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Message updated 6th Mar 2021

Sunday, 29 November 2020

Field Slaves


 This image recreates the vision of modern men being forced to work in the fields as slaves,
permitted to wear only their underpants in the heat of the summer sun........

....Plus Wellington Boots as a concession to the stony ground.


They have also been given the privilege of using brand new spades today,
but the parched soil is rock hard and the field is very big.
It's unbelieveably hard, boring work, but distraction is at hand 


 

They have to endure the stares and giggles of schoolgirls taking a short-cut home.
It's doubly cruel for male slaves who are denied any form of sexual contact.

 


As my old mother used to say,
"It's hearing the music that makes you want to dance!"

You can divert here to an image showing the guys getting back to work
(but beware if you're touchy about women intruding)

A short time later......



It's the Farm Manager approaching. 

She's very strict, in fact she's a bit of a b........


And back at the barn.......




 
 

 


 
 
You will have guessed that these images come from CFNM. Usually they would be full of women and this is as far as I can get with my story using predominantly male images. I'll post the rest separately with full credits.

There's an introductory sequence to this post in Field Slaves 2
The story completes in Field Slaves 3


Wednesday, 25 November 2020

The Art Of Amalaric, Part 8 - A Slave's Life

801 Enjoying His Work

From the general drift of Amalaric's stories, you might expect that those who have the misfortune to become enslaved are inevitably destined to end up in the hands of men with an insatiable passion for inflicting punishment. But even in fiction, such passions are likely to run their course fairly quickly. Thus, although Bobby lusts after Ryan for many weeks before he finally snares him and humiliates him (in 'Bobby,' reviewed in Part 3), he lets him go again as soon as he has had his fun and doesn't bother him again after that.

In contrast to this, Ric in 'Hunting Jarheads' (Part 5) decides he likes Rob Corlis enough to want to 'keep' him. But it's not so he can constantly punish him, but to enjoy having him all to himself and to control him. Paradoxically, this means he must allow him sufficient freedom that his masculine qualities can show. So he keeps the young Marine occupied with manual tasks (which are designed so he can earn himself punishments from time to time). In the meantime, of course, he must be housed, fed and watered and other essential needs catered for - and he must also constantly be prevented from escaping. All this provides plenty of opportunities for Ric to assert his control over him in a creative manner, but it's apparent, my friends, that Personal Slaves are heavy maintenance.


Image from 'Eighty Sixth of 1001 Nights' at Aquadude Bunker

(image used here for illustrative purposes only. The '86th night' is about the interrogation of a drug runner, by 'Jay', another memorable Amalaric character, summed up by the tag 'Jay loves his work')


 
802 My Boy Jeff

Amalaric comes up with an imaginative solution to the maintenance and control problem in 'The Cube'. The narrator of this tale (seated in the image above) makes a remarkable discovery while out hiking in a remote forest. This chance find enables him to select any man he desires and turn him into an idealised, punishment 'buddy' without him even knowing.

The narrator picks out the man he wants, an off-duty soldier relaxing on a local beach, and re-names him 'Jeff'. His choice (seen above) is a chunky beast and manly in every sense, ideal for his designated role. We see him in this picture looking around, slightly lost, as though he's suddenly found himself magically transported to this office, somewhat in the fashion of Oz (in 'Dungeons of The Emerald City', reviewed in Part 6), but his presence here is not simply a matter of transportation.

As soon as he arrives the narrator orders him strip in accordance with the usual protocols (see Part 4). His undressing is recorded in a series of pictures which include Image 421 and his underwear credentials are revealed to be impeccable, as you can see.

In this picture, the narrator bears an uncanny resemblance to Ric from 'Hunting Jarheads', but he's not the same character. However he is cast in a similar mould, a stern and ruthless master, but one with a conscience and, some might say, a heart of gold.

 

803 Jeff Enters The Chamber

Jeff obeys the strip command without hesitation. Despite being freshly snatched off the beach, he somehow knows what he's facing and is resigned to it. He does not resist when directed into the comprehensively equipped 'chamber' that has been created especially for him. In this image he makes his way suspiciously past equipment of obscure (and not so obscure) purpose towards it's ominous, shimmering glow.

Inside the chamber Jeff is restrained and subjected to a protracted S&M orgy of punishments and milking. Naturally he complains bitterly but despite being a novice he responds erotically and seems to have a limitless ability to endure everything which is done to him, which includes torments not yet devised in the real world. In the end it's only the narrator's own fatigue and a growing concern for his captive's well-being that persuade him to end the trial. Jeff is freed and disappears leaving the narrator with a warm afterglow.

Jeff's session has been a perfect S&M initiation. He has not yet been totally conquered but can be recalled at any time for another examination and, importantly, he needs no looking after in the meantime. Having found the perfect partner for his tastes, the narrator's only regret is that the thrill of giving him his very first taste of heavy punishment can never be repeated........

But Amalaric's invention solves this problem too, read about it in 'The Cube' at Aquadude Bunker

 

Amalaric's enslavement stories are really a form of Science Fiction. Most belong to that genre where our world is imagined to have a slightly altered history and the social and political consequences of that change are visualised. 'Brave New World' and '1984' are classic examples of the genre. He also explores the more fanciful, fantasy genre in 'The Dungeons of The Emerald City' (reviewed in Part 6). But in 'The Cube' he has produced a traditional Sci-Fi story with science-based innovations at the core of the plot. HG Wells' 'Time Machine' is the classic example of this type, but that's not what has happened to Jeff....!


804 A Midnight Snack

If punishment is one side of the fantasy enslavement coin, providing sexual pleasure is usually the other. Amalaric is generally evasive about such matters apart from a fondness for milking scenes - and even that is usually presented as a device for humiliating the victim, making him collaborate in his own punishment and setting the seal on it, rather than providing sexual gratification for the captor.

Typically for the image above Amalaric offers up only the title with the qualification that it's ordered by the 'unsated' client, but the sexual context seems fairly clear. This picture neatly sums up the unpredictable requirements of sexual service for a worker who clearly does not choose his clients for himself, though it would be naive to make assumptions about the matching (or otherwise) of sexual tastes here.

We don't know if the one man's slumped demeanour and the other's somewhat forced smile is a reflection of what has already happened or whether it shows their individual anticipations of what is about to happen. Is 'the snack' is the captive himself? Or is it simply food the 'unsated' client craves? Or even another man? Has this captive given his all, only to find it's not quite enough?

Illustration from 'The 47th of 1001 Nights' at Aquadude Bunker

Abductors in Amalaric's stories often promise themselves the reward of enjoying sexual pleasures with their captives 'later on' (e.g. Ric in 'Jarheads'), but they nearly always seem to get distracted by the punishment opportunities on offer. Thus the captured Crusader featured in Part 2 (Image 205) seems to have been nominated for a harem-style, bed chamber role, but part and parcel of his job description is to face the Sheikh's, dreaded 'terrors of the night'. These are not explained but we imagine they probably won't take a fleshy form.

In 'Party Animals' a discreet, brothel-like operation is described with the services provided under coercion by a group of randomly abducted men (see narrative for image 427 in Part 4, also image 417). This house of ill-repute is furnished in typically lavish style but the seemingly obvious sexual purpose of the 'Lobster Tank' is clouded by dark hints about the expendability of the captives and what they face from those who rent or purchase them.

Men don't fit comfortably into purely sexual, brothel and harem scenarios because idleness and passive beauty are not usually considered to be particularly attractive, manly attributes. Etienne's vintage story 'Sailor Beware', featured here recently, is a classic sexual enslavement fantasy (with S&M trimmings), but when not pleasing their (unsought) new master, those two abducted sailors are not left to amuse and groom themselves in the harem, nor called upon to beautify and flatter their master. Instead are sent out to do hard, manual work in the fields under the lash of the whip.

This accords with Ric's rather enlightened view (in Jarheads) that his captive man is best kept occupied and is extremely attractive to look at when he's exerting himself. He puts Rob to work on his unfinished DIY projects (we all have them!) but they soon evolve into pointless, military style fatigues. Their only purpose is to exercise and tame the buck, reshaping him physically and psychologically, while simultaneously providing a pleasingly-erotic sight and an excuse for periodic discipline that drives home to him his subordinate status and indulges Ric's lust to punish.


805 What Money Can't Buy

The inspiring beauty of a man engaged in physical work was a major theme in the Art of the 1930's and the idea survives in the modern ads showing gardeners and window cleaners stripped to the waist and sometimes mesmerising women by pouring soft drinks over their bodies. Amalaric embraces that theme with the nameless gardener seen above, unwittingly seducing a frustrated, ageing, neighbour.

Image: 'What Money Can't Buy' from 'No Limitation On Use' series at Gay Bondage Fiction

It's no coincidence that the 'intake' for Amalaric's stories are often chosen from the labouring professions and forcing men into manual work is the whole basis of Amalaric's invention of Modern Institutional Enslavement, which forms the backdrop to Part 7 of this series. For some reason, the arbitrary and indiscriminate nature of mass enslavement makes it strangely erotic but it's posed as a solution to pressing economic issues of unemployment, welfare and to some extent a criminal justice measure. This is not so very different from was how it was in ancient times. Enslavement then was a handy way of intimidating conquered peoples and depriving them of their leaders and warriors, but the underlying purpose was to provide cheap labour for those whose wealth stemmed from the ownership of productive land.

Thus Amalaric's 'Hairy Buck' illustrated in Part 5 (Image 502) might be dripping with sexual allure, but he was purchased to do proper farm work. Understandably there are scantily veiled suggestions of 'night-time harvesting' but the more profitable notion of using the enslaved man as 'breeding stock' seems to interest the farmer more (see also the narrative for Image 407, Part 4a). It's not clear exactly what being 'breeding stock' involves and Amalaric doesn't enlarge upon it, leaving it (somewhat surprisingly) as a vaguely threatening, occasional unpleasantness that fit men can expect to come their way.

Of course Ric's employment of Rob in 'Jarheads' is purely artificial and when Dave McGuinness is stripped and put to work in the Bankers garden in '24 hours' (ostensibly to stave off his parent's debts) that's also just a device really, a preliminary to his planned, sexual subjugation. However, true working slaves surface in all their glory in the Chocolate Factory scenes of 'Dungeons of the Emerald City' (reviewed in Part 6)


806 Spanish Field Slave

This image is a favourite of mine. It reflects the ancient tradition of slaves working the land, but in doing so gets closer to showing us the real ordeal of slavery: the toiling day after day driven by the remorseless demands of the ever-changing seasons and the continuously repeating, annual cycles of cultivation. It's a life sentence which contrasts starkly with the relatively fleeting unpleasantness of corporal punishment and sexual service.

This attractive, muscular man (I love his neck and ears!) has been manacled and forced to work in the fields, hoeing weeds by the look of it, another never-ending task. The nudity and wrist shackles don't make his job any easier and they suggest his rebellious spirit is yet to be tamed. Of course, he might well have been well-paid accountant not so long ago or a humble garage mechanic perhaps. But he's been taken from that life and now his wealth and the possessions he owned have all been disposed of. His independence is no more, but as he pauses in his toil he still has his beauty and a semblance of dignity.

The 'Modern Slavery' scenario is hedged around with safeguards for the slaves which echo modern labour laws, but that same law also forces them to remain with their allocated 'Master' and serve him to the end. As in the military, they will be subject to punishment if they don't. Unlike the military, severe corporal punishment is not off-limits.


807 In From The Fields

'In From The Fields' (at Telemachus), illustrated above, describes a day in an agricultural slave's life with details you might never have thought of - the early rising every single day, having to walk to the distant area under cultivation, 14 hour days of manual labour having to work entirely naked (or nearly so) and unassisted by mechanical devices. Not least being subject to the random 'encouragements' of the overseers.

In this misty morning image, the men seem to be on a break, at least there's only one of them working, but the overseer on his horse seems unconcerned, instead thoughtfully eyeing the man in the foreground.

Amalaric's predilection for 'adopting' fashion models for his images frequently results in forward-facing, formal poses like this and it seems like one of the slaves has come to greet us, like the lonely inmate of a rescue centre, wordlessly appealing to us “Pick me, pick me and take me home with you”. This one's stylishly groomed hair suggests that he might be a recent arrival in the fields, not yet fully inducted into the austere life of relentless, physical toil where self-grooming has neither place nor purpose. It's so different from the showmanship and easy plaudits of the catwalk! Here the only appreciation he can expect is an occasional grunt of approval - and respite from the whip if he keeps his head down.

Naturally, the overseer is accustomed to the confusion and restlessness of new boys, who still imagine that someone will realise it's a mistake and come to rescue them. Perhaps he's considering a round of punishment to refocus him on his work, or perhaps he's considering the other possibilities offered by an exceptionally attractive novice, fresh and as yet unspoiled by the grinding work regime. Probably both. 

As the title suggests, a long evening lies ahead.

More at 'In From The Fields' (at Telemachus)


808 Tanner Arrested

Amalaric adds more flesh to the bones of this scenario in the '1001 Nights' series and in particular he shows us the broader sweep of a new slave's life in the story of 'John Tanner' whose servitude spans several years and 13 episodes (so far) of the '1001 Nights', re-appearing from time to time like a TV soap opera. 

I posted a pre-series feature on the model chosen to play the part of John Tanner in 'Tanner's Credentials for Service'.

'Tanner' isn't everyone's cup of tea but I think his appearance fits him well for the role of rowdy, local stud who (in the 86th Night) mistakenly thinks the police Commissioner's daughter is coming on to him and ends up taking out her regular boyfriend in a drunken scrap. Being remanded for 'remedial therapy' in the community sounds like one of those easy options until he learns it equates to forced servitude for an indefinite period. The review arrangements for that period are unclear but, given the Police Commissioner's involvement, it's likely Tanner's punishment will be lengthy.

From 86th of 1001 Nights at Aquadude Bunker


809 Put To Work

Tanner is sent to work on a local farm and quickly earns his first (relatively mild) strapping from his new boss by grumbling about the 'accommodation' - a straw-filled, lockable stall in a barn. The same surprise was sprung on the unsuspecting Marine, Rob, in 'Hunting Jarheads', although for him it was the first inking of his impending enslavement. Tanner, like Rob is set to work on the simplest of labours, shifting rubble. Unlike Rob he is allowed, nay required, to wear jeans, but no top, except on the coldest of Winter days. It's a sign of the respectability and responsibility of his new mentor. 

 

810 Hard At Work

Amalaric illustrates Tanner's new work life with a number of nicely constructed, beefcake images which appear to be drawn from the same source he used to develop Ryan's work routine in 'Bobby' (Part 3). At this point Boss Hickson must be feeling pleased with his new charge. In this system he is responsible for reforming Tanner. He gets paid for it too and from the outset proves to be sensitive to his slave's welfare, aware of his 'duty of care' in current parlance. It's quite a long way removed from from the 'chain em and chastise them' school of thought, although neither of these measures are totally neglected in Tanner's re-education syllabus. 

 

811 Relatively Light Work

Tanner accepts his fate and gradually gets used to the routine of non-stop, hard labour. He's strong enough to enjoy the exercise and pleased how it tones his physique. Me too! However, he never gets used to the crude quarters where he has to sleep naked every night, locked in with no amusements or distractions. There's no contact allowed either with those he used to know and associate with back home.


812 Bath Time

Once Tanner has learned what is expected of him, Boss Hickson is sparing with the whip. He also allows him the dignity and pleasure of a daily tub wash and hose down, taking a personal interest in supervising and viewing the routine. It seems to indicate an sort of parental affection and responsibility for his charge that echoes Ric's attachment to Rob in Hunting Jarheads (and compare this image with Rob's bath time in, Part 5). The hint of an affinity between master and slave adds a human dimension to Tanner's enslavement.

Images 809 to 812 are all from 136th of 1001 Nights at Aquadude Bunker

 

813 Ready For Milking

Tanner's burgeoning physique attracts plenty of admiration down on the farm, but the rules of his enslavement are respected and he is not called upon to perform sexual duties for Hickson or anyone else (although that does not exclude 'examinations for welfare purposes' naturally). There also is a strict prohibition on Tanner playing with himself, denial of sexual pleasure is part of his 'therapy' (a lesson he learns the painful way during his 'induction' period). However, this does not mean everlasting abstinence and frustration, he is allowed relief once a month, but he's not allowed to do it for himself (Rob in 'Jarheads' is more fortunate). Instead the discharge is formally conducted by the boss himself. It's not clear whether he see this as a supervisory responsibility which it would be inappropriate to delegate or whether it's a sign that his interest in Tanner is deeper than he lets on.

The picture shows John tied down astride a beguilingly-cushioned stand ready to experience the humiliation of being dispassionately 'milked'. Like most men put in a position like this, his flesh is reluctant at first, but visualising the alternative of electro-milking in one of Amalaric's famous X-Frames eventually does the trick, leaving him grateful no doubt that he doesn't have to do it again for another month.

From 138th of 1001 Nights at Aquadude Bunker


814 Trying The Testicle Toggle

As time passes, Tanner's hard work, good behaviour and developing physique continues to please and Hickson, at the suggestion of his nephew (worryingly named Bobby) gives him a 'present'. It's a special testicle toggle which clips around his ball sack. With this device he can put Tanner on a lead and take him for walks round the farm to show him off.

This gesture adds a new suggestion of personal ownership to their relationship, but being exhibited naked and treated like a pet in front of the other employees (who he works with) is degrading for Tanner. Their catcalls imprint on his mind in this demonstration of his favoured but still inferior status.

from 141st of 1001 Nights' at Aquadude Bunker



815 Taken For A Walk

The demoralising impact of this development is compounded when nephew Bobby also gets permission to take him for walks, leaving him in no doubt that he's at the bottom of the pile. Worse than that, Bobby takes him off the farm property and Tanner discovers that being away from the sheltered environment and routine he's got used to causes him anxiety.

His nakedness and obviously captive state attract the stares and ridicule of neighbours and strangers passing by. Naturally some of the girls are attracted to his fine physique and he is shamelessly exploited by the repulsive and self-serving Bobby, who basks in the interest which he can't attract himself. Already nervous, Tanner experiences depths of humiliation we can hardly imagine as his suppressed sexuality is subjected to explicit teasing. It all serves to stir up his dormant delinquency. Back at the farm, he gets hold of a bottle of whiskey, drinks the lot and causes mayhem.

From the '143rd of 1001 Nights' at Aquadude Bunker

 

816 Tanner's Punishment

Hickson is outraged and personally affronted by this lapse, believing that Tanner has deliberately deceived him with his apparent reform and made a fool of him in front of the ranch hands. He orders that he be strung up X-fashion from the rafters of the barn with an array of punishment implements laid out before him, which any of the farm employees are free to use on him during the next 24 hours

It's not documented whether Bobby partakes in this torment but he turns out for the sequel, the 'proper' punishment which is to be 70 strokes with a bull-whip out in the yard (above). In a clear sign that he has washed his hands of his protégé Hickson leaves the punishment to his Foreman who relishes the task of taking down the former favourite in front of the other hands (and a delicious bottom!). Tanner only lasts to 41 strokes before passing out, a sudden dose of reality for readers.

From 156th of 1001 Nights at Aquadude Bunker


After that fall from grace, nothing is quite same, It takes Tanner takes a long time to physically heal (another consequence of harsh corporal punishment which is often passed over by authors). He never does quite recover his former character, which maybe isn't entirely a bad thing. But as far as Hickson is concerned, the honeymoon is well and truly over. He starts hiring Tanner out to the neighbours who often prove to be less tolerant. He had come to see the Hickson farmstead as 'home' but from now on it will only be a temporary haven in between punishing hires. Meanwhile his open-ended sentence still stretches out ahead of him.

Tanner's epic downfall has an almost Shakespearean grandeur and pathos about it, with rather bleak morals about the perils of not sticking to the straight and narrow, of taking little kindnesses for granted and about leopards not changing their spots. Tanner is typically male. Wild by nature, he nevertheless yearns for home comforts but is completely oblivious of his keepers' interest in him, little suspecting how bad the alternatives can be. The story is lightly erotic, almost romantic and much less focussed on pain and punishment than many of Amalaric's tales, making the pivotal bull-whipping scene all the more powerful even though the description of it is brief. Amalaric does not linger on Boss Hickson's feelings at the betrayal of his trust nor the true nature of his attraction to Tanner, but his angry, wholesale rejection of his favourite after a solitary error speaks for itself - and is strikingly similar to Ric's prompt despatch of Rob after his failed escape attempt in 'Jarheads'.


817 Forced Labour

Break time!’ blared over the loudspeaker at precisely the first minute of every other hour. The weary slave, though young and in peak physical condition, sank gratefully to the ground as waves of pure exhaustion rolled over him. Nearly naked and smeared with mud, he buried his face in bandaged, blistered hands. Quarry work was grueling and more than once he wondered if breaking rock would break him…but he also knew that ten minutes later he would hoist himself back up and return to the sledge and wheel barrow. The promise of the whip ensured his obedience.

Image and narrative from Potpourri No 26 (at Gay Bondage Fiction)


These stories give us a fascinating glimpse of what life as a 'legal' slave might really be like:- a life-long drudge, no bed of roses but not an endless round of harshness either, certainly not of sexual exploitation. It's all the more convincing for that. Amalaric regularly returns to this fantasy to embellish it with extra detail of how men are chosen to be slaves, how and where they are sold, what they can be used for, what limits if any apply to their use and treatment. His slaves are expected to work for their keep and as you might expect, they regularly experience modest physical punishments partly to nip rebellious thoughts in the bud . Sexual abstinence is part of their contract but sexual service usually isn't - but that doesn't mean it doesn't happen (off camera)! The cumulative effect is an almost believable, near-reality which is worthy of comparison with 'respectable' literature.

But there's another side to this story with a sting in the tail …..

818 Field Work

This working slave, a plough-puller, has been recruited in a very different way. As you might guess from clues in the image, he isn't a civilian legally cast into the web of Institutional Slavery, but a soldier seized by insurgents after being separated from the rest his patrol in the Middle East. This humiliation, being harnessed to pull a plough in the crudest way imaginable comes only after he has endured a lengthy 'interrogation' process laced with generous helpings of dubiously-motivated torture. The description of this particular descent into hell is compelling (link below).

You'd think it must be a relief to him to be out in the fresh air with not a wall in sight, but he actually looks distinctly nervous about being in such an open, exposed place after months spent in dark cells (a similar reaction to Tanner's when he was taken off the farm). As we are all learning right now, a draining of the spirit is a common consequence of extended detention and isolation. 

His anxious mood is probably fuelled by the chance remark that he is just 'earning his keep' by doing this task, suggesting his recent extreme sufferings are only on 'pause' and far from over yet. You'd forgive him for looking for a way to escape, though he'd probably not get far in this flat terrain. 

This picture makes an interesting comparison with the other ploughing image, no 807 above (In From The Fields). It suggests that those who we imagine to be less civilised than ourselves may not necessarily be so!

From Afghan Detour at Telemachus


Finally, there is one other story by Amalaric which also gives us an interesting glimpse of a slave at work in a rather different context - 'Lord Chatterley's Forester' which I shall review in a later post (tba, link pending)

Meanwhile the mitchmen 'Art of Amalaric' continues in Part 9.

Read this series from Part 1

Sunday, 22 November 2020

Mitchell's Gay Fetish Art For November

Mitchell - Prisoner Tortured in Underwear

 The captive soldier struggled to maintain his balance as the pressure of the rope pulling him backwards became more and more insistent. The stressed muscles of his body cried out in protest but he refused to give them the satisfaction of pleading for relief. However was less confident of resisting with such dignity should his captors' hands return and resume their gentler explorations of the contours of his quivering torso. 

This image complements my last 'pic of the month' showing a Captive Soldier Milked

It would also have made a nice addition to my early story about the 'Desert Rat' who is captured and tortured but ultimately escapes by seducing one of his captors (a bit like Tom of Finland's Kake in Kake No 3). However my Desert Rat wore a jock-strap under his shorts so I'd have to do some modifications to accomodate this underwear. Of course the story-line could be diverted into a situation where one of the devious tormentors gives him fresh underwear to put on so he can better enjoy his discomfort on the bars! 

The parallel bars element also offers a fantasy opportunity for those who appreciate gymnasts.

~

 This image complements the cavalcade of men's, traditional underwear imagery which has featured in the Amalaric series running here recently (Part 8 is imminent!). This underwear style has been largely superceded these days by the Calvin Klein type derivatives for those with conservative tastes, but it's highly obvious functionality, never intended to be publicly displayed, is still a nice embarrassment lever. The tucked-in vest was a characteristic of mail order catalogue imagery at one time before they got sexy and may even have been the inspiration behind superhero uniforms, who knows?

For more pictures by Mitchell at the mitchmen blog click on the mitchpix label below

The full range of published mitchmen images by Mitchell can be accessed via the Gallery Hub Tab

Wednesday, 18 November 2020

Milking Factories 9

Oztangles - The Milking Shed

It's debateable I suppose whether this qualifies as a milking factory, but the barn-like setting certainly has a farming quality about it and the absence of a conventional production line can be justified by considering this to be a specialist 'Artisan' producer rather than a mass production set up. These milkers obviously get personal attention from the deliciously hairy attendant who has a variety of techniques to stimulate output and is in the process of approaching with one in the picture. One can only imagine the thoughts of the milkmen when they see him coming. He's working in the nude (presumably because it's so hot inside the facility) a level of dedication to his charges that you'd struggle to find in a true, high volume outfit.

This is an exceptionally nice image by Oztangles with a range of attractive men on duty (and it's nice to see they are men and with a range of maturities that must provide interesting complexities in the specialist blended product which I'm sure this outfit must have developed. 

I'm afraid I can't find a link for Oztangles, the cryptic logo on his images is distinctive but makes recognition difficult and doesn't translate into Google-able text of course. I hope to feature his work here before too long.

For other milking factories, read this series from Part 1 or click the 'milking' label below

Sunday, 15 November 2020

Spanking Art Recreated by Mark

It's a bit early for Christmas but if you're a regular visitor to the 'mitchmen' blog you may recognise something familar in this image. That's because it's a remarkable photo-manip reinvention by 'Mark' of one of my own drawings taken from 'A Christmas Criminal'. I was delighted and flattered when I stumbled across it recently at JockSpank blog. My original image is shown alongside it below, for comparison. Mark has done a remarkable job, bringing it to life with participants who fit in exactly with the way I originally imagined them. 


 
You can see my original picture in context, in Christmas Criminal Part 23

or read Mitchell's 'A Christmas Criminal' from the beginning.

Mark has applied the same treatment to a number of other classic spanking images and I've borrowed a few down below.

 
This is one of the best of the rest, not least because Tom of Finland's original is such a terrific picture, but Mark certainly captures the frightened motorbike thief and although the outraged owner waiting to punish him, belt in hand, isn't entirely successful, his assistant, eagerly tugging down the victim's jeans to reveal an eminently spankable ass, is a slight improvement on the original.


In this picture Mark has supplied the swimming pool context which Harry Bush omitted, also the offender's swimming trunks, which lie discarded in a heap nearby. It's a sexy embellishment. I confess I hadn't noticed before that he is wearing dog-tags implying he's a military man and therefore of an age and status to believe himself beyond such punishments. That detail and the spanker's, Lifeguard whistle are less obvious in the Harry Bush, 'No Running' original which dallies perilously with modern taboos on age.


Neither Tom nor Harry Bush are spanking 'specialists' but Spryte is and his cartoon style is dramatically transformed by Mark's re-engineering. He has significantly altered the head of the captive guinea pig in the new version and that adds a nice erotic flavour for me although it departs from the context of the original. On the other hand I am amazed how close the spanking machine is to Spryte's drawing. It also shows the convergence with Franco's memorable devices.
 
~
 
 There are many more images in this series which you can view in two posts at JockSpank blog. In them he also covers Franco, Jonathan, Cavelo, Copper and many more. His choice of 'classics' is almost as interesting as the new pictures themselves. You can also see the new images on their own in two 'Full Size' Posts at Jock-Spank.com.
 
Mark has been around at Jock Spank for some years and he supplied one of my 'First Catch Your Rogue' images not so long ago. His flair for populating humourous spanking images with highly attractive men is impressive. There's an eye-catching design capability too in, for example, his 'Swap Card' and 'Calendar' series. This collection, however, hightlights his remarkable technical skill. It's one thing to manipulate photos into an image of one's own choosing and quite another to morph them into someone else's mould. He doesn't always totally succeed but some of the results are outstanding and the process sometimes uncovers new aspects of the selected pictures. You'll find plenty of linkage to other work by him at the JockSpank references above.

Thursday, 12 November 2020

Be Careful What You Wish For - 1



 For more posts with loin cloths, click on the label below

Credit for picture 2 including mods goes to: Bazz
 
(or click the label below)

Monday, 9 November 2020

The Art of Christopher Lucas Furminger

Captivated

 This artist is new to me, although this image dates from as far back as 2011. It's a portrayal of bondage that is both academic in quality and erotic. Despite the rather quaint title and painterly style there's no lack of sensuality in the skin tones and shading, the pose speaks for itself.


Blue Socks

 Ah yes, blue socks. But this proudly submissive pose seems to be the opening of a weighty bondage scene to be performed as a formal rite, one comparable with the bestowal of honours at the Palace. The supplicant offers up his own rope and considering this is presented in the style of a respectable painting, it's nice to see that he's sporting an eye catching degree of excitement in his pants as well.

 

Trussed

This image makes you twist your head in puzzlement and my first reaction was that his hands aren't tied. But if you think about it, this is quite an effective restraint as it stands provided the captive is prevented from accessing the knot. All the more so if the feet-in-the-air position is imposed on him. He looks quite a youthful man and has a impressive muscular thighs which are showcased by the pose.

 

Wednesday

 The arty approach and frivolous title of this piece allows the artist to dally with a much more weighty matter. The darkly-wooded background is a powerful piece of design that imparts an atmosphere suggestive of black thoughts and isolation, but the subject himself is cast in warm colours of optimism, a state reflected also in his hopeful upward-looking pose. The unconventional noose is alarming at first, but then resolves into something like the halter tethering a slave or captive, rather than an instrument of self-destruction. 

Lock Down

 This image depicts captivities of a different, more tangible kind, the twin restraints of imprisonment and the rules that govern prisoner behaviour, which these two have been caught on the brink of transgressing. The title pre-dates the current era of 'the virus' but that connection now reinforces the sense of a dangerous environment and unfathomable governmental rules.

The foil-wrapped evidence of the prisoners intentions makes a clever contrast with the packets of 'substances' that are the normal currency of illicit prison transactions. Their half-shed prison overalls and matching institutional jock-straps symbolise the prisoners attempt to free and express their inner sexuality, but now leave them exposed as misfits, subject to the disapproval and discipline of the authorities.

Isolation

There's similar issues of isolation and suppressed self in this picture. This man is not a prisoner, but he might as well be as he gazes out of his grey cell at the blue skies beyond. The lowered shorts, suggestive of secret, sexual yearnings, resemble those of boxer with their characteristic, triple waistband. They reveal a matching, chunky bottom, but that conventional portayal of manliness is offset by (barely noticeable) delicate fingers that could almost be feminine, creating an unexpected, tantalising connection with the silky fabric of the shorts.

Adjusting the Jock

There's desirable manliness a-plenty in this image with no confusing identity ambiguities - unless the slightly unusual choice of underwear prompts your suspicions! The upward-looking viewpoint, like that in the opening image, is supremely erotic but in the context of this private moment of adjustment, it seems relegates us to the role of Peeping Tom outsiders. however, it might equally be the wistful observation of the departure ritual being performed by last night's particularly memorable hook-up. 

 

Tackle
 
There's more than a hint of Peeping Tom about this image too which transforms one of those blurry, snatched photographs of accidental, rugby debaggings into a feast of heaving maleness. Delicious! 
The double-entrendre potential of the title is left to our imaginations.
 
 
Coming Out
 
This image features another classic, clandestine moment of sporting erotica. You don't have to be a Lycra fan to relish the sight of a swimmer's rounded buttocks being hoisted out of the pool with water cascading from them and conferring an alluring sheen to his tight-fitting trunks. For others it may be sight of gleaming, upper-body muscles, heaving with effort, that excites. This image captures both, you don't have to choose. The title is a reference to Tom Daley, the Champion diver.


Blue Shadow

A similar furtive, fleeting joy is celebrated here, that brief glimpse of unwittingly-exposed torso as a man stretches lazily upwards. This unguarded moment is supplemented for good measure by an unobstructed view of his traditionally styled, white underpants. This is an intimate garment normally intended to be worn but not seen and the artist has made the most of the moment, drawing out it's erotic potential by showing a revealingly moulded, protruding pouch. That's a sign that he's had them on for some time infusing them with his bodily warmth and moisture. The shaping is emphasised by stretch creases on either side and crowned with a tuft of pubic hair. 
 
The 'shadow' in this picture is actually a mirror image. It adds artistic substance but I could not hazard a guess at what, if anything, it might signify.


Red Shadow

This image shows yet another example of sporting apparel with significant, sexy capabilities, the leotard. The presentation is relatively subdued, limited to nice body shaping in all the right places with the athlete adopting a formal, closed pose and letting his garment speak for itself.

This shadow too is a mirror image, well almost. It is perhaps a little more provocative. Possibly that's intended to draw out the strange vulnerability that this garment imparts to it's wearer, a sense of inviting 'touch-ability' that the arms folded safely out of the way seem to grant permission to investigate.
 
I can't see any thematic connection with the preceding image beyond the obvious visual linkage.


'Joe'

This drawing expresses furtiveness and self-expression of a more familiar kind in what looks like the traditional setting of a men's toilet. This relatively prosaic image illustrates rather well the inwardly directed nature of much of men's yearnings which forms a puzzling contrast with the outwardly directed 'lusting from afar' and the need to expose oneself which most of these images directly address. It's a peculiarity of the male psyche shared by gays and straights alike, much derided by women but seemingly inexplicable. 


The Plumber

(I can almost hear Claudia Winkleman enunciating that title in the same downbeat tone she uses to announce 'The Judges' on 'Strictly')

If urinal (tearoom) art is a valid genre of gay art (which I suppose it ought to be) this image is a good representative. On the surface there's some thematic similarity to Philip Swarbrick's explorations of the British, street-gay sub-culture but closer observation reveals this is actually an up-against-the-wall, solitary job, giving the image a straight twist and returning us to our Peeping Tom role. Sadly, the artist does not gratify us with more than the vaguest hint of  builder's bum cleavage and his lower back looks suspiciously 'scrambled' so the exciting promise of that youthful head goes largely unfulfilled, tantalisingly so, but that dangling rag is still (inexplicably) delightfully sexy.


The Kiss

The intimacy of this image and the emphatically male participants confer significant erotic power on what is ostensibly a romantic picture. A nice antidote to the introspection above, it also neatly dovetails with my previous post on 'Hairy Moments'

This work illustrates the surprising ability of Van Gogh-like heavy brush strokes to match the arousing capability of smoother, shiny depictions of sensuality (as perfected by Tom of Finland). That makes for a satisfying close to this article showcasing an artist who intriguingly bridges the divide between conventional art and erotica. 


 See more at his art Gallery CL Furminger on P-interest
(which has a matching gallery of drawings and some interesting  collections of erotic photographs)