image has some similar characteristics with a submissive, kneeling pose taking the place of Drinkward's implied restraint. This model has an equally beefy build and there's a military flavour to his haircut. He seems to be offering up his bicep for some sort of inspection (or perhaps his wrist for binding). It all seems to amplify the sense of vanquishment. In this position, the projecting shape of his pouch, unwittingly thrust forward, is more suggestive than if he were wearing nothing at all.
Harold Adducci and Paul Labriola (WPG)
 There's a distinct sense of weightiness to Harold Adducci's pouch in this three-quarter perspective and a sense of containment that is most erotic. Labriola's mostly-hidden garment (visually signposted by deliciously, converging muscle contours) looks as though it might be under even more pressure. 

This depiction of non-wrestling is highly stylised classicism like the picture of Jim Dardanis above. Averted eyes are the order of the day with just the tiniest hint of intimate contact at the back of Adducci's thigh. The skimpy pouches are the sole erotic ingredient, but all the more powerful for that contrast and isolation. We are free to imagine of course how those pouches (and their contents) might fare if the combat ever gets going.

AMG studio of course was even more noted than WPG for it's 'wrestling' imagery. It's interesting how often the iconography of violence and captivity surfaces in these pictures. However, it's probably less to do with present day notions of sexual S&M than we might imagine. Fighting has always been seen as a manly pursuit (perhaps less so in our more thoughtful times). Also in the post-WW2 era, popular culture was full of memories of that conflict. War films and comics, Westerns and Historical Epics all incorporated fighting, often laced with a degree of male nudity and linking the masculinity of soldiering to fighting for the good cause. It was sensible then for gay erotica to exploit and emulate that.

Phil Lambert (WPG)
Phil Lambert presents a very different subject for the G-string to adorn. With hair tumbling over his eyes and a moderately hairy torso and limbs there's a real, youthful maleness about him that tests the acceptability of the garment usually seen on smoother bodies. It does seem a little out of place, especially in this relaxed, every day sort of pose which seems is as if he is listening to his records (as young men did then). Imagine mother coming in and finding him like this! In a way that incongruity (like the oily skin) serves to accentuate his nudity and alerts us to the contrived nature of a photographic shoot, where he must do as he is told. That said, the pouch, though not exactly bulging, is promisingly full and presented in a way that can only be described as 'deceptively tempting'.

Gene Licka (WPG) click to enlarge

There's not a lot that's deceptive here. The projecting mound of Gene Licka's pouch is the whole point of this picture and any red-blooded, passing rambler might be drawn to make a closer inspection. There's a tempting handful on display and it also shows the model's thighs and torso to alluring effect but somehow, despite this, it's not exactly erotic.

I personally associate this static, crab-like pose with girls wearing skirts tucked into their knickers although it does occur fleetingly in male gymnast's tumbling routines. Quite why Gene is performing it in a running stream is unclear, unless it's for the challenge of escaping from it without falling in the cold water.

Unidentified British Model

I have featured the US studio WPG heavily in this article and by way of counter-balance - counter-weight might be a better term - I finish with this British Model who I have yet to identify. His is not the prettiest face in this post and his physique, though well developed, is a little lumpy, the hunched pose (intended to promote his supper body) somewhat ungainly. And yet this picture sizzles with maleness and sexuality, helped in no small measure by a G-string that is not only well packed and nestling between impressive, weighty thighs (phew!) but which seems to be infused with the air of sweatiness and decay (imminent failure even!) usually reserved for elderly, well used, worn out underwear. In fashion and artistic terms it looks terrible and the model's look seems to convey his own dismay and discomfort at being asked to wear it. For mitchmen-ites, that only adds to the powerful erotic effect of an unexpectedly memorable image.

More next time
Read this series from Part 1

Friday, 20 January 2017

Vintage Season 14 - Fight Fire with Fire

Whilst I have have a lot of fun over the last few weeks poking fun at some of the eccentric aspects of vintage posing pouch photography. I hope my readers will have detected a great underlying fondness for the garment which was forged in the heat of battle against Victorian-minded bigots, censors and other detractors who opposed not only male nudity but gay culture itself.

I set out in this series to show that the strangeness and absurdity that some people see in G-string is not entirely ill-founded. Each of my posts in this series to date highlights some of those absurdities but many are, in their own way, little gems of homoeroticism, from WPG's stylish torso's to Wally Grimme's astonishing banana boat. There are plenty more.

Vic Siepke (spectrum)
To me, Vic Siepke's posing pouch in this image is one of the Seven Wonders of the Vintage Era. It's skimpiness and tightness would be very sexy even if it's contours were less revealing. Is it ridiculously brief? Emasculating? Perhaps, but that is part of what makes it so erotic when it's worn (if that is the word!) by such a manly representative of our gender, a body-builder of some renown in his day.

Billy Joe Carr (WPG)
Billy Joe's pouch is similarly skimpy but even more minimal in volume terms. There's no doubting his masculinity but the photographer seems to be trying to emulate the flat appearance of female G-strings (where the censorship challenge was to see how small they could go). Carr's pubic overflow makes a jokey (and erotic) commentary on the futility of this endeavour for men.

WPG here presents it's gay audience with an image no different in substance from it's heterosexual equivalent. The relaxed, informal, smiling pose with erotic zone to the fore and eyes engaged with the audience therefore has a 'normalising' effect. Formal beefcake/body builder poses which made up much of 1950's fare were intended to be non-sexual and that made lusting over them seem furtive and inappropriate (and also relatively unrewarding). In this different style of picture Billy Joe says it's OK to admire my body and desire me, acknowledging the gay audience.

If you think this is just a couple of chaps larking around consider this.......
The playfulness of this pose draws on a common heterosexual stereotype where the decorative belle is carried aloft by her muscular beau. This simple juxtaposition is therefore daringly suggestive of men playing different sexual roles. There's also a contradictory, jokey implication that the 'strong man' underneath is not strong enough to lift his partner and we see too that his pouch is very small, underlining the subversive suggestion of the reversal of the 'normal' roles.

The G-string worn by the chap on top is barely visible and the impression that he is nude is just as challenging to social mores. While hiding the sexual organs of a nude with foreground objects and body parts gradually became acceptable, touching was still not, not even in heterosexual images. It's a moot point whether interposing a flimsy, posing pouch made it any less sexual.

The top man's apparent nudity also draws attention to the improvised, artificial modesty of his companion. Once again we see that G-strings are not really fit for purpose as 'active wear'! There's an element of intrinsic vulnerability and insecurity in the garment which stems from it's crude simplicity and is readily apparent in this shot where it's no longer pulled flat against the abdomen. That looseness makes you wonder about the one behind his head.

This is not a particularly ourstanding image, but it demonstrates how posing pouch 'duos' are full of interesting undertones and I plan to return to this subject at a later date.

Don Farr by Scott of London
The thick-looking, towel-like material of this pouch could easily have been included in one of my more satirical posts, but I think it's redeemed by some extremely neat 'tailoring' that makes every square inch count and creates a plush 'upholstered' look. While it's not quite as skimpy as Vic Siepke's G-string, it's equally well-filled and there's an indication of openness at the side, a gap into which some very suggestive lines disappear. The close cropping in this area is very clever, the whole composition flows down to this corner and Scott has ensured that our eyes go no further, but linger to drink in every detail. 

With Don Farr's smooth and gleaming body, Scott has also captured an element of how female glamour photography works, but without undermining the masculinity of his model. Photographs of men who were not body-builders were not uncommon but they were rarely as sensual as this. Nor would full nudity necessarily be any better. The G-string screens off and packages up what we are not allowed to see, adding an element of mystery if you like, that matches the intense mood of the picture very well. 

Photographers who successfully utilised heterosexual, glamour techniques were speaking to their audience in the erotic language of the day, but these images also had the subtle effect of 'normalising' a genre and a group that society was trying to exclude. Gay men seeing these images could witness an assertion that they were no different to their heterosexual counterparts and that was tremendously postive.

(However, for the model, this seems to be one of those tantalising, memorable photos that defined not just the peak but the full extent of a career).

Ed Gloeggler
This image predates the era of AMG and Co., but not by as much as the sepia finish suggests, methinks. It's the lean, deeply-cut physique of the model that makes this picture sing but nevertheless this early example of a pouch shows that with sensible proportions matched to the lines of the body and a bit of erotic enhancement the garment can put up a respectable showing in the sexy stakes.

The model's slightly apprehensive look and stiff pose suggests an uneasy relationship with the photographer. That is the stuff of fantasies and elevates the image from familiar beefcake to unexpected eroticism. That sense of vulnerability which the posing pouch conjures up contributes to the story. It offers modesty whicle concentrating the male essentials into one very obvious and highly grabbable handful.

George O'Mara (by Kris?)

That idea of grabbability also features in this image. The handsome model seems so preoccupied with positioning and shaping his foot that he seems to have left an opening for us to imagine a hand grasping for his dangling assets. If the guardians of morality missed that lascivious angle they had no chance of spotting the appeal to foot fetishists in this image!

Paradoxically, the posing pouch, intended to preserve modesty and decency, became a fetishistic object in it's own right. Because it had no other purpose than to contain and conceal men's gentitalia it came to represent them to the intended audience. It's inaccessibility became it's attraction.

More next time
Read this series from Part 1

Sunday, 15 January 2017

Vintage Season 13 - The Other Side

The subject of G-string characteristics would not be complete without touching on the backside of these models, i.e. the rear view.

Mark Nixon - WPG
 I don't have a vast number of posing pouch rear views in my collection and a browse of the Internet doesn't throw up vast amounts either. That's partly because photographers often discarded their pouches as being unnecessary for these shots, as in the image of Mark Nixon above. 

Dennis Thorpe - Great Western
It's presence for this beefcake shot may reflect the personal wishes of the model or greater caution by the studio. There's not too much to say about the garment really. Only the string is visible, curving round and disappearing into the buttock cleft. With a thong garment the back triangle usually produces quite a nice erotic effect but with a G-string there's not really enough of it to make much impression. There's some compensation in the groove which it makes in the model's flesh with it's tightness, it suggests discomfort but not a lot more. The model has a nice chunky physique and his buttock and leg hair is a nice feature of this image. The classical pose is intended to be asexual of course and it succeeds to a fair degree. However it is also quite submissive in character. I like to imagine there's a big man with a whip standing just out of shot.

Dennis Thorpe - Great Western
This is the same model looking rather fetching in his US Sailor's hat. The G-string doesn't really contribute to the success of the image or go with the hat, instead it draws attention to an awkward-looking positioning of the lower body. The line it follows doesn't conform to recognisable clothing behaviour and is confusing to the eye. It certainly draws attention to the model's buttock cleft however, producing some interesting curves just as it disappears.

The two rear strings connect to the front pouch material somewhere behind the scrotum. If you think about it, those two strings, being anchored only at the front of the body, are bound to be a bit unruly, changing position as the contours of the buttock alters beneath them. In fact if you were walking in them, you'd need pretty pert buttocks to prevent the side strings gradually descending until they just encircled the top of the thighs. This may explain why Dennis looks as though he's being very careful about retrieving his ciggies.
Leonard Chambers
You can see the same visual effect in this picture, the line of the strings seems unnaturally straight and their dark colour makes them very obvious. This breaks up the buttock area visually, destroying any sense of nudity we might have otherwise enjoyed. In this image the cleft between the buttocks is even more apparent and I find it interesting that this was  apparently allowable.
See more of Leonard Chambers in Bondage

click on images to enlarge
 The standing man in this picture was probably told to simulate a wrestling hold here, but it has come out looking like he's helping his fallen buddy - which is rather sweet. It's not completely clear if the kneeling model is wearing a G-string, but as this is from a wrestling sequence he probably is. The lack of visibility was an advantage of course. Contrast that with the very obvious waist string on the other model. In the previous pictures the string follows a line which curves round the top of the leg. In this view it cuts square across the waist and the effect is rather ugly.
Tuck Powell
Gratuitous picture of Tuck Powell! This image by Champion tells another story with some beautiful curving lines that accentuate the model's shape and don't interfere at all with the sense of nudity. There's a nice shadow line along the top of the pouch suggesting that Tuck is getting too big for his pouch!

Jim Stafford and Paul Blake - AMG (click to enlarge)
 AMG got a good result in this picture with only the faintest of strings visible and following a natural looking line too. This is thanks to Paul Blake, the model on the floor having opened his legs (which produces an erotic vibe of it's own of course). His muscular right arm, seemingly locked behind his back, looks great and the slightly anxious, upwards look completes a memorable submissive, defeated pose. It's not convincing wrestling but I've rarely seen a more enjoyable head scissors image.

John Davidson tops Al Edmonds - AMG
John Davidson seems to be out-wrestling someone much bigger than himself here which is always an entertaining scenario. It has produced an interesting (if predictable) juxtaposition of their two bodies which you would imagine would fall foul of the censors. Were the visible G-strings sufficient to reassure moral guardians that the two men are clothed? Or were they simply not aware of the mechanics of "what those homosexuals do?" In visual terms they really do look totally redundant.

If you look closely you can see that John's strings don't dive between his legs as do Leonard Chambers' and Dennis Thorpe's above. Instead they are attached to the tail end of the front cloth which passes continuously between the legs, from front waist to rear waist, instead of terminating behind the scrotum to make a cup shape. You might say this is the traditional 'loin cloth' model and it produces a slightly different 'top line', one less likely to slip. For that reason it is a more practical form of the garment for athletic pursuits like wrestling (although not completely reliable as you can see in this AMG picture I used in part 7). Maybe it was considered more decent too, since it covered the ass.

This image illustrates the design more clearly. Notice how the left hand wrestler has no bulge at all but the nearest model seems to have quite a lot going on in his pouch! Perhaps that's because his strings are slipping (it looks as if the nearest one might be). That would cause sagging. I think the rough and ready look actually suited AMG, they were very proud of the bad boy credentials of their models. The hairy ass is part of that image as well, but it seems surprising that they were not considered offensive. Well, I don't consider them offensive either but then I'm not coming from the same place! To my eyes the white cloth slicing between hairy buttocks is exceedingly erotic and this image (which I guess is cropped from a larger picture) is only limiter by the posing, not the clothing.

More next time
Read this series from Part 1