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Stephen's 'Golden Pasha'

 Stephen's 'Golden Pasha' dates from the nineteen sixties. It appears to be related in concept to, and a precursor to, the better known 'Sailors Beware' story, which came out in its first version shortly after 'Pasha', judging by the Kris Catalogue numbering. 

Stephen's 'Golden Pasha', Original Catalogue images
(rearranged from a vertical strip)

The Kris Catalogue entry for 'Pasha' (replicated above) showed 6 images, with all the characters in them respectably 'draped'. Three of them were also published in a larger format in a different catalogue. This article features an uncensored version which I found on the Tim In Vermont website before it was taken down. It didn't give any source information. 

 The three 'big' earlier images are included in the article below in the appropriate places. Unlike the revised version of 'Sailor Beware', the underlying images don't seem to have been significantly altered other than replacing the loin-cloths and pouches with not quite erect organs. No sex is shown.  

 

Stephen's 'Golden Pasha' 1

 

The Golden Pasha lounges in luxury while around him a harem of conspicuously naked, young men entertain him with music, grovel and pamper him. Notice the phallic uprights of his throne.

 

Stephen was quite fond of depicting musicians at this time. I suppose there's a certain innuendo in the horn blowing and string plucking of long-necked instruments.

 

 

Stephen's 'Golden Pasha' 1 (original version)

This earlier version shows all the characters in exactly the same positions. The three on the right have acquired pouches which seem to be carefully detailed with patterns (and jewels in the Pasha's case). The covering of the guard at the doorway, however, seems to have been painted on rather clumsily by comparison. The Pasha's pantaloons have also been altered, extending all the way up to his waist rather than finishing high up on the thigh, like stockings. 

 

Stephen's 'Golden Pasha' 2

 

The Pasha seems to be a hard master to serve. In the dungeon below, those who displease him are chained up, and he personally punishes each of them with his whip. His suspender belt is meticulously detailed and impressively jewelled. It's apparent that the 'Golden' tag relates to his wealth, not his sunny personality.

 

 

Stephen's 'Golden Pasha' 3

The Pasha's maltreatment of his slaves means he must watch them with an eagle eye for any signs of rebellion. But one slave at least has had enough. He has somehow procured a sleeping potion and secretly drugs the Pasha's wine. 

This picture almost seems to shift the scene to Japan, as witness the bonsai-like trees. The intricate decoration of the pillar on the left which includes a Fuji-like mountain, a stylised chrysanthemum and more typically Japanese style patterns in-between (plus an incongruous elephant, which is neither Arabian nor Japanese).

Some of Steve Masters' images around this time featured decorative detail like this. 

 

Stephen's 'Golden Pasha' 3 (original version)

This earlier version is little different. Again, the Pasha's pants have become thigh-wraps and his dick is covered by a jock-like, ribbed pouch (with a jewel encrusted top hem!). We can see more of the foreground, bottom left, which turns out to be a pool with fish and lilies. A show of his opulence.

 

Stephen's 'Golden Pasha' 4

Once the Pasha has fallen into a drugged sleep, his slaves rise up against him. Some have weapons, perhaps taken from the Palace Guards who seem to have deserted their master. Someone, at some point, has removed his pants and boots. As a result, the Pasha lies in a tempting, splayed legs position*. One of the rebels seems to be inviting everyone to have a go. 

*This is a favourite pose of Stephen's, it seems to turn up in many stories, twice in Night Patrol, in image 5 and image 8. The Pasha version is more convincing than some.

Stephen's 'Golden Pasha' 5

The Pasha awakes to find a knife menacing his chest and his treasure chest being looted. Perhaps more startlingly for him, his legs are in physical contact with the intimate regions of two of his slaves. One is resting between the buns of the looter. The other is raised between the legs of his immediate attacker, almost as if they had just had intercourse. Who knows? The threat of the knife seems to be equated with the threat of his dick. A choice to be made?

 

Stephen's 'Golden Pasha' 5 (original)

In the original version of image 5, pouches have sprouted once again, to conceal the less offensive weapons of the attackers.  The disappearance of the primary attacker's dick makes his knife seem a lot more menacing, although he's still deliberately angling it out from his groin. 

 The Pasha's modesty is protected by a casually draped cloth, looking a bit like leopard skin. Oddly enough, that device makes his nudity and vulnerability seem more apparent. His hairy legs, glimpsed in earlier pictures, come to the fore.

 All the slaves' faces have been upgraded in the nude version, in line with Stephen's later technique. In the original, we can see more of the architectural detail of the room, which adds greatly to the depth of the image. We can also see some subtle shading in the trees, which is probably washed out in the later version by the reproduction process.

Stephen's 'Golden Pasha' 6

In the final image, the Pasha himself is chained like a slave and forced to kneel, cringing in submission to his former slaves. He is stripped of his turban, the symbol of his rank, as well as the last vestiges of his clothing (except for one sock). He looks very naked now, and the raised position of his hands, behind his back, suggests he's desperately trying to free himself. Aware perhaps that he will soon make his first acquaintance with the business end of his own, vengeful whip in the dungeon. 

 

This is an interesting study of feet, which are less evident in the earlier pictures, but soon became Stephen's unique trademark. Perhaps the Pasha is being invited to address them with respectful lips. Their exaggerated size here creates a sense of powerful men and menace surrounding the cowed ruler. 

 

The intertwining of the feet with Stephen's signature seems to be deliberate, but it's unclear why, perhaps indicative of his personal fascination with them. I'm afraid it reminds me of sticky carpets in sleazy bars!

 

Stephen's 'Golden Pasha' 6 (original)

This cropped version comes from Drummer in 1976. It's interesting that that particular publication should decide to crop out the whip. It makes the Pasha seem cornered, rather than surrounded. Interesting too, that Drummer don't seem to have had the nude version at their disposal (unless, of course, they preferred the contrast and subtle power of nude vs clothed, i.e. CMNM). Either way, it's a tribute to the essence of domination in Stephen's drawing of this scene.

 

~ 

 

The Golden Pasha doesn't quite have the power of other Etienne stories. The draughtmanship is good quality, the sexuality subdued, but bubbling teasingly beneath the surface and between the frames. The Pasha's relationship with his harem/slaves seems to be strictly sadistic. It's they who seem to threaten him with sex as a punishment and humiliation. The simple morality of the story is a far cry from the aggressive sexual subjugations of Night Patrol, Marine Training and Here Comes the Groom to name just a few of Stephen's later creations. 

 

Perhaps that reflects the political changes of the 60s and the greater freedom of expression subsequently afforded to gay men. 

  

 ~

 

There are numerous other posts about Etienne here at mitchmen,

check out my Etienne index for articles mainly about him,

a general search on Etienne will bring up every reference.

 

There's also an 'Exclusively Etienne' Google Group 

that's easy to join.   

Footballer in Trouble by Kinky Callum

 

 

Coach:- "The Club pays you to score goals, Pirelli,

not to get yourself sent off after 10 minutes! 

Now bend over!" 

 

Pirelli:- "80 swats! That paddle really hurts, Coach.

I think I've learned my lesson". 

 

Coach:- "It ain't finished yet, Pirelli!

You'll get the same before every game

that you have to miss through suspension.

One swat for every single minute!". 

 

Pirelli:- "Gulp!" 

 

~ 

 

A week later... 

 

 

 

Coach:- "Stop whining, Pirelli! I warned you!  

You got yourself a four match suspension.

So you'll take my punishment before every one.

Now, where was I?"

 

Pirelli (in an emotional voice):- "Fifty three, Coach" 

 

Coach:- "Right. When I'm finished, you can go and sit on the bench, and watch your team-mates playing without you.

Now brace yourself, Pirelli". 

 

~

 

A week later... 

 

 

Pirelli:- "That was the worst yet, Coach".

 

Coach:- "Yes, Because we lost that last match, you had to sit out.

Consider yourself lucky that I'm not punishing you in front of the whole team. Now, go sit on the bench. Leave your shorts here".

 

Striker:- "But Coach!"

 

Coach:- "You heard me, go sit on the bench!"

 

~

 

Two weeks later... 

 

Coach:- "OK, Pirelli, you've served out your punishment.

Now convince me why I should let you back in the team".

 

Pirelli:- (gulp) "I'm really, really sorry, Coach. 

....blah, blah, blah 

You're a great trainer and I love playing for this team, 

....... blah, blah, blah...... 

I've really been training hard with the reserves, 

blah, blah, blah...... "

 

~

20 minutes later....... 

 

"Please Coach! Let me play again. Please! 

(tearfully) I'm begging!".

 

Coach:- OK Pirelli, I'll think about it.

Get up, go put your shorts back on, 

and get back to training with the reserves.

 

~

 

AI Art by Kinky Callum, narrative by mitchmen.

Kinky Callum is on 'X' as HHimbos

'Working Late' revived

Mitchell - Working Late

Delighted to see StoneCrooze has transformed one of my drawings with AI at Deviant Art. My storyline was about a skinhead scallywag getting into an office late at night and being caught by an employee, who was working late. After the usual plea not to call the Police, human nature takes its course.

I've always been quite proud of the characterisations of the two men and the sinister lighting effects that imply an element of malicious enjoyment on the part of the spanker. The AI adaptation didn't quite capture that subtlety, but substituted two splendid hunks. 

 

StoneCrooze - Spotlight #4

In the AI version, the intruder is transformed from a skinhead scallywag into a rugby type with ginger hair and hairy ass, which is some way from my concept, but these are characteristics which I love just as much. The resigned, dozy look on his face is priceless. 

 

The AI version of the sadistic employee on the other hand is probably more believable than mine, albeit with the rather dull demeanour of a responsible adult than a wicked devil taking advantage of the opportunity of a lifetime.   

 

The new picture seems more like a Coach and player scenario, but that's perfectly OK. Thanks StoneCrooze!

 

~ 

See also my mitchmen article on StoneCrooze 

 

There are several more variations at StoneCrooze (Deviant)  

Royale Scout Recruitment set

'IRESC, Scout Recruitment' is one of the least well-known, but most complete of the Royale & Hussar, famed, spanking photo-sets.

 

Attributed to Hussar, this 'playlet' is the story of an unconventional Scout induction, and it's spanking hot!

 

I have now posted all 36 images of the set at the Gallery. 

 

Go to Scout Recruitment

 

 Read The Scout Recruit profile page first
for the background to the set

Art by Steve Masters 3

Steve Masters - 'Silky' The Pride of the Pits (1961)

The term 'silky smooth' is sometimes applied to the smooth running of a well-tuned, well-lubricated motor engine, but the title of this piece also seems to mainly refer to the garments the guys are wearing. A great deal of effort has gone into making the driver's top look flimsy and clinging. However, silk is a fabric more associated with horse riding than oily motor sport, and in fact, a tear can be seen in the mechanic's top, allowing his nipple to show. 

The mechanic's posture, bent over and astride a tyre, has an obvious erotic significance, as does the phallic object right under his nose. The driver in the foreground seems to be preparing to engage gear with him. Even the oil cans on the floor (with leaking nipples) are joining in. A range of spanners on the wall, like the 'kill' badges on the cockpit of an air ace, suggest the mechanic has size capabilities exceeding his outward appearance.

The punchy decoration of the men's outfits with bold, but seemingly random symbols is a typical Steve Masters' technique. He commonly uses shoulder flashes, their body enhancing effect, quite likely inspired by his experience with the fashion industry. The red discs are more obscure, but this one draws attention to the driver's backside, whilst simultaneously half-obscuring the 'sucked-in' look which might imply enlargement on the far side. Its shaping also seems to reference the leather inserts of horse riding pants.

 

Steve Masters - 'Polo' The Pride of the Stables (1961)

This picture is an obvious companion piece, picking up the horse riding theme and set in the equivalent of The Pits for that sport. The reference to the Sport of Kings in the title provides an erotic pun for UK viewers (see Polo) questioning who Polo is. 'Stable Boy' is an expression of status not age, but Masters' is flirting with dangerous territory. 

Fortunately, the erotic messaging here is more muted than in 'Silky', with the Stud simply enjoying the hero worship by a fan who kisses his bicep (with some trepidation, it must be said) and his mount, who kisses his fist. Hmm. He's hiding his riding crop from both of them. 

The near-explicit rendering of the Stud's endowment reflects his pleasure at the attention. It is disguised on many surviving versions of this image and may well be toned down on this one too, but the shadow of it on his thigh has escaped 'correction'. 

I don't have the coloured version of this image, but the Stud's knee pads look like they may be more red circles (suggesting another aspect to his sexual character). The fit of his shirt resembles the treatment of the driver's in 'Silky'. 

 

Steve Masters - First Tattoo (1961)

Masters' was also interested in the direct decoration of men's bodies with tattoos, although the iconography he used was less bold than his clothing designs, being more intricate and more plentiful. In the picture above, tattooing is depicted as a rite of passage, but interestingly, it's the two mentors that exhibit sexual excitement. The figure in the foreground is actually pointing his out to us. The eagle taking flight out of his pants provides a graphic illustration of the erotic impact of well-considered tattoos. 

The initiate seems hesitant, the passive recipient of a badge of ownership. Like college hazing, joining 'the club' entails submitting to the control of the existing members. There's a hint that eagle man may be marking the occasion, too, adding a new 'kill badge' to his extensive collection. It's not a romantic gesture, more like a blood-brother ceremony with an intensely erotic subtext.

 

Steve Masters - Tattooed Man (1962)

This image shows a man's body completely covered with tattoos. It reflects an obsession reminiscent of the work of some of the Japanese Masters like Hasegawa and Mishima. However, Masters doesn't depict dense blocks of ink like them, his tattoos are delicate and in black and white they seem to emulate the effect of lace and sheer-patterned fabrics. If you look at the tattooed man's thighs, it's as if he's wearing nylon stockings. This image is an intriguing combination of male and female expressions of allure.

The man is wearing a cape*, which creates the impression that he is a circus performer. In fact, the whole background is circus-y. To the left of him is a poster about a fire-eater. He's breathing his flames over the tattooed body. That's a rare clue to Master's interest in S&M that inspired his choice of artist's name. This detail offers further insight into the ritualistic significance of tattoos for him. For the avoidance of doubt, the snake's head on the opposite side doubles up (oh so subtly!) as a hand manipulating a cock preparing to anoint the tattooed torso.

* The cape also serves as a device to separate him from the complex background. It, too, is faintly patterned, but will have been a different colour in the original picture. 

 

Steve Masters - Trapeze Artists

 Masters' had a special interest in Circuses and there are surviving images by him which show trapeze performers simply posing in their tights, without any additional erotic subtext.

 

Steve Masters - Circus Sneaker (my title)

This image seems to show an acrobat preparing to deal with a young man, caught sneaking around the 'Big Top'. The sack on the ground suggests he might have run away from home to join the circus, he might end up, end up and wishing he hadn't! 

Masters' characteristic 'random' lines create the 'double vision' impression that the youth is bare-topped, and that we can see his lean muscularity. Similarly. the detailing of his jeans around the backside is faint and ambiguous. The acrobat's top blurs the boundaries between clothing and tattoos, with looping lines creating just a sense of his hunky muscles. A 'dimple' on his backside seems to deliberately double up ominously as a flaccid cock. Notice too how the end of his belt is entangled with the youth's feet, suggesting his capture and being drawn into the acrobat's orbit.

 I published this image before in a post about little-known vintage spanking images. 

 I don't know if Masters had a personal connection to the Circus or was just picking up on the popular culture of the 50s, which produced numerous television programmes and films on the subject, (notably 'Trapeze' in 1956 which had a gay subtext). Tom of Finland also produced a Circus series around this time and featured acrobats in tights in some of his best known images.

 

Steve Masters - Circus Sneaker 2 (my title)

 This picture seems to revisit the same subject, except that the young man here seems to be exiting the tent rather than entering it. A thief leaving with his swag, perhaps. This one looks older and more muscular. The picture is obviously cropped, which means that the lines around his bicep and waist, plus the turn-ups of his jeans, are the only indication that he's actually wearing clothes. It's almost as if Masters is imagining the acrobat has X-ray vision. We can only imagine what erotic delights were chopped off by the editing process, but it's still left behind a suggestive image.

The acrobat seems to be waiting to spring his trap. He's drawn with a majestic grandeur, echoed in the eagle rising just behind him. It's a contrast with the bulky build of the previous image, but no less imposing.  

His belt is ready in his hand. The end of it curls as if he's just given it a preparatory snap. Stars on the board behind his backside seem to reflect his thoughts. His hand rests on his thigh as if he's itching to stroke himself - or just has done. Masters' has coloured a panel in his tights to simulate a posing pouch and added crease lines to suggest weight. It heightens the ambiguity between clothing and nakedness elsewhere - and possibly cloaks a more overtly erotic outline. 

 

Steve Masters -Cover Art for 'BIG'

 All Master's clothing designs look like Circus garb, but I've never seen an acrobat as daring as this. If only. It would give audiences the added suspense of him accidentally unstrapping mid-performance.

Masters was the design editor for BIG and all their covers featured 'cubicle' style* images like this 

(*see Part 2).

~

Part 4 of this series features a different style used by Steve Masters.

Read from Part 1 of this article  

Another post about Steve Masters at 'X'

Steam Baths 

Etienne's Medical Images

Where Would You Like It, Sir?

 I have added this better copy to the
 Index of Etienne Articles at mitchmen

 

Are You OK With Needles, Sir?

 Medical imagery by this artist is rare, but this one turned up recently in my uncatalogued collection.  

 

It's For Your Own Good!

 

I'm not sure that this really counts! 

Nevertheless, it's worth a look, if only for the wonderful

 expression on the patient's face! 

 

Medical Assessment

This one is from the Troopship story.

 

 

Medical Evidence

This one is a bit irregular too. A rating who has complained about being assaulted by the rest of the crew (a lot of them, anyway) is examined for evidence by his Senior Officer, instead of being sent to the ship's Doctor. The Officer's ulterior motive is easy to spot! 

 

from 'Navy Grease' 

 

Any other suggestions from Readers will be welcome

(via comments is best) 

 

otklad - AI Spanking Art 4

1

 This is a great image that doesn't really need to be particularised. A young man in shorts is intimidated by the muscular, older man right behind him. In otklad's universe he's probably cutting a switch for his own punishment under close supervision, his offence undisclosed, but there are many other interpretations. 

 

He's already cut an enormous pile of wood, suggesting he's gardening, pruning the tree, not just a delinquent on punishment detail. I can't help thinking that he looks a lot more excited than you'd expect a gardener to look too.... 

 

Hard At Work

 

 My take, for a change, is benign. Even when they are old enough to be at work, young men often have a terrible fear of their elders seeing into their soul.

 

 

2

This one is a bit harder to fathom. The characterisations of the two men don't readily fit the 'cut your own punishment switch' scenario. They seem too mature, and the spectacles disable conventional stereotyping. 

Of course, no man is ever too old or too responsible to be spanked, and there's a certain deliciousness in that. But if he's not a pliable son, still living at home, what's he doing in his shorts in the garden?  

 

Sauna Surprise

 

I resorted to the gardener meme again, recalling those ads where women ogle the bare top hunk mowing the lawn. The spectacles give this one a bit more class. The thinking man's crumpet, but not an easy lay on the face of it.

Woodshed Switch

 

This role reversal exploits the more equal relationship in a surprising way. Normally, spanking punishment is conducted in the privacy of the woodshed, to spare the victim's blushes. These look like spacious, private gardens, but the implied proximity of the punishment to home makes the open air option much more humiliating - and dangerous too, if there is a shared secret involved, providing the leverage for the neighbour. 

 

John just has to hope that nosy, Mrs Pringle doesn't pop her head over the fence for a chat with her attractive neighbour.

 

 

3. Missed Another Practice

Ah, the locker room substituted for the woodshed and the good old, traditionalist coach enforcing discipline. He can't be left out of any spanking equation, but changes in society over the years make it increasingly improbable for younger members of our tribe. 

 

The threat of being dropped from the team is no less potent, though. Just ask any Premier League footballer.  The coach's long-suffering expression here makes this image a little bit special, and I built on that for my take.....

 

 

Home Alone

'Home Alone' was never like this, but then again, those burglars didn't find a fully grown up, young man in occupation of the house when they thought the householder was away on holiday. This one's not been left behind by mistake, but has reached an age when he makes his own holiday arrangements with his friends from Uni. 

 

This intruder has obviously done his homework and has detailed plans for enjoying their long weekend together. He's calculated that a bit of controlled aggression will ensure compliance - and it's working so far. He even brought a change of clothing and selection of toys for them to play with. Next up is adjournment to the bedroom, for a careful, military style, inspection of the younger man's shaving.

 

 

4. A Little Chat

 

Otklad draws a veil over causation here too, but the undressed 'son' in this scenario is obviously too old to submit to being spanked easily. His father doesn't look much older for that matter. Perhaps he's a step-father, in which case friction between them is almost a given. He is also allowed to be cruel. Perhaps the step-son, home on vacation from uni, is learning that the house rules have changed in his absence. 

 

It was this image that suggested the 'Home Alone' scenario to me. The father figure with the retro look here, irresistibly reminded me of one of those cute, earnest detectives from crime dramas in the days when realism played second fiddle to star appeal at the box office.  

 

  

Interview With A Victim

The keen, young detective, in his quest for the truth, asks the victim to reenact the ordeal he suffered at the hands of a cruel intruder. Being a little wet behind the ears, he doesn't realise how embarrassing his questions are, particularly for a young man who has stripped to his underwear for the demonstration - and also finds him very attractive. 

 

You might suppose that the brush was used to dish out a traditional, post-shower paddling. In fact, the intruder's modus operandi was much the same as the one above. The shower was followed by a cleanliness inspection and finding himself dissatisfied, the invader finished the job himself. With relish.

 

The victim reluctantly explained that his second cleansing included vigorous scrubbing under the armpits and between the legs. Where the brush ended up after that meant that the intruder's DNA would probably have been wiped off the handle. 

 

More to come! 

 Read this series from Part 1

search "otklad" at mitchmen  

 

~ 

The imagery of otklad on 'X' is a great archive. 

He's now creating newer art on otklad.bsky.social