Vintage Bondage - Dean Spencer 3

 Continued from Part 2

Dean Spencer has been waiting for his first training session to commence.
He's tied to an uncomfortable chair in a vast emty room.
Now he hears someone entering the room and steals a glance.

Just in time he remembers that he must not stare.
It's not respectful. So, he hastily averts his eyes.
The Master comes and stands silently behind him,
like a menacing presence.

The Master circles to the front, inspecting his new sub.
Dean steals a wary look at him.
He's a big, big man and wearing a black rubber, skin-tight, wrestling singlet.
It shows off his muscular shoulders and massive thighs.

The Master's hand lashes out, stinging Dean's cheek.
Then he lifts Dean's chin.
"You look at me when I say you can" he says firmly, but not unkindly.
Dean remembers his manners, "Yes, Sir" he says, trying not to sound terrified.

The Master crouches before Dean explaining the rules he must follow.
It's nothing like the military bawling Dean had expected, more fatherly.
As he speaks he runs his hands along Dean's thighs approvingly
Dean feels instinctively drawn to this handsome man, it will be easy to serve him.

The Master stands and circles behind him and Dean watches, fascinated by his muscular body
and the way the tight, shiny singlet changes shape, moulding to his body through every movement. 

Much to his surprise the Master releases the restraints on his upper body.
"You cannot show me you are obedient if you are tied up", he explains,
running the thongs through his fingers as though he hasn't finished with them yet

"No Sir", Dean affirms, sitting up straight
and trying not to look too hard at his rubber-clad torso.

Dean's disinterest suddenly becomes harder
as the Master suddenly bends and kisses him.
At the same time he stretches the thongs across Dean's throat,
a sinister reminder of his subservience here. 

Dean's chest swells with excitement and he feels a surge of pleasure
as his Master's hand drops between his legs.

It seems like the kiss was just a test
and now the Master wants to gauge the response.

It seems he is satisfied, bestowing a token of approval.

Then he turns his attention to Dean's pecs which seem to have swollen with pride.

This idyllic interlude does not last for long.
The Master squeezes his nipples sharply
Dean manfully strives to give no sign of how much it hurts.

A quick check on his nether regions reassures his Master that all is well.
Another test has been passed, another milestone on Dean's long journey into service

to be concluded

The narrative I have supplied here is entirely my invention and not part of the Can-Am video. Andrew Lennox plays the Master and he hardly speaks except to make approving noises about Dean as well he might! Dean doesn't utter a word throughout. 

~

 I mentioned in another post recently that the world of rubber was a largely closed book to me apart from the visual impact and the presentational benefits of the simple outfits these two are wearing amply satisfy my preferences. Can-Am's photography does do justice to Dean's sexy physique but Lennox seems to be relegated to a supporting role. His black body suit flatters his physique and looks terrific  from a distance but the most sexy details have to be imagined. 

Vintage Bondage - Dean Spencer 2

 This is the opening shot of Fetish Fights 3 by Can-Am which eventually concludes with the 'crucifixion' scene reviewed in the first of these articles about Dean Spencer. Here we see Dean tied to a ladder-back chair and dressed in a yellow, rubber, two-piece not dissimilar in design to the splendid outfits worn by the hunky males of the TV 'Gladiators' series in the 90's.

In the FSF video, Dean has presented himself to be trained and we see him here in the 'Waiting Room' looking as though he's having second thoughts and wondering what he's got himself into. 

He's been put into restraint while he waits, not by his allocated Master, but by a person we never see. It creates the impression that this place is a fully staffed, processing centre for would-be subs. 

The clinging, rubber, crop-top Dean is wearing shows off his pecs and biceps. A tight, thick, leather thong holds him firmly against the chairback. It passes around his chest, under his pecs, enhancing their shape for the benefit of whoever comes to view him.

The featureless shorts that make up the other half of his outfit might be seen as passion killers in any other context, but their generous size allows for plenty of interior expansion. It looks as if Dean is already taking advantage of that as he contemplates what might lie ahead. It isn't clear whether he's brought the outfit with him or if it's been supplied to him by the centre as novice kit. If he's read up on the subject he may know that yellow is not just another colour in this world. That might explain his 'thoughtful' expression.

His wrists are secured behind the chair back by a simple loop and link arrangement. There's an element of leverage on his arms, pulling them back as they pass behind the upright back, but the relatively loose coupling of his wrists spares Dean the worst possibilities of that feature.

His legs are folded back fairly tightly at the side of the chair and his feet (clad in regulation, S&M, black boots) are suspended from the chair-back by more thongs. It's a position that severely limits escape options but produces pleasing bunching of the leg muscles. 

 Over time, though, the inability to put his feet on solid ground will become increasingly frustrating
and the compression of his leg muscles will become more and more uncomfortable for him.

The chair back is tall, flat and absolutely vertical, forcing a man's upper body into an unnatural position.
Dean looks around hoping someone will come to him, but the room is completely empty.

He becomes aware that he's under surveillance by cameras.

Under the cold eye of the camera his groin feels unprotected and exposed.

The wide, open-legged position is imposed by the broad, chair seat.
It is also another nagging point of stress on his body.

As the waiting goes on the discomfort starts to kick in. He wriggles.

The tightness of his captor's restraint allows little scope for easing those protesting muscles.
He's starting to feel very alone now.

Angry, defiant feelings start to bubble up inside him.
They know he's waiting, why doesn't someone come?

To be continued

~

This ladder-back chair seen in these pictures was often used by Zeus, who collaborated with Can-Am on this production. The design provides plentiful options for attaching restraints and it's simple, austere lines tell you it's probably not very comfortable. It's black colour contrasts nicely with Dean's outfit. I suppose you might argue against using a padded seat for S&M but remember, the leather (or vinyl) will provide a 'sticking surface' for bare, sweaty skin. It will deliver a painful and embarrassing postscript when the moment comes for Dean to get up. (If he were a nude captive, the idea of displaying his crown jewels on a cushion has a certain appeal too).

For a list of other Vintage Bondage articles at mitchmen visit Dean Spencer - Part 1

The Look of Wilting Passion

Bob met Maxim in a hotel bar on a business trip. He seemed his ideal man, handsome, bearded and urbane. What's more he made no secret of the fact that he fancied Bob. Bob had long craved for sex with another man but had been too scared to find anyone to do it with. This man would be the perfect partner to introduce him to it gently. But once in the bedroom he saw things from a different angle

~

This No 28 in 'The Look' series at mitchmen blog,
click on the label at the foot of this post to view the others
or use the mitchmen search function (top right in sidebar) 

click to enlarge

original image Grayson and Pavel (Sean Cody)

 

Art by Leon

 This is a revised and extended version of an article about Leon in the mitchmen A-Z of fetish artists series, first published in 2010

Leon - Bootlicker

You probably know this image with it's distinctive Tom of Finland flavour*. Leon's would-be sub, practicing on empty boots and pretending he's restrained is rather charming. He's very neat in appearance and has even kept his socks and underwear on. The reality of the roleplay he's imagining would probably be very different.

*I don't think Tom ever did anything exactly like this. The little known image below is more typical of his rather less earthy approach.

Tom of Finland - Boot Worship

A little-known boot-worship sketch by Tom of Finland ca.1978. It's another example of an imperfect sketch being better than the polished final product in some ways. The depiction of the face, without hard edges added, is marvellous.

Leon - Down-Trodden (my title)

A man who pairs up with a true master can expect to be kept firmly in his place. This man is much more mature than the kneeling sub above and that makes his humiliation all the more acute, but it seems he's experienced enough to take it like a sub should, in fact he's positively aroused by it. 

His clothing is intriguing. It's not exactly dungeon attire, suggesting this is not a staged roleplay. Rather it's almost as if he's just come off the street. The dark vest/singlet is the garb of a man who does manual work, which accords (stereotypically) with his hairy torso. The slim shoulder straps, however, are more like gym attire which offers another explanation of where those shapely pecs came from. His trousers though look more like part of a suit than workman's clothes. 

Leon imagines boots as having phallic qualities here by illustrating a symmetry between the toe of a boot and the tip of a cock. 

Leon - Power Down

Leon's art comes from the 80's era of Drummer and this must be such a magazine illustration. It's a notably different take on fire fighters compared with the chocolatey, bare-top beefcake that spawned a thousand calendars. There are a variety of fetish references included in this picture - Helmet of course, but also the mask with air tube, axe and thigh-length boots made of rubber. The daring analogy with enemas reflects the pre-AIDS era of celebrating all things gay and pushing boundaries. Physically daring as well, to use a high pressure hose.

Leon - Electro

There's a distinct touch of Tagame in the depiction of this man being subjected to electro-stimulation with an arty embellishment suggesting deeper pleasures. Once again he shows a mature man with a stocky build and very hairy torso. These days this open-legged pose has become a tentacles cliché, it seems too static and relaxed for a situation in which either energetic squirming or arcing rigidity is to be expected. Nice draughtsmanship though., with an arty embellishment implying deeper pleasures.

~

Leon has an accomplished style so it's surprising but I haven't found a website or gallery link for him. 

More Leon at mitchmen

Homosexuality in the Ukraine

Freedom is important

mitchmen supports the struggle against oppression of the Ukrainian people

~

 Homosexuality is legal in the Ukraine with protection against discrimination in important areas.
(Equaldex summary of gay rights in Ukraine)

However the social attitudes of many are antagonistic towards gay people.
(ref Wikipedia)

President Zelenskyy's credentials as a patriot and leader are beyond reproach. He has a track record as being a liberal reformer, but his government's commitment to gay rights have been questioned.

Equaldex ranks Ukraine significantly below the UK and USA in terms of gay rights, 
but it is better than Russia

~

Freedom is important

Use it wisely

Art by Ridley 3

Ridley - Truckstop (2010)

 These images by the gay artist Ridley could not be more different to the milking subject matter of previous posts about him at mitchmen and yet common threads can be perceived. I'm drawn to 'Truckstop' by the compelling depiction of the trucker's face enjoying the warmth of sexual bliss. 

Astride him sits a naked, younger man who is gagged, has his hands tied behind his back and tears are rolling down his cheek but despite these alarming clues, he seems to be nestling contentedly in the consolation of the trucker's, unmistakeably tender, embrace.

The diner in the background seems to suggest a casual midnight pick-up, but it's clearly too public for this to be an abduction scenario or if it is, there's a severe case of Stockhausen syndrome going on. In the context of other images by this artist in this mitchmen selection there's a common thread of experiencing sex without control, which is the essence of the bondage role-play depicted here. This image differs from the others in that it's given a tricky, real-life context but there's no sense that this is a selfish, cruel predator - quite the reverse, the tenderness is touching. There's a hint that it's a first time experience for the naked man. In truth, first time, passive sex always involves a scary surrender of control, whether it involves bondage or not.

The video recording effects are another example of an arty device by this artist. It's one that I don't quite understand, perhaps signifying that this is a momentous occasion or more cynically, that there is a watching audience, like the dummies in Part 2.

Ridley - Scream If You Can Feel Me

There's not much doubt about the circumstances here as another young man has a sexual experience which is the stuff of nightmares. In fact it obviously is a nightmare as you can tell from his mouth which refuses to open to allow him to scream, his lips seem to be stuck together as if by gum. This is a compelling visualisation which seems highly original to me. There's a superficial similarity to the Hannibal Lector mask which isn't really relevant, but allows the image to borrow an extra dose of horror.

This image is actually not so very different in nature to the inhuman, robotic milking in the previous mitchmen post, but this time the feelings of the victim, though once again suppressed, are made very plain, not hidden behind a mask. The two pictures in this group share this characteristic and it elevates them to a higher level of artistic quality. 

The rendering of the man's physique is notably more successful here than the other examples in this series. That's not so true of the rendering of the hellish setting which is relatively crude (and understandably vague!). However, by a fortuitous circumstance that actually heightens the sense of confusing, unreality.

~

I don't have a site or a gallery link for Ridley. These images are quite old, but it's possible he's working under another name now.

Read this mitchmen series from Ridley Part 1

Art by Ridley 2

Ridley - Mechanised Torture 1

 This group of images by Ridley are collectively named 'Mechanised Torture' on the copies I have, but 'mechanised' doesn't seem quite the right word for this sci-fi, robotic milking fantasy. This is quite an early example of rendering, I can trace it back to 2005, but it's pretty convincing. All 4 images are derived from the same basic composition.

 

Ridley - Mechanised Torture 2

The basic fetish ingredients here are much the same as 'Hospital' in the last post, except that the mask has been transferred to the 'patient'. I don't know if it's purpose is to anaesthetise him, drug him, silence him or subject him to the additional torment of breath control. 

From this angle you can see there's a noticeable separation between the milked man and the milking device, in fact the chair and the robot are not physically connected at all. It creates an acute sense of  cold, inhuman purpose which is underlined by the crudity of the claw-like attachment and the jumbo sized, anal plug (although the smoothly-knobbed surface of the plunger seems to imply sensual intentions). Other than that, the helpless subject is offered no secondary stimulation other than raw fear to help him produce the goods.

Ridley - Mechanised Torture 3

 

In this viewpoint Ridley makes the inhumanity of the scenario clear by showing an row of faceless, sexless humanoids seemingly witnessing the proceedings in some way. Terms like 'audience' and 'observers' scarcely seem appropriate for these mannikin-like figures. They show no signs of emotion or sentience which we can recognise. By contrast, we glimpse the human personality of the captive for the first time in a cascade of youthful hair seeming to sprout from the mask itself. 

The dummies seem to be an attempt to create an artistic statement about male sexuality. There's the sense of a public judicial or military punishment in some ways, but I suspect this is simply a demonstration being conducted in an Alien lecture on human biology. But I don't claim to fully understand the significance of the imagery other than it's weirdness.

Ridley - Mechanised Torture 4

This image differs from the first only in the addition of a smoking cigar in the captive's mouth. I can't say for certain if this is an original ingredient or an adaptation by someone else. It seems inconsistent with the clinical context of the other images. However, it does fit with the idea of the mask being used to control what the subject breathes, but I confess that I have never smoked and don't really have a feel for how the smoking fetish 'works' in general, let alone in a context like this. I'd welcome enlightenment from readers who do!

Read this mitchmen series from Ridley Part 1