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Monday, 30 August 2021

CONTINUATION Royale Navy Romeo - Part 1

 MITCHMEN AUTHOR'S NOTE

This post completes Part 1 of the mitchmen review of Royale's 'Navy Romeo' storyette which was begun in the last post. I have also appended it there to make a single article for future readers.

Royale Studio - Navy Romeo 08

Ted is not tying up his boot laces here, but strapping gaiters round his ankles. These are stiff ankle protectors and intended also to capture the billowing bell bottoms and close off the open top of the boots for protection and safety in a combat situation. They are seen lying on the floor in picture 05? of this series and more clearly when worn by Ted in the pictures that follow this one. His leg-up position here creates yet another provocative pose out of a mundane everyday activity. One which the on-lookers find an almost irresistible target.

I probably don't need to point out the (barely) hidden eroticism of Spike's toe aimed at the cleft in Ted's backside but there's also a more subtle, secondary titillation with it's close proximity to Ted's own foot, suggestive of lovers playing 'footsie'. Spikes open, leaning-back pose is itself suggestive of intimate spooning with Ted (for a sex-starved imagination at any rate)! I suspect there was an interesting reflection in the mirror too, just off to the right. There's a similar 'closeness' going on between Tom and Spike. The subtle, erotic choreography of some of these images is amazingly complex. This picture also brings out a rather nice impression of the tight fit of Tom and Spike's trousers round the lower body and thighs, with a pleasing profile of Tom's bottom (extreme left).

Strong lighting from the left of Ted casts an odd shadow of his arm which has the extraordinary effect of making his trouser pants look completely open at the back. I haven't seen a full size version of this image so I can't say if this is deliberate artistry or a fortuitous quirk of the smaller scale picture. However, it is a graphic reminder of his discarded underwear, which I suspect is the little white pile on the floor just beyond his foot (see below also). There's another tantalising shadow in picture 03.


Royale Studio - Navy Romeo 09

With preparations complete, Ted imagines introducing himself to the film star pin-up on the wall and you can almost imagine him saying “don't I look great?” (not without reason from where I'm sitting!). The two mischievous voyeurs pause from their lusting to parody his action with Spike making a courtly bow and Tom simulating feminine surprise and delight. Cynics might see the less-than-modest forward thrust of his lower body here as an invitation for Spike to dip his head a little lower.

The dressy effect of Ted's gaiters and the discarded underwear on the floor are clearly visible here


Royale Studio - Navy Romeo 10

This image probably gives us the best view of Ted's attractive figure with the enhancing effect of his hip-hugging trousers complemented by the tightness of the RN shirt around his torso. It's low cut, square, head opening accentuates the sweep of his neck. He seems to be holding a cushion in his arms here as a substitute for the real thing he desires.

Behind the screen Spike and Tom pose as though kissing each other but their bodies and lips are not actually touching. It's interesting to consider how the censors would have viewed this. The female film star is a reminder that kisses like this between men and women were commonplace in movies and yet men passionately kissing each other was absolutely taboo. By distancing of the pair and providing the clearly-announced, humorous context of 'taking the mickey' out of their straight colleague the scene might have escaped the red pen in a live, theatrical context. Unfortunately the unashamed eroticism of the pictures that frame this scene nullifies that possibility.

Royale would have known that would be the case – the minds behind these complex images are not without intelligence, nor naïve. So it's more likely that this is another deliberate parody, not only of heterosexual vanity, but of the whole concept of censorship as it was applied to relationships between men. But imagine how comforting this portrayal would have been for lonely, gay men who saw the image, using the masculine aura of military servicemen to present men kissing as something that was perfectly OK. Notice though, that it still takes place in secret, out of the sight of the heterosexual.

The numbered thumbnail for this image (in the archive) is less closely cropped than this variant.

 

Royale Studio - Navy Romeo 11

In this image Ted appears to be holding something up as though to kiss it. It doesn't seem to be the same cushion-like object as in the preceding picture - that is now placed on the chair. The boys behind the screen eagerly return to their surveillance and Spike makes the 'OK' sign as though Ted's action means that their plan is now going well.

I confess I'm not certain what this means, but if you look closely, you might notice that Ted's attention in these pictures actually seems focussed, not on the glamorous film star, but on the other hard-to-make-out photo just above, which looks a bit like a showgirl in black stockings. In fact I believe this is one of Royale's infamous*, high-booted, Horse Guards images, rather like the one below, but with the subject in the process of undressing. 

 *Royale famously published pictures of real members of the Royal Horse Guards regiment posing in a mixture of their proper uniform and racy underwear. It was a very public scandal that made the tabloid front pages and may have helped the cause of homosexual law reform. Royale's successor 'Guys in Uniform' repeated the feat in 1976.

 

Charles Kassapian as a Horse Guard, by Royale

That conjecture leads me to believe that what Ted is holding up may actually be bank notes, as though reminding us that the Queen's men can be bought for money. Simultaneously it's suggesting that Ted, the supposedly straight hunk, is not averse to buying such favours himself, thereby implying that the terrible 'queer' malady is also rife in the realm of The Royal Navy. What a superb mockery of the heterosexual establishment! No wonder Spike is so pleased with himself!

Back at picture 11, and on a more basic, erotic level, the reflection in the mirror at this point introduces the startling impression of Spike reaching up between Ted's legs to grope him, but the casual observer would never spot it. This dull little story positively sparkles with hidden homoerotic gems!

Notice that in this image Spike's trousers seem to have a 'bare' back window similar to Ted's in picture 08. It must be that this is the effect of the stretched, wet pants becoming slightly transparent and showing skin colour beneath. The dark shadow and whiter area to the right is the front flap of his uniform which is a double layer of fabric and not tight and thus shows as white. A different visual effect, caused by lighting from opposite sides seems to show Ted's bare legs showing though his trousers.

 

Royale Studio - Navy Romeo 12?

The true object of Ted's interest is even more obvious in this picture and the boys are so excited that they squat down piggy-back fashion to peek through a crack (yes a crack!) in a pose that seems to abjectly beg for Ted's (or our, or anyone's) attention. It's not far short of simulating intercourse between them and at this point there's no real attempt to hide the eroticism. Despite the revelation about Ted's true inclinations he cuts a figure just as attractive and manly as he did to them before (well of course he does!). His reflection in the mirror seems to introduce an element of ambiguity as to the direction of those inclinations, but they are happy, nay eager, to go down for him.

If Royale ever applied 'The Itch' to this series, it takes on a very different meaning here.


Royale Studio - Navy Romeo 14?

This looks as if it might be the end of Part 1 with Ted appearing to be departing (looking great) and the boys exchanging kisses (disguised as a high-five) and apparently very satisfied with the outcome.

I don't know exactly how many pictures there are in Part 1. The earliest image number I can positively identify in Part 2 is No 21 and I think it has 5 images in front of it, so that would mean Part 1 numbers 15. However, I've given this picture the number 14 (or it could even be 13) because the opening of Part 2 suggests that at the end of Part 1, Ted discovers that he's being spied on with some sort of confrontation happening. You'll see what I mean in Part 2 (to follow soon).

~

Royale Props and Accessories

Royale's specially prepared uniforms are responsible for much of the erotic flavour of these images but the props and accessories also play a part and some become familiar friends in different photo sets.

In these concluding pictures of Navy Romeo, Part 1 we get a good view of the Chinese bamboo screen that has concealed the voyeurs from their quarry throughout. It's not naval issue obviously! However, it's plausible that these men (regular sailors or forced conscripts) might be allowed personal items such as this in a barracks setting. The antique, oriental style tells you about the artistic taste of the producers of these photos, since they would have provided this prop.

The mirror plays an equally important role in the story, as it's used to emphasise Romeo Ted's vanity, but it's also a device for slipping in tantalising glimpses of anatomy (e.g. Nos 3, 12) and in telescoping the participants together to construct suggestive positions (e.g. Nos 6, 7, 11). The mirror also features in a number of other Royale series where it provides a 'virtual' partner for solo posers and simulates more forbidden physical contact between men and reflections.

~

To be continued in Navy Romeo - Part 2

The mitchmen Royale Open Archive link to this set will be provided at the end of this group of posts.

Friday, 27 August 2021

Royale Studio 2a, Navy Romeo (Part 1)

These posts review the photographs of the British, 'Royale Studio' of the 1950's/60's which specialised in depicting men wearing tight, sexy clothing, especially military uniforms, designed to show off the male figure, often with a disciplinary or fight storyline attached. 

This post covers 'Navy Romeo', a  storyette (as Royale described them) of some 36 pictures. This is the best picture I have from the series (courtesy of 'Sailor Al' as you can see). It shows two Sailors spying on a comrade as he dresses up to go to 'The Dance'. If you are a bottom fancier then it's probably fair to say that this image hasn't lost much of it's power to attract the eye in the 60 years since it was taken. In fact Royale used it themselves to illustrate this series in their catalogue (below).

Royale Catalogue image for Navy Romeo (NARO)

The legend 'NARO' is the ordering code for customers wanting to buy the 'Navy Romeo' pictures by post (no internet in those days!). The story was published in 2 distinct parts which I will cover  in separate posts. This is Image 7 of Part 1. I have 12 of the Part 1 pictures and 19 of Part 2, that's 31 out of the advertised total of 36. Sadly most of them are only thumbnails which a previous enthusiast must have extracted from a Royale Catologue sheet, so they are not of the same quality as the top image above, but you still get a good sense of how they looked and the added compensation that many of them are numbered which assists sequencing the storyline (although these numbers are a mixed blessing for that, as we will see).

~

 In my original mitchmen reviews of Royale Studio, I included the image above in a post entitled 'The Itch' with a storyline which suggested that the piggy-backing pair had played a prank on their colleague by putting itching powder into his underpants. I got this story from the website of 'Sailor Al' (now defunct) but I now know that the images I presented there actually came from two different Royale series - 'Navy Romeo' and 'Navy Gash'. Neither of them were called 'The Itch', nor is any itching referenced in the plot summaries provided in the the Royal Catalogue, which simply says of Romeo Part 1:-

"R.N. matelots Tom and Spike watch Ted, a ladies man, strip and change into whites for The Dance. Behind a screen they take the mickey out of him as he preens himself as he dresses".

However there is a plausible support for the itching powder idea in the imagery itself which I will point out as we go.

 ~

Royale Studio - Navy Romeo 01? or 02?

Tom and Spike peer over a screen to spy on Ted in his underwear which is of the white, high-waisted variety (possibly Y-fronts) which were the norm around 1960. This image gives a reasonably good impression of the erotic appeal of that garment on the right man. The image reflected in the slightly tilted mirror cleverly exaggerates his  thigh size, if only we could see the rest a bit better! Ted is clearly admiring himself, but we can only speculate about where Tom and Spike's interest lies. 

I don't have a numbered version of this image but Ted's underwear and the upright pose of the spectators seems to place it in front of No 3, shown below. I don't know if it is 1 or 2, the other is missing.

Royale Studio - Navy Romeo 03

Ted holds up his white bell bottoms to inspect them. They cast an odd shadow on his crotch - or is that a stain? It gives us a teasing clue to his contours. Tom and Spike crane closer to watch and their own bottom-hugging trousers make a sexy sight (remember they have been dampened to promote clinging!).Their interest certainly reflects the 'official' storyline of them mocking the vanity of the unit's 'Romeo'. It also fits the 'itch' scenario with Ted here having noticed an itch and checking if it's his trousers causing the problem. Perhaps the missing image 2 showed him scratching! 

Both scenarios are erotic in their own right but the underlying theme of them watching Ted dressing and undressing was powerful stuff in itself back then. Even to admire another man's naked body was considered a disgusting perversion in polite society (except in the non-sexual context of a body building competion and even that was dubious). Royale uses the boisterous cameradery of men in the forces to disguise this 'hidden eroticism' in the images.

I have a smaller, thumbnail version of this image, explicitly numbered '3'. Where I am not certain of the numbering I have put a question mark next to my guess in the picture captions. I have also attempted to enhance some of these images by reducing the gamma but the lighter originals can be found in the mitchmen archive file for this series along with the thumbnail versions.

Royale Studio - Navy Romeo 04

The story wanders into deeper waters here as Ted lowers his underpants and exposes his bare bottom. It's not clear what exactly he's doing, but it obviously involves his groin area. In those days 'the itch' was a euphemism for a sexually-transmitted disease and to me it looks as if Ted might be getting something to 'sooth' or treat the area in question. You might prefer an explanation that he's fragrancing it in anticipation of  success at The Dance but either way his credentials as a (straight) sexual adventurer are enhanced.

Tom grabs the top of the screen in his eagerness to see more (but of what?). Spike puts his hands on his hips in  a manly stance which creates a great view of his backside and broad shoulders. This could be seen as him standing back, hands well away from anything naughty, laughing to himself at Ted's predicament. However, his pelvis is thrust forward, a typical expression of sexual male bravado and it's directed towards Ted's ass, suggesting an imaginary coupling.


Royale Studio - Navy Romeo 05?

Here, Tom gets up on Spike's back. This piggy-back pose links the next three images together although only one of them is numbered - No 7. The other two fit neatly into the gap between 4 and 7 although it's not obvious which way round they go. I have used the increasing curiousity of the two Peeping Toms to sequence them here. 

Ted has now put his trousers on and is changing into his best boots which can be seen on the floor below the chair in the previous picture. I have a suspicion that Spike may have provided them for him as he seems to be wearing only dark socks in some of these pictures. Anyway, we get a glimpse of Ted's hairy pecs but lower places that might be considered to be of unseemly interest are discreetly obscured. 

Instead, the main erotic feature is the continuing 'bottom fest' provided by Tom and Spike. Their bent over, receptive poses, intimately entwined, make a very sexy image indeed, emphasising their close, boyish friendship but also suggesting a mutual interest in Ted that goes beyond playing 'tricks' on him*.  Their double-decker display of eagerness, vying for 'pole' position, is a tribute to Ted's desirability (and the boy's desperation!) Spike's butch pose in the previous picture adds to the intensity of this swirl of masculinity. 

*Even in the 1960's, trick was common parlance for a casual sexual partner.


Royale Studio - Navy Romeo 06?

Ted kneels here with his trousers lowered as though making an adjustment and displays a bottom cleft that goes way beyond the merely erotic. Suddenly we realise that he seems to wearing no underwear on at all. You can attribute the decision to 'go commando' to his preferred seduction technique with the ladies or the itching powder, whatever you wish. 

You can strongly sense Spike and Tom's heightened excitement at this development and that's thanks to the photographer's visual crafting:- he has got Spike to hook Tom's legs round his hips in the traditional piggy-back style and that has pulled them into a wide open and very sexy position. Spike's own legs have also shifted into a wider, slightly couching stance and the result is that both men's trousers are stretched so tightly across their bottoms that they look like tights. It's like purified porn.

Now look at the reflection in the mirror. It seems to show all three men stacked astride each other. This might pass as playground-style fun to the innocent but by this point in the story, the implication of sexual involvement is unmistakeable. It is so sad that the creative talent behind this remarkable image has been largely forgotten.


I haven't been able to think up a convincing narrative for what Ted is doing here. He seems to be trying to manouveur his trousers over his shoes (a challenge most of us have attempted with jeans!). However this doesn't seem to fit very well with the previous image. There seems to be a case for reversing them but although I don't have a numbered thumbnail of image 06?, but Ted's bare bottom and his position in front of the mirror provide very good continuity into image 07 below. If anything, image 05? above seems to fit better between 07 and 08, which we are just coming to. It's possible Royale may have decided to leave it out of the numbered set as not being interesting enough. That would leave room for an image 5 that shows Ted discarding his underwear. Yum! Shame I don't have it.

Of course, we can't assume that Royale's numbering is strictly correct, nor that these sets were photographed in a strict chronological sequence. Doubling back to produce 'in-fills' or insert extra pictures is always likely to result in continuity errors. There's another anomaly like this in Part 2 of this series. 


Royale Studio - Navy Romeo 07

The full-size version of this image appears at the top of this post so I've used the numbered thumbnail here 

Ted pulls up his trousers and is caught in a peek-a-boo position that is classic 1950's naughtiness (but only as a pose for women of course). It seems to confirm Ted's no-underwear dress decision. Spike and Ted are nearly falling over themselves to get at this peachy sight, feast on those yummy buttocks! 

This time the reflection in the mirror shows them creeping up, unseen, behind the unsuspecting Ted. There's a touch of menace in this which parodies and exploits the widespread, then view homosexuals preying on innocent men and seducing them into their vile, unnatural ways (and make no mistake, those were exactly the sort of words that were openly used about men like us).

Royale Studio - Navy Romeo 08

Ted is not tying up his boot laces here, but strapping gaiters round his ankles. These are stiff ankle protectors and intended also to capture the billowing bell bottoms and close off the open top of the boots for protection and safety in a combat situation. They are seen lying on the floor in picture 05? of this series and more clearly when worn by Ted in the pictures that follow this one. His leg-up position here creates yet another provocative pose out of a mundane everyday activity. One which the on-lookers find an almost irresistible target.

I probably don't need to point out the (barely) hidden eroticism of Spike's toe aimed at the cleft in Ted's backside but there's also a more subtle, secondary titillation with it's close proximity to Ted's own foot, suggestive of lovers playing 'footsie'. Spikes open, leaning-back pose is itself suggestive of intimate spooning with Ted (for a sex-starved imagination at any rate)! I suspect there was an interesting reflection in the mirror too, just off to the right. There's a similar 'closeness' going on between Tom and Spike. The subtle, erotic choreography of some of these images is amazingly complex. This picture also brings out a rather nice impression of the tight fit of Tom and Spike's trousers round the lower body and thighs, with a pleasing profile of Tom's bottom (extreme left).

Strong lighting from the left of Ted casts an odd shadow of his arm which has the extraordinary effect of making his trouser pants look completely open at the back. I haven't seen a full size version of this image so I can't say if this is deliberate artistry or a fortuitous quirk of the smaller scale picture. However, it is a graphic reminder of his discarded underwear, which I suspect is the little white pile on the floor just beyond his foot (see below also). There's another tantalising shadow in picture 03.


Royale Studio - Navy Romeo 09

With preparations complete, Ted imagines introducing himself to the film star pin-up on the wall and you can almost imagine him saying “don't I look great?” (not without reason from where I'm sitting!). The two mischievous voyeurs pause from their lusting to parody his action with Spike making a courtly bow and Tom simulating feminine surprise and delight. Cynics might see the less-than-modest forward thrust of his lower body here as an invitation for Spike to dip his head a little lower.

The dressy effect of Ted's gaiters and the discarded underwear on the floor are clearly visible here


Royale Studio - Navy Romeo 10

This image probably gives us the best view of Ted's attractive figure with the enhancing effect of his hip-hugging trousers complemented by the tightness of the RN shirt around his torso. It's low cut, square, head opening accentuates the sweep of his neck. He seems to be holding a cushion in his arms here as a substitute for the real thing he desires.

Behind the screen Spike and Tom pose as though kissing each other but their bodies and lips are not actually touching. It's interesting to consider how the censors would have viewed this. The female film star is a reminder that kisses like this between men and women were commonplace in movies and yet men passionately kissing each other was absolutely taboo. By distancing of the pair and providing the clearly-announced, humorous context of 'taking the mickey' out of their straight colleague the scene might have escaped the red pen in a live, theatrical context. Unfortunately the unashamed eroticism of the pictures that frame this scene nullifies that possibility.

Royale would have known that would be the case – the minds behind these complex images are not without intelligence, nor naïve. So it's more likely that this is another deliberate parody, not only of heterosexual vanity, but of the whole concept of censorship as it was applied to relationships between men. But imagine how comforting this portrayal would have been for lonely, gay men who saw the image, using the masculine aura of military servicemen to present men kissing as something that was perfectly OK. Notice though, that it still takes place in secret, out of the sight of the heterosexual.

The numbered thumbnail for this image (in the archive) is less closely cropped than this variant.

 

Royale Studio - Navy Romeo 11

In this image Ted appears to be holding something up as though to kiss it. It doesn't seem to be the same cushion-like object as in the preceding picture - that is now placed on the chair. The boys behind the screen eagerly return to their surveillance and Spike makes the 'OK' sign as though Ted's action means that their plan is now going well.

I confess I'm not certain what this means, but if you look closely, you might notice that Ted's attention in these pictures actually seems focussed, not on the glamorous film star, but on the other hard-to-make-out photo just above, which looks a bit like a showgirl in black stockings. In fact I believe this is one of Royale's infamous*, high-booted, Horse Guards images, rather like the one below, but with the subject in the process of undressing. 

 *Royale famously published pictures of real members of the Royal Horse Guards regiment posing in a mixture of their proper uniform and racy underwear. It was a very public scandal that made the tabloid front pages and may have helped the cause of homosexual law reform. Royale's successor 'Guys in Uniform' repeated the feat in 1976.

 

Charles Kassapian as a Horse Guard, by Royale

That conjecture leads me to believe that what Ted is holding up may actually be bank notes, as though reminding us that the Queen's men can be bought for money. Simultaneously it's suggesting that Ted, the supposedly straight hunk, is not averse to buying such favours himself, thereby implying that the terrible 'queer' malady is also rife in the realm of The Royal Navy. What a superb mockery of the heterosexual establishment! No wonder Spike is so pleased with himself!

Back at picture 11, and on a more basic, erotic level, the reflection in the mirror at this point introduces the startling impression of Spike reaching up between Ted's legs to grope him, but the casual observer would never spot it. This dull little story positively sparkles with hidden homoerotic gems!

Notice that in this image Spike's trousers seem to have a 'bare' back window similar to Ted's in picture 08. It must be that this is the effect of the stretched, wet pants becoming slightly transparent and showing skin colour beneath. The dark shadow and whiter area to the right is the front flap of his uniform which is a double layer of fabric and not tight and thus shows as white. A different visual effect, caused by lighting from opposite sides seems to show Ted's bare legs showing though his trousers.

 

Royale Studio - Navy Romeo 12?

The true object of Ted's interest is even more obvious in this picture and the boys are so excited that they squat down piggy-back fashion to peek through a crack (yes a crack!) in a pose that seems to abjectly beg for Ted's (or our, or anyone's) attention. It's not far short of simulating intercourse between them and at this point there's no real attempt to hide the eroticism. Despite the revelation about Ted's true inclinations he cuts a figure just as attractive and manly as he did to them before (well of course he does!). His reflection in the mirror seems to introduce an element of ambiguity as to the direction of those inclinations, but they are happy, nay eager, to go down for him.

If Royale ever applied 'The Itch' to this series, it takes on a very different meaning here.


Royale Studio - Navy Romeo 14?

This looks as if it might be the end of Part 1 with Ted appearing to be departing (looking great) and the boys exchanging kisses (disguised as a high-five) and apparently very satisfied with the outcome.

I don't know exactly how many pictures there are in Part 1. The earliest image number I can positively identify in Part 2 is No 21 and I think it has 5 images in front of it, so that would mean Part 1 numbers 15. However, I've given this picture the number 14 (or it could even be 13) because the opening of Part 2 suggests that at the end of Part 1, Ted discovers that he's being spied on with some sort of confrontation happening. You'll see what I mean in Part 2 (to follow soon).

~

Royale Props and Accessories

Royale's specially prepared uniforms are responsible for much of the erotic flavour of these images but the props and accessories also play a part and some become familiar friends in different photo sets.

In these concluding pictures of Navy Romeo, Part 1 we get a good view of the Chinese bamboo screen that has concealed the voyeurs from their quarry throughout. It's not naval issue obviously! However, it's plausible that these men (regular sailors or forced conscripts) might be allowed personal items such as this in a barracks setting. The antique, oriental style tells you about the artistic taste of the producers of these photos, since they would have provided this prop.

The mirror plays an equally important role in the story, as it's used to emphasise Romeo Ted's vanity, but it's also a device for slipping in tantalising glimpses of anatomy (e.g. Nos 3, 12) and in telescoping the participants together to construct suggestive positions (e.g. Nos 6, 7, 11). The mirror also features in a number of other Royale series where it provides a 'virtual' partner for solo posers and simulates more forbidden physical contact between men and reflections.

~

To be continued in Navy Romeo - Part 2

The mitchmen Royale Open Archive link to this set will be provided at the end of this group of posts.


Monday, 23 August 2021

Art by Arsch

 

Arsch - Stress Test

I'm drawn to the restraint position and the medical and milking themes in this image by Arsch. 

Closer inspection reveals a degree of intensity in the proceedings that is somewhat disturbing and the gloved hands in the foreground are distinctly sinister.

On an artistic level the detailing is impressive with an authentic 'cluttered' effect for the lab surroundings, I love the noticeboard. There's also a close attention to texturing of clothing and the surface of the platform/bed, for example. The skin of the subject is similarly enhanced producing a veining effect which gives an impression of heightened stress, an authentic elaboration but for me it detracts from the sensuality of the subject.

The given title of this piece does not quite tally with the that shown on the monitor display in the background of the image. I can't find any definition or translation for the word 'estrust', however 'estrus' has an interesting definition which may be relevant.

I can't find a link for the artist.

Saturday, 21 August 2021

Bareass Blogs No 55

 

Bareass Bunkhouse Boldness
 

The sun was just rising when Chet finally got back to the bunkhouse of the Bent Arrow Ranch. It had taken him longer than he'd expected and he prayed no one was awake in there yet. He'd have a hard time explaining to the other guys just how he'd manage to lose his pants and his horse, so that he'd had to walk all the way back from the farthest range half-dressed. You couldn't blame that sort of thing on hostiles any more and they would rag him mercilessly. 

Worse than that, though, was the possiblity that some of them were lying awake inside and curating their morning woods, especially Big John. If he caught sight of Chet's bare ass cheeks peeking out of the back of his chaps he'd not be content to just look at them and joke about it. No Siree, he'd be out of bed like a shot to give him and his ass a hard time of the kind that would wake everyone else up, primed for action and eager to join in. 

He shuddered and checked his step, then set his boot down as gently as he could on the step. It creaked and he suppressed a curse. His bunk was close to the door, if he was quick he could sneak in and slip his gear off quietly under the blanket, then no-one would ever know. Better get his boots off first out here then. As he sat down on the step to slip them off it creaked again. Trembling with tension, he tip-toed up the step and into the darkness beyond the doorway........ 

~

Go to Bareass No 56

 
This image comes from the Colt 'Bunkhouse' series

Friday, 20 August 2021

Bareass Blogs No 54


 BareAss Blushes of a Ball Hog*

 

*also known as a 'Black Hole'. Once a ball reaches a “black hole” player (i.e. He is a black hole), it is never coming out again to another teammate! Your science fact for the day – A “black hole” star has gravity so strong that nothing – not even light, let alone a lacrosse ball  – can escape from it. Little wonder then that exasperated colleagues see red!

 

Go to Bareass No 55 (link and post pending)

 

Tuesday, 17 August 2021

Mitchell's Fetish Art - Kyle's Night Visitor

Mitchell - Night Visitor in Hood

 Kyle emerged from a weird dream of enveloping darkness to find someone in his bed with him and peeling down his pyjamas. It was almost impossible in the darkness to see the intruder since he was clad in black from head to toe, including a tight-fitting hood which hid nearly all of his face. However,  it was very obvious to Kyle that he was big and he was strong. Kyle was too frightened to do anything as the stranger slid an arm between his legs and lifted his body off the bedsheet, but when he felt warm nuzzling pressure between his thighs, his body did the talking for him. 

~

Another of my series featuring the mysterious 'Night Visitor'. 

Is it a burglar who broke into the wrong room and decided to make the best of it;
or has he specifically come for Kyle?

~

For other mitchmen Night Visitors. click on the label at the foot of this post.

For other pictures by Mitchell at mitchmen blog. click on the 'mitchpix' label 

Visit the Gallery Hub (tab at top of page) for directions to all the Mitchell 'mitchmen' galleries

Saturday, 14 August 2021

First Catch Your Rogue - 24

 
Once you've caught him, deter him from leaving

I found that confiscating a guy's shorts is just as effective as using physical restraint.
But getting him out of them wasn't that easy, as you might imagine......
 
 

He was full of swagger at first, acting like he owned the place.
 
I'd surprised him creeping round my house in the middle of the night and he was still thinking he could leave whenever he wanted. That was in spite of the fact that he'd already made a run for it and discovered that the open window he'd come in through so easily was now firmly closed and locked - and that the glass was virtually unbreakable. Unless you had a sledgehammer, which, understandably, he hadn't thought to bring with him. Another panic dash to the door revealed it was locked too, even though I'd just walked in through it. The wonders of electronics eh?
 
I sat him down and we had a long chat. I explained that I'd triggered the expensive security system to seal every entrance and exit. It had also alerted the Police, but things being what they are these days it might be a while before they turned up, so we just had to wait for them. I was in no hurry, though, I thought it was pretty cool having this chunky young man for company - once he'd calmed down that is. 
 
Because of the hot nights we'd been having, he'd come to burgle me wearing shorts. Silky skimpy ones they were too. Nice. I could imagine his butt clenching anxiously in them as he tried to figure out a way to escape before the cops arrived. 
 
 
 
Time went by and he tried various other ways to get out before it dawned on him (slowly) that the only way was to persuade me to unlock the door. I was so taken by his confusion that I'd started taking pictures of him. We had a little scuffle then as he tried to force me to stop, but I'm a big bloke and he wasn't much of a fighter and soon discovered I was no push-over. 
 
So the wait went on and on and he sprawled on the settee cockily, becoming more and more confident that his mask concealed his identity and that the Police were not going to come anyway. 
By now it was beginning to get light.
 
That was when I addressed him using his name. That made him sit up. 
How could I know that?
 
 

It was pure luck that I'd seen him larking around with his mates in the coffee shop round the corner a few days earlier. It's possible they were in the area specifically to case my joint. Loud young men, but nice enough to look at. So I looked at them and I listened and before long I had caught most of the nick names they used with each other. So when I addressed Dino (my reluctant guest) using his, he was understandably shocked. All the more so when I also insinuated that I knew someone in his family. I didn't, but he wasn't to know that. 
 
He looked at me and my incriminating camera very hard indeed now. I had to hand it to him, he didn't just cave in, I could see he was thinking of having another go at me to force his way out. It was time to give him an easier option. Sort of. I suggested I might just let him go, if he lifted his shirt for me.
 
 
 
 
 
'Shirt-lifter' is a loaded term in this neck of the woods. He looked at me again and this time I know he was thinking, "this guy's a pervert!" That was Fair enough, I am. I could have have him in a naked hog-tie by now if I'd wanted, but inducing voluntary submission is more interesting when you've time on your hands. 
 
Anyway Dino thought he'd found a weakness he could exploit, but he couldn't figure out how, except by doing as I had asked. So gingerly he lifted his tee shirt. The wary look in his eyes betrayed an inner anxiety about baring his flesh to me and that gave me a bit of a thrill. I have to say I was very pleasantly surprised by what he revealed too. Better than might have been expected given that silly hat he had on. 



By pure good luck, just that at that moment, a siren could be heard outside, getting closer. His eyes shot to the window and he froze providing me with a nice abs twist and a look of dismay that was priceless. 
He wasn't half so cocky now. 
 
"Don't worry, Dino" I said. "If you've got your shorts down when they knock, I won't let them in".

You should have seen the look he gave me then, he was flummoxed by my brazen offer.
 
"Just show me your ass Dino" I added in the friendliest tone I could manufacture "and I'll tell them you managed to get away from me".
 
His look was pure hatred, but slowly he turned and lowered his shorts.



I have to say than the sight of him dejectedly kneeling to show me his backside was truly a moment to savour and my camera was chattering with excitement too, busily sealing his fate.
 
"Marty would love this" I remarked casually. Marty was one of his mates in the Coffee Shop.

He shot me a look of utter panic, unable to comprehend how I knew about Marty too.
"You wouldn't....!." he gasped

"Just co-operate" I replied, " get your shorts off and I might even give you a tip for your trouble."

The possibility of payment for this humiliation, somehow made it OK in his scheming mind.
He climbed out of his shorts and I took them and tossed them into a distant corner.
This was great, Dino wasn't going anywhere, soon I'd have him eating out of my hand, like a pet.

 

In fact, I even managed to get him to kneel on top of a table like a performing dog.....
 

 
.......and then sprawling on my settee like a baby.
 
All the while keeping up the ludicrous pretence that his cap and mask would preserve his anonymity.


It was fun persuading him to take up provocative positions and seeing how close I could get.
 
~
 
Anyway, eventually the Police did turn up. Oh yes, it hadn't been a bluff at all.
By that time I'd got poor Dino totally naked and he was understandably terrified.
 That was how I got him into my bed. 
He hid there under the sheets while they searched for clues.
I told the cops it was my wife, who was ill.

 



After they'd gone Dino was so relieved he had to relieve himself!
He hadn't got the gumption to resist my camera any more. 

What happened after that?
Well, that is between him and me.
 
~
 

Images of Matthew Attard courtesy of Bentley Race
This story is pure fiction of course and the model is just an actor in it.  
I'm sure he's not a rogue at all, just shy.



 

For more 'Rogues' or more silly 'Hats', click on the labels below

Wednesday, 11 August 2021

The Art of Mylkichoco

Yami(?) by Mylkichoco

An artist in the modern 'painterly' style with shading in angular 'planes', very sophisticated.

This simple bondage image appeals to me immensely, no least for the slightly spiky, mature-looking face and fantasy hair-styling. He's also shown below striking a sexy pose (which might be what got him into this fix!). As with many modern artists, Mylkichoco is strongly influenced by games characters which gives him some latitude when creating images of them

The attribution of Yami to this character may not be correct


Open shirts do it for me (assuming there's something interesting underneath of course) and I love the tears in his shoulder sleeve here as he pulls it off - shades of The Incredible Hulk only this guy's more attractive. The glimpse of underwear and very low-rise pants (including a nicely bulged crotch) makes this picture more deliberately erotic than it seems at first sight.

That tight biceps fit reminds me of one of my first sightings of a Cop when visiting the US, I was amazed that his muscles really were as big as a Tom Cop and his shirt just as tight. How are they allowed to walk round like that?

 


There's just a suggestion of bondage in this image, which is apparently of a captive waiting to find out what's to be done with him. There's not a lot of conviction in the scenario, compared with the concentrated effort that's obviously gone into detailing his face and muscular body. 

This artist often shows neck tattoos which I believe identify the name of the character. There's a variant of this picture called 'One Step Closer' which shows one of the two symbols crossed out as though an identity change has been surgically inflicted on him, you can see a clue to that in the background here, intriguing!



This tentacle image is unusual in that the victim is strikingly handsome in the modern style and has also been allowed retained his trousers, nicely peeled open at the fly with interesting contents lower down. There are nude variants of this image but the pose is rather rigid and doesn't convey any great sense of alarm or pleasure. You get the impression that this is a fan-art exercise with a celebrity head grafted onto a standard fetish experience. Fun for the artist in his imagination but not entirely attention-grabbing for us.

 


By contrast this vanilla image of 'Professor Redfield' (related to Chris?) is much more interesting. The adage that no-one makes passes at men who wear glasses is thoroughly discredited here, but it takes good artistic observation to spot the 'right' glasses to work this magic. The dusting of body hair is delicious (although I confess I find looking at such adornments rather more exciting than chewing on them). You can find a lot of similar 'pin up' images by this artist on the net but this one has more character than most of them. It's a great picture and it makes me long to see more of this man in action of some sort (not necessarily sexual).



This is a different character 'David Grau', the artist's OC (own character, his avatar). I sense a photographic foundation behind this image but the artist's embellishments have made it his own and  it conveys a great sense of sexy playfulness that makes you want to meet him! The empty condom wrapper might mean he's run out or maybe he's already put it on, ready!



In 'Bros' Mylkichoco has got two men embracing and it's no mean feat to pull off the interweaving of limbs and bodies as convincingly as this. The first impression is of buddies playfully wrestling and the lifted tee shirt and glimpse of pubic hair give it an erotic tang. However the serious expression of the carrier (and the rather ill-defined bulge at his crotch) suggests that this might be more intimacy than he actually wants. Alternatively, this is something completely different, the pathos deriving from a rescue situation, where he has the responsibility of getting his injured friend safely home.

 


For an artist greatly influenced by fantasy and gaming it's only appropriate to finish with his depiction of the original superhero and it's one that brings back the youthful 'jock' handsomeness and charm that characterised the original comics and Christopher Reeve's interpretation. I love that cute nose! The artist has coupled that look with the stylish and subtly-toned 'armour' of present day films.
 

~

 The only site I can find for this artist is Mylkichoco @Tumbex - which is mostly vanilla with some amusing captioned photos as well. I feel sure he must be producing more adventurous art somewhere, perhaps under a different name, but I haven't succeeded in finding it yet!

You'll find plenty of examples of his work using a search engine

Sunday, 8 August 2021

Beautifully Bound


 I normally advocate simplicity in bondage imagery but the sheer bulk of the bindings here suggests a determination that this captive will not be permitted to escape. The uniformity of the ropes compensates for their tangled complexity.  However it's the subjects raised feet and dipped head that transform what might be a relatively ordinary bondage picture into into something more memorable. They suggest a desperate struggle is fizzling out and the captive's head has sunk onto the carpet signifying his surrender and submission. The worn and frayed ropes show he's not the first. Glorious shoulders.

No model ID but it's by Roped Studs, it could be Darren? Yep Darren

For other images in the mitchmen, 'Beautifully Bound' series click on the label below

Friday, 6 August 2021

The Art of Amalaric 9d - Afghan Detour

 

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For my fourth and final 'bonbon' I return to a work that featured briefly in Part 8. It differs from the stories of deliberate abductions of innocents because this man becomes a captive as a direct result of being a soldier. He's a Corporal, name unknown, a Prisoner of War, strictly speaking, but his capture is a less-than-glorious result of over-enthusiastic aggression against the inhabitants of a quiet village in poppy-growing country. You get a sense of his 'bad ass' character in the image above.

He loses contact with his comrades in the side streets and ends up surrounded by understandably hostile and armed locals giving him no option but to surrender. By the time his disappearance is noticed he is tied up and on his way to a distant place where his comrades wouldn't even think to look for him, there to be handed over to the dreaded local militia. Their first act is to make him strip down to his briefs. This has the multiple benefits of (a) humiliating him, (b) depriving him of his status as a soldier, (c) impressing on him how helpless he is and (d) turning his underpants into a prison uniform and low tech 'tag', making escape as difficult as if he were chained to a wall.

In Amalaric's picture he has a chance to reflect on his actions and his parlous position. You can almost see him thinking 'Oh shit!' and bracing himself for what comes next. The garb of his guard underlines the gulf between them, none of his body can be seen and the practical face-covering of desert dwellers gives him a sinister and menacing air. There's not even the comforting sense that he is just another soldier doing his duty.


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In due course the Corporal is indeed chained to the wall (of course!) and there he forfeits the last shreds of his modesty. He's put on display for locals to come and inspect. For some it will be their first sight of an American in the flesh, so naturally they prod and poke him, they tease and ridicule him, they show their anger and contempt too too and he has to take it all, impotent to defend himself. Trashing their homes doesn't seem so clever now and they haven't even started to interrogate him yet. His face shows his mounting fear as he wonders what it will feel like to be whipped, for that is what he has been promised.

The Corporal has little information to give to his captors, but they torture him anyway and grow to respect his resilience and courage. That's little comfort to him in his agonies but maybe it helps to save his life. Maybe the satisfaction they derive from testing his unbreakable spirit is just too good to end. The unexpected discovery of such a manly specimen from amongst the evil enemy warrants better. It makes him a trophy captive and so gives them kudos amongst friends and colleagues.

As you might expect they soon want to see and test the strong American for themselves and as his reputation grows payment can be demanded for his 'performances'. Given the intense bodily involvement that defines these encounters, it's to be expected that some men will want to conclude with sexual intimacy. It matters not whether it's his natural inclination, in fact divulging the existence of 'the girlfriend back home' only adds desirability.

 

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Unfortunately keeping him alive means another mouth to feed and he also has to be kept in peak condition for the 'entertainments' and allowed to recover from the extremes of over-enthusiastic tormentors. In the end someone has the bright idea of using him to pull the plough out in the fields. This enables him to earn his keep and get some fresh air while maintaining his strength and fitness. Using him as a substitute for a dumb beast reminds him of his still lowly status, popular though he might have become with some men. It's a sort of enslavement within an enslavement.

Needless to say he doesn't get his own clothing back, nor is he even allowed to wear the threadbare, filthy cast-offs of others. He's always tied up when he's not imprisoned, since he's still an enemy soldier and cannot be trusted. More importantly, if he runs off and falls into the hands of the locals then he'll probably end up worth nothing at all. For ploughing he's tied to a yoke improvised from a branch. It's similar to that used to restrain Kelvanus, thebarbarian Prince (in the previous post) and in a sense that is what he has become in his own right, a Prince of Pain, you might say. Whatever would his rural parents think of this?

~

This is an exceptionally compact story but lacks none of Amalaric's loved ingredients. The imagery is attractive and richly composed, successfully invoking the 'stranger in a strange land' theme that was explored in Part 1 of this series. For a soldier, being cut off from his unit which is like a second family (sometimes more) and then plunged into a culture so utterly different from his own is a double shock. But more immediately than that, it is totally bewildering and you sense that in the images. In the narrative, Amalaric ensures that the Corporal's captors go out of their way to maximise his confusion and uncertainty, brutally imposing their mastery on him and their contempt for his impudence in invading their homeland.

Read 'Afghan Detour' at Telemachus12

~

The military setting of this story leads us into Part 10 'Military Manoeuvrers' (pending)

Read the whole of this series from Part 1