Real Men Do Wear Pouches

Brian Lamprill, in pouch, by Vic White

 

 

 I recently published a post at the mitchmen Royale Studio Gallery about the hunky Royale model Brian Lamprill. It featured photographs of him taken by a different, British photographer, Vic White. 

 

Vic White was a respected British body-builder in the 50s, so his choice of models and photography of them was based on a true appreciation of the artistic and physical qualities of a well-developed, male physique. 

 

What surprised me about the Lamprill portfolio though, was the sheer sexiness that emanated from it, not just from the model's face, bulk and oily curves, but from the frankly startling shaping of his posing pouch. (which may have got a bit oily, accidentally). It's very revealing that both the photographer and model were clearly comfortable with this.

 

These pictures were published in the British, beefcake magazine 'Man Alive' in 1960. Openly published I nearly said, but it was hard to get hold of copies, except by mail order subscription. Nevertheless, it seems remarkable in those oppressed times. It sparked an (admittedly prurient!) interest in me about this photographer, which revived when I came across the picture below in my files.

 

 

Ray Andrews by Vic White

I freely admit that this model is my 'type', not pretty but he has an innate 'maleness'. As with the image of Lamprill above, that quality emerges more strongly if you subtract the slightly camp, bodybuilder/ballet legs....

 

Ray Andrews by Vic White

 Ray's pouch is more discreetly arranged than Brian's, but you still get the picture. This much derided garment is capable of as much erotic impact as the most slick and skimpy of modern thongs. Its improvisatory appearance is itself part of the appeal, particularly on a man who looks far from being the sort who would be comfortable showing himself and being photographed in such unusual and revealing kit. 

 

After all, this is an era when men's underwear actually fitted around the waist, above the hips and hiding the navel. 

 

Prehistoric Men's Underwear ad

(a time when tents and men's briefs were carefully segregated

and you had to take pills for blue finger)

 

60's underpants also entirely covered the backside, whereas the pouch is completely backless. In these circumstances, Ray's confident looking pose is commendable. This man inspired my title for this post - Real Men Do Wear Pouches. 

 

 

Derek Manthorpe by Vic White

 This photo has similar qualities, a man with pleasant, but unremarkable facial features. You might imagine him working in an office. But he's unexpectedly showing an incredibly bulky torso and an incongruous pouch that seems weighed down by its contents. His expression seems to convey manly bewilderment at being asked to wear such a thing and having to hold his hands behind his back, (as if they were tied together) to leave the embarrassing, brazen display (and imaginary access to it by any viewer) entirely unrestricted. 

 

White has arranged Derek's pouch to be narrower than Ray's (pushing together the top hem, which slides freely on the support string like a simple curtain). His pouch sides drop vertically, creating the impression of weightiness (and, for the wearer, increasing the sense of brevity and openness at the sides). There's possibly (probably) been some sanitising of the pouch surface, but the w-shaped shadow/stain at its base is reassuringly shapely, crying out to be cradled, like billiard balls in a bag. White himself has cropped off the lower half of the picture but stopped just short of the pouch and that draws attention to it.

 

 

Ken Restall by Vic White

Ken Restall was another mature-looking man who looked an improbable choice for a model, but you can't argue with that physique! 

 

White has employed the same crotch-level, cropping device here and created a strange shadow underneath, which gives an impression of exceptional bulk in the pouch without showing any sensitive detail. It's set very low down on Ken's shaved abdomen, but the strings at the side suggest it should be even lower. It looks like unfinished adjustments.

 

Ken's finely chiselled torso is well worthy of the unrestricted display afforded by the hands above the head pose, but rather than opting for conventional bicep flexing arm he's chosen a hands-clasping position that gives the faint impression of him being tied.

 

 

Mike Tozer by Vic White

 Mike Tozer was something of a catch for White, well muscled with a photogenic personality. White snapped him in a traditional muscle pose here, but again with the pouch slung very low on a shaved abdomen. It looks like his pubic hair has been painted out just above the pouch. The photo is cropped slightly lower down the legs than those above, which brings out his impressively-sized thighs but seems to miniaturise the pouch.  

 

The pouch itself is at the opposite extreme to those just above - loose fitting, apparently, with an indentation that suggests thick material, which certainly hasn't been wetted. Perhaps Mike brought his own. Some of that linen crispness is attributable to the extreme AI adjustments I've resorted to, in order to create a brighter, sharper image, but the pouch looks just the same in the noisy original.

 

 It's not very flattering to a man, appearing to have very little to show seems worse than showing everything. However, spots like this, dark in the middle with a bright halo, often appear on old photographs, so I've experimented with a version treating this as noise.

 

Mike Tozer by Vic White (pouch modified)

This modified version is more like what you'd expect and credits Mike with a manly presence.  

 

Ray Golding by Vic White

White's manipulations with pouches seem to have reached a crescendo with this image. It's not obviously faked. How did he persuade the model to get into this? More to the point, I suppose, how did he persuade the conservative magazine, Man's World, to publish this in February 1959, well before the dawn of the permissive 60s? 

 

Ray Golding has the pop-star looks of that era and a physique that looks trim rather than well-muscled. Not White's usual material.

 

 

Ray Golding by Vic White

 

I don't know if Ray Golding is related to Roy, it's from late 1958 (Man Alive, issue 2) so it's conceivably the same person, but this image of him is worth including in its own right. He's got more oil on his body that he's got on his hair but its has a magical effect on his youthful physique. 

 

He gives the impression of a frustrated, young man who has just been told he can't borrow Dad's car. Or punished by having to wear a skimpy pouch, in my twisted imagination!  

 

His right arm is semi-flexed, like a bodybuilder pose, but it's placed on the far side so as not to interfere with the line of his body that flows down to the pouch nestling between his thighs. The pouch itself is clean and natural-looking with intriguing, if faint, contours and a teasing opening at the side.

 

 

Doug Preddy by Vic White

Another tribute to youth from around the same time (Aug 58). Doug strikes a 'thinker' pose, similar to Ray's, but more philosophical and classical. Doug's muscle credentials demonstrate a good deal of time spent in the gym, with the photo capturing splendid arm details. 

 

His raised leg ensures a clear pouch outline with bulkiness and ambiguous shaping that seems more suggestive than genuine. Sorry Doug! The indrawn ab just above compensates, seemingly inviting exploration and delving.

More on Vic White to come

Art by Catweazle

Catweazle01 - Defeated Hero

A muscular man is dragged unconscious through a deserted, institutional building by two nightmarish creatures. It's the classic hero in trouble scenario that has parallels with another favourite of mine: A Hero Dragged to his Fate by Ehrlik. This one too faces an uncertain fate and despite his youth, delectable appearance and scanty clothing, the nature of his captors seems to rule out any sexual threat (although the strategic positioning of his forearms might arouse suspicion in an all-human context). 

Rather, it's danger and death that fuels this artist's images. 

*These days we appreciate that it's wrong to assume that creatures that are different to us are necessarily evil, these might easily be post-apocalyptic, ambulance drivers bringing the victim of a traffic accident to A&E. Catweazle01 relieves us of that dilemma by consistently describing them as horrific monsters.

Catweazle01 - Dangerous Fog

This atmospheric image also expresses that sense of a dangerous world with a bearded hero on the steps of a shrine of some sort watching a strange creature emerging from the depths of the swamp. The fact that the steps descend directly into the swamp may imply that it has been constructed by the inhabitants of that hidden world but in any case we can safely assume that intruders into this mystical space are not welcome. 

You need a big screen magnification to fully enjoy the male characterisations in some of these epic-style images, but this artist often exploits the ability in 3D-rendering to present different viewpoints and close-ups of the scene in other images (See gallery link below). The scaling here puts the heroes apparent strength into a rather different perspective.

Catweazle01 - Pest Control

The artist's title is dismissive of the dangers posed by the creatures in this world but this does not look like a trivial crisis. The heroes nakedness makes him look very vulnerable and his deliciously hairy body makes him more like an ordinary guy who lifts weights rather than the stereotypical, smoothly- muscled he-man of fantasy fiction. In fact his haircut and neatly-styled, black, loin cloth both look quite modern and modern man is not exactly well-equipped to be cast into a primeval world. Nevertheless, he's bravely stepping up to defend his mate armed only with a big sword and a small shield. 

There doesn't seem to be any gay sub-text in Catweasel's work but the men usually go adventuring alone. Women pop up occasionally in a variety of roles, both dominant and submissive, but the focus of attention usually seems to be the man.

Catweazle01 -  Fight the Dinokonda

There's a similar situation in this image with another, very sexy man facing a formidable opponent in an even skimpier loincloth. Despite his muscles and confident fighting stance there's an alluring sense of vulnerability surrounding him. Too good to eat in our eyes but the creature must imagine it's another easy dinner, ready to go.

Catweazle01 -  Jurassic Fight 02

The closer the men get to their giant adversaries and the more naked they are, the sexier they seem. The hairiness of this hunk just seems to underline how exposed he is and it's very attractive. With Vallejo's heroes, smooth and slightly plastic bodied, you hardly notice after a while that are unclothed at all. He usually chooses to portray them as dominant victors and dominant males (and they usually have long hair, ugh!). Catweasle's men also have amazing physiques and strong personalities but their essence seems more normal, more modern. 

Catweazle01 -  Horror From The Deep

Of course, it can't be taken for granted that handsome muscles will prevail and the human is at a distinct disadvantage in the sea. Octopus pictures show tentacles with a tangible source which is refreshing, but unlike most tentacle-alia we naturally assume they see humans as food rather than sexual partners. Not so much dishy as dish of the day. 

It's also easier to visualise their arms as having incredible  crushing power rather than being playful, teasing restraints. So, the outlook for this man, who is perhaps an innocent diving fisherman or maybe a hero-adventurer helping to rid the locals of a nuisance to their boats, doesn't look too promising unless he knows of a vulnerability which his rather small knife can exploit.

Catweazle01 -  Primeval and Futuristic Archer

Another great looking man on the hunt makes a very pretty image.

 Is this more pest control or is he food gathering? This is a post apocalyptic world and the artefacts of a past era loom in the murky background. However, it's environmentally safe presumably, so men are free to roam nearly naked, seeking out their mutant prey.

Catweazle01 -  Young SF Buccaneer Fighting on a Spaceship

The artist delves into steam-punk fantasy in this image, rolling back technology into history and man with it, reverting to the dress of a bygone age. Bare-chested pirates were one of my earliest erotic-danger fantasies but I never imagined them as yummy as this man, let alone having to face the undead. Perhaps Wagner had something like this in mind when he wrote The Flying Dutchman! I'd certainly buy tickets for a production styled like this.

Catweazle01 -  Bodybuilder In Prison

I find the underlying concept of this image very appealing, the muscular body-builder cast into a prison, clad only in his skimpy, posing g-string and reduced to star-gazing for his entertainment. Longing for his freedom no doubt. The panoramic window his cell is equipped with seems a very sophisticated design feature suggesting something equivalent to the bird kept in a gilded cage, not as a punishment, but for the entertainment and gratification of his captor.  To that end, this prisoner will probably be 'encouraged' to keep up with his weight-training to maintain his attractive figure. He might even be granted a mate to share his misery with.

Catweazle01 -  Shackled

This might be just the mate for the captive bird. It would be a preferable fate to being helplessly shackled in a dismal dungeon,  kneeling on the cold stone floor. There are no views from his window to moon about but plenty of time to reflect on how he came to this predicament. 

He has the look of a traditional hero - mighty muscles, skimpy briefs and a belt buckle a cowboy would die for. The artist has also produced variants of the picture showing threats like a giant spider lurking in the shadows, but presumably it was a human with fingers who overpowered our man and shackled him here to meet his doom in lonely isolation. 

The physique is a little over-cooked but a great dramatic setting 

Catweazle01 -  Victim of the Harpy

The artist uses the same helpless hero device here and it looks like the same muscle-bound hero as well, who is starting to look a bit too careless or a bit too daring for his own good. The artist has cleverly invoked a ruined building to demonstrate that the secluded gloom of a dungeon is not without it's good points in a world filled with malevolent creatures. 

The subtle change in his restraint - leaning back with arms spread wide introduces a sexual vulnerability to the drama which the Harpy is jumping down to take advantage of. Disturbingly erotic and a fate worse than death for many of my readers, I suspect. We can't see how the hero himself is taking it (if taking is the right word!) but we can imagine. At least the possibility exists for a jolly woodman to intervene and scare the creature away, but whether he would be strong enough to resist the same temptation we can only guess.

Catweazle01 -  Punishment

This image poses more searching questions about the new world order Catweazle has invented with humanoid mutants intelligent enough (and muscular enough) to make  humans their captives and turn their own methods of punishment against them. 

It's a striking inversion of the established pecking order and the gung ho superiority implicit in many of the images above. Suddenly man is cast as a vulnerable species at the mercy of beings who are perfectly prepared to inflict suffering on him. 

The man's loincloth and 'badge' suggest he is of the same tribe as the previous captive. Muscles seem to grow on trees here but not the more common sense defences, like caution, it seems. At least they are not going to eat him, unless this is some cruel tenderising technique.

Catweazle01 -  Execution

Catweazle takes the inversion even further with this image, unambiguously and chillingly titled to make clear that this is no near-scrape or crazy jape. The execution set-up is crude, but fully thought out. The captive seems to have a youthfulness that belies his musculature and this adds poignancy to his predicament. Unfortunately his expression does not suggest that he has a viable Plan 'B'.  Nor is he alone in this extremity, a fellow human watches helplessly from the cells at the rear, perhaps expecting  to share the same fate.

We do not know if the mutants are imposing their justice on these two men, exercising 'Pest Control' or disposing of rebels. In traditional hero scenarios this would be a way of tormenting a loathed opponent by callously punishing his right hand man or boy wonder in front of him, but the artist does not even hint at such subtlety. The executioner rants at him and the guards look as if they'd do the job themselves given half a chance.

~

More in Catweazle Part 2

See also Catweazle01 at Deviant Art

Men Swapping Clothes No 30 - Royale Studio's Chain Pouch

This article is due to be upgraded and reposted 

in the mitchmen Royale Studio Archive

~

Peter George's provocative pouch and waders in the previous Royale post 

were not the only fetish garments in that studio's wardrobe.....

It's easy to overlook the sexual power of old black and white beefcake images which were designed to look not overly sexy, but the best of them still manage to turn their muscular subjects into erotic gods. In this informal and intimate pose, the softly moulded muscularity of Brian Lamprill seems bulky, real and almost touchable. His indrawn navel creates a strangely alluring detail.

 The skimpy garment he is wearing has the look of a bikini rather than posing pouch. It seems like a properly designed, fashion garment designed to highlight and enhance his near nudity rather than being an artificial screen, crudely improvised for the sake of modesty. It's embellished by a distinctive chain net that adds a dose fetishistic sexiness by suggesting restraint and containment of what lies within.

He's thoughtfully handling an epee here, rolling the handle between his fingers as though considering what to do with it. It's an instrument of combat, a rather refined style of fighting, and it has with the ability to pierce body muscle. That makes its position here, slanting across the bulge of his pouch a very S&M-like touch.

Picture from Man Alive (Apr 61) 

Brian Lamprill was a serious body builder who posed regularly for Royale Studio,

 including storyettes like 'PT Class'

Tibor Urgay wears the same garment to add a fetish flavour to this muscular pose. This model was usually portrayed by the Royale group as boyish and elfin-like rather than beefy like this. His physique in this photo complements the chains which have assumed a wider, more rounded shape to accommodate his projecting tackle.

Update Nov 2024: I don't have a date reference for the image above, but I recently discovered another photo of Tibor Urgay wearing it (disguised as a bunch of grapes!) dated to 1958 so it's appearances in 1961 are evidence of the sensitivity of the chain motif (too near the knuckle as it were in 1958) rather than the date of those photos.

 

This image of Tibor in chain pouch appeared in Hussar Studio's last advertisement

 

Tibor Urgay also appeared in the Hussar Studio's PT Class

The same, intimate garment worn by a third model (Tibor Noszgay). He doesn't have quite the same allure in my eyes, despite a tidy body. However, his more upright, open pose shows the forward thrust of the pouch in a way that makes the chain containment seem more of a chastity device than simply an exotic decoration. 

His serious expression might reflect the fact that he knows this is a stock Royale/Hussar Studio wardrobe item, one that has been worn by other models before him. If he finds it exciting to wear, he might be imagining just what his predecessors must have felt.

Picture from Man Alive (Apr 61)

Tibor Noszgay is more recognisable (and more attractive) in this picture which I presume is from the same set. In this image, you can see his waist chain curving across the far thigh but it seems to have disappeared on the near side. The dark line you can see is the shadow of his sword, which looks much like the one being played with by Brian Lamprill in the top picture. 

Picture from Man Alive (Apr 62)

James Julien gets himself into groin chains here. He was probably snapped for the conventional beefcake stream, which featured many of the most prominent bodybuilders of the day. At that time the bodybuilding world desperately portrayed itself as a thoroughly decent, health and fitness practice. That may account for the less-than-amazing pouch shape. Still, one can only imagine the thrill of excitement some of those men must have felt when they were invited to don this indisputably kinky garment. He looks as if he might be feeling a little faint and is clinging to the screen for support.

This picture appeared in 'Tomorrow's Man' May 1962.

The chain pouch also figured in one of Royale's most notorious photo sets, featuring real enlisted men of the Royal Horse Guards. That was bad enough for the men at the Ministry (of Defence), but for them to use their own Uniforms to create homosexual erotica and pairing them with a suggestive pouch like this, well, it must have blown their institutional fuses.  

This Horse Guard is Tom Manlick. Just a wild guess but I'd say that's not his real name. 

The helmet affords additional protection of his identity.

In this picture you can see that the chain pouch is completely separate from the cloth inner lining but nevertheless, it's wearers must have been conscious of the other men's groins it had previously graced. You're very aware of Tom's loin in this picture.

Tom also appeared in Football Ballet 

John Skilling in Chain-Male Pouch by Royale Studio

In this image it's an oily John Skilling who gets the cold comfort, ball support. 

He was a seasoned 'Royalist' who appeared in the Football Ballet storyette 

and starred with Fred Collins in the Soldier-Sailor set and others. 

There's been a sketchy Review of John Skilling's career here at mitchmen

(Scheduled for updating)

This is an AI-Enhanced image (view original)

The original picture appeared in 'Tomorrow's Man' Oct 1961.

~

Interestingly, all these chain pouch images were attributed to Hussar Studio when published and not the Royale brand, which was was being discarded as a name when they appeared in 1961-2.

I've not found a picture of Peter George in the chain pouch but given this image I'd not be surprised to see one. He seemed to have an affinity for fetish and bdsm themes.

~

 For other posts showing men swapping and sharing clothes,

 click on the 'sharing' label at the foot of this post.

For Royale and Hussar posts click on the 'GIU/Royale' label

Royale Studio Models - Peter George 4, BDSM and Fetish

This post has been transferred to the Royale Studio Gallery
and will not be updated here

Royale Studio - Peter George posing in mesh covered pouch

 This is a splendid image of Peter George, with a nice shot of his torso and featuring the same yearning, far-away look that characterises a number of his best pictures (see Peter George Part1). It's also a rather nice distillation of his boyish characteristics into growing manliness. 

 The garment he's wearing here is not at all like the very average posing pouch seen in Peter George Part 2, it seems to be overlaid with a mesh made of something like thin leather strips (as used in fringing and some boot laces). The criss-cross lines curving across his bulge create a distinctive restraining effect that hints of chastity cages and S&M leather fetish. It's an intriguing complement to the sexy dabble into bondage we saw in Peter George Part 2

On a purely visual level, the dark mesh also creates a more definite boundary to the pouch, so that it doesn't merge into his body as simple, white pouches tend to do, but stands away from his abdomen creating a particularly sexy, open effect where it dips behind the top line of his thigh.

This is the only other image I have found of Peter featuring this adapted pouch.

With its dark background, it's possible that these are part of Royale's 2-PUN set (1959), there's a marked similarity with image 2 of that group but there's no hint of it in Royale's description and both these pictures seem to have first appeared rather later - in 1961, appearing in several magazines in that year.

'Tomorrow's Man' magazine thought the exotic pouch too risky and painted it out when they carried the less showy of the two images in their June 1961 issue.

If the images above and the explicit bondage image that headlined the 2-PUN set hint at fetish interests, this picture (attributed to Royale's subsidiary, Hussar) 'wades' into that world more openly and seems to give this man a distinctly interesting, bdsm profile. 

The rubber waders in this picture provide a striking erotic contrast to the white, compact pouch Peter is wearing which which, in its tight containment, seems more exposing (to me anyway) than dangling nudity would be. It's not a very good scan unfortunately but projects a softer impression of Peter's muscularity that seems sexily incongruous with the intimidating waders

from Grecian Guild Pictorial No 30 (Jun1961)

Tom of Finland - Logger in Waders

Peter's waders and fishing net masquerade as the equipment of professional fishermen, a real working man. This association is rather like the carpenter's rough saw bench seen in 2-PUN, but groin-enhancing waders were also well-established as homoerotic, fetish gear in the 1960's (think about those Tom of Finland logger images and Etienne's fisherman). 

At first sight this is also the casual pose of a workman at rest but the net here is not just deployed as a working man's tool, Peter is pulling it over his head (a not particularly pleasant experience I imagine if it has ever been used to catch fish in the sea). It's as if he's being caught by it.

The wader tops seem to be catching his pouch too, cupping it in this particular camera angle.  

Here Peter seems to be posing as the catch, brought ashore and dumped unconscious on the quayside. His open legs leave his pouch to stand out unprotected (despite the white-out)

His torso is also open and inviting to the touch. 

These last two images appeared in Grecian Guild Pictorial No 32 (Oct1961)

This picture from the 'net' series is a more convincing attempt to invoke the working fisherman as the inspiration for it all. It shows Peter checking his net for holes. 

In the preceding articles we have become familiar with Peter's impressive backside and this image adds new dimensions to that collection. If anything, the waders make it seem even more bulky. The curve of the wader's top line creates an impression of emergence and cupping. 

In this photo Peter uses the net as a cloak and it's not a terribly successful image, for some reason the body proportions don't seem to have come out quite right and he looks more boyish than ever. 

However, there is more adult, erotic interest in the detail where Peter's pouch seems to be slung in an astonishingly low and revealing position, showing most of his lower abdomen and entailing considerable bunching down below which is remarkably bold for the era.  

These last two images were published in Manual 24 (May 1961) preceding those at the start of this post (though only by a couple of months). They were attributed to Dolphin Studio, a Royale brand that was eventually replaced by Hussar, but these names don't seem to have distinctive identities and were interchanged freely. This set is a good example

I'm not sure if the slanting presentation of these last two images was a device of the magazine or a format used by the studio in their proofs. By co-incidence(?) it was also employed for the 'bamboo pole' group of images that I appended at the foot of the Pouch Post (Peter George Part 2 of this mitchmen series). This set had similar dramatic lighting (see this Crossed Poles example) and appeared in the same year - 1961. It was in a different magazine, Trim, but one that belonged to the same publishing group.

Peter's bdsm-oriented imagery continued later with his appearance in the Royale Rigging series, set R01C, a series of images showing him dressed as a sailor, tied hand and foot and spread-eagled on the ropes in a punishment position. I have tentatively dated these images to 1963 by association with other pictures using the same prop. This may have also been his last appearance for Basil Clavering's Royale and Hussar Studios, which ceased publishing in the same year.

There are also bdsm ingredients in the numerous 'storyettes' featuring this model 

(to be covered in a separate post, link pending).

We tend to associate Royale Studio with Military Uniforms and Sporting subjects, but there is always an undercurrent of fetish in them, often it's spanking, sometimes bondage and frequently forced undressing and changes of clothes. There is also a strong leather, biker thread in other storyettes which veered towards weird extremes at times and surfaced more explicitly in the images of the successor studio 'Guys In Uniform', notably the strange, uncomfortably militaristic series 'Willing To Learn'. 

~

 

While researching this article I stumbled across an astonishing, entirely new colour picture of Peter George clad in a red zip-up jacket, studded belt and jock-strap with a furry pouch (detail above). This takes Peter's fetish persona into whole new realms that I've not seen anywhere else in Royale's photography. It seems to be related to the Colville Collection of coloured Royale images.

(I'm not reproducing the full picture here for copyright reasons, 

if the first link stops working try here and please let me know via comments). 

In the concluding Part 5 of this series of posts about Peter George, mitchmen will look at his farm-boy series and suggest an explanation for the missing 1-PUN solo set.

More ideas for 'Seven Vintage Wonders'

I've had these nominations sent in for the Seven Wonders of the Vintage Era. My original list of sexpot, vintage men depended heavily on clothes (as is my leaning) but there are some great bodies and faces in this selection! 

Billy Joe Carr (WPG) nominated by 'Jakester81'

M:I'm tempted to agree, one of the cutest men ever to don a G-string (see my fave image of Billy Joe)

Clint Walker nominated by 'Jakester81'

M: Yes, an impressive chest and widely lusted after. Out of all the 60's TV Cowboys, I used to prefer Ty Hardin (cute) and Robert Fuller (sooo sexxxy) but I might be inclined to upsize now!

Dick Dubois (with the whip) nominated by 'Jakester81'

M: Yeah! This poolside image of Dick surely rivals Vic Siepke in my original list

Ed Fury nominated by 'Jakester81' (beauteous, he says)

M: He certainly knew how to fill out a posing pouch neatly and I could have worn my tongue out on the younger version if I ever had the chance!

Gregg Stromm (Zeus) nominated by 'Jakester81'

M: Great man, but I'd put him down as a contender for a slightly later era 80's-90's

(of which more anon!)

Richard Bennet nominated by 'Jakester81'

M: I agree, voluptuous muscle and those nipples have got to be a 'wonder'! (my wonder image of RB)

Robert Conrad nominated by 'Jakester81'

Robert Lichtenberg (Scott) nominated by Otherguise

Otherguise:- From what I can research Reinhard Lichtenberg was probably a 'straight' bodybuilder, who must have got talked into this fabulous pose. So glad he did.

M: Agreed. Great body and fab shorts, the Brian Cross variant edged it for my top 7

Rodger Smeall and Ned Jaros nominated by Mitchell

M: I overlooked this wonderful image of Rodger (or Roger) Smeall  seemingly yearning for his buddy

Rodger Smeall buttoned up nominated by Mitchell

 

M: Wish I had a better copy of those button-front pants 

 

~

 

Nominations still open

Keep 'em coming! (via my profile address)