Oztangles Retrospective 5

The gay art of Oztangles
Read this mitchmen series from Part 1

2020

Oztangles - The Temple 02

Oztangles produced a series of images in 2020 called 'The Temple' and in this one he creates the atmosphere of a sacrificial chamber with a captive lying spread-eagled across Oz's favourite altar stone. Before him stands a monk-like guard armed with a very sharp-looking machete.  

Two more men are suspended from nearby pillars looking on as they await their own fate. Meanwhile they are being utilised as light sources having been fitted with somewhat incongruous, leather fetish gags which are apparently come supplied with an ingenious, candle sconce accessory that you won't get from Ikea. Judging by the skeletons dangling just behind the altar, this is a long term commitment. 

Oz's rendering of anatomy and clothing reaches impressive levels here, but the background architecture is a bit flat. He dips into perilous waters with his retro, Afro-cum-Oceanic characterisation of the High Priest.

Oztangles - The Temple 06

The denouement turns out to be more prosaic as the intimidating guard melts away leaving the principals to get down to some dirty work.

A nicely balanced composition with good suspension imagery. 

Oztangles - Zane in Trouble

Suspension is the main focus of this image with a captive about to be dipped into water. The men are clad in traditional leather fetish gear but the setting has the feel of a modern workshop. It's a background Oz has used to good effect in other images. Here it all looks surprisingly clean and clinical.  

An ingenious transparent container is used for the dunking water. It gives a stronger sense that Zane is being lowered into it, not just suspended above it. It looks a tightish fit too, with not much scope for Zane to struggle, let alone lifting his head out of the water once he is dipped in it. 
These two are not playing games.

The character at the controls on the left has an other worldly quality about him that is quite sinister with dark, unreal skin toning and a fierce face that resembles the vengeful characters seen in medieval paintings and statues. Zane's pointing finger suggests he is attempting to negotiate a reprieve.

Oztangles  - Big Mistake

The man in this image seems to have made a surprising choice for the location of what seems to be his first tattoo. I can't say I'm qualified to comment on just how painful this is and, since tattoos feature in Oz's images infrequently, I suspect he is commenting from the side-lines too. Judging by his erectile state the recipient is finding some compensation in the caring hands of the tattooist, if not the needle itself - or maybe it's the combination of the two that is so stimulating. 

I'm no expert but the way the needle is being applied here doesn't look conventional. One might wish the tattoist would be showing more concentration on the task in hand and surely he doesn't need to spread his legs quite that wide!

The tattooing scenario disguises the sexual implications of this scenario only thinly, but there's a second, less obvious layer to the eroticism. It's the customer's right hand, tightly gripping the armrest of the chair. It also appears to be resting in the tattooist's crotch, indeed it's easy to mistake his wrist with a suggestive body part belonging to the other man. In its way, this element is a mini-masterpiece of  hidden eroticism that the old masters of gay art would have greatly appreciated. 

Oz has managed to find some interesting and authentic-looking background detail for this picture which greatly enhances it. For once there isn't a dildo in sight.

Oztangles - Zdeno's Workout 1

I rather like this straightforward piece showing a boxer beefing up in a gym. It's a place which we've visited several times before in this retrospective (see Part 4, covering 2015-19). If you've seen those images there are no prizes for guessing what happens to the mirror in the companion piece to this picture - Zdeno's Workout 2 (Clue #1:- he's naked in it, Clue #2 see below).

2021

Oztangles - Quarantine Wank

Lest we forget, 2020-21 gave the word 'isolation' a whole new meaning. For gay men obsessed with cruising the deprivation must have been at least the equal of the more well-publicised traumas.
The very term 'lock down' must have seemed a cruel irony 

This image celebrates the consolation prize God left with men, for use when they weren't required for procreation. You probably remember that we have seen other versions of this memorable, sexy pose  at mitchmen blog. 

Oz's cum-spattered mirror seems to have become something of an obsession, extending back a long way (e.g. 2015), well before the virus struck, but the 'virtual' partner seen in the reflection acquired a new vividness in those months of isolation. The 'Angel' character goes back even further to 2009  and has made other sporadic appearances since then (notably in 2019). His imaginary wings that which might have allowed him to fly away to freedom became a poignant symbol in a period that was a time of introspection and nostalgia for the old days.

And who believed the politicians who said Covid would become the new normal? 
They actually got it right for once, dammit!

Oztangles - Ed's Nightmare 05

The centrepiece of 2021's offerings has to be 'Ed's Nightmare' in which he is abducted from his bed by a military gang and handed over in shackles to the leather clad thug we see in this picture. In a typically Oz, high-tech torture chamber he is mounted in a metal spreader frame in front of a TV camera which is dispassionately recording every moment of his nightmare. 

 The X-frame and spread-eagle pose is standard bdsm imagery, but combining it with suspension is less common and very disorienting for the recipient. Oz manages to infuse Ed's limbs with a degree of tension that make it look genuinely stretched. His body shaping and skin tones are softly succulent and the dramatic, ethnic tattoo on his backside accentuates his vulnerability and nudity. 

Those grey demonic skin tones seen in 'Zane in Trouble' (above) surface again in this villain (if you view him as one). He sits back contemplating his prey and  allowing Ed plenty of time to assess him in return, wondering what he is planning to do with him. Meanwhile the camera catches every minute.

Oztangles - Ed's Nightmare 11

Ed is subjected to a series of torments without ever leaving the frame. Many of them utilise electricity and this, the last scene, is arguably the most dramatic. Notice the time that has elapsed during this demanding examination. His feet have been lowered closer to the ground, perhaps to achieve electrical grounding, but he can still only reach it with his toes. The curious balancing on curled toes here seems to reference ballet technique, a painful way to support body weight for the untrained - and it looks it here, although it's not clear whether the frame is obliging him to do that in this set-up.

Oztangles - Tony's Adventure 06

'Tony's Adventure', by contrast is far less traumatic. He is tempted into a strip club by a 'Men Only' promise. After enjoying the show he goes exploring and finds the delectable stripper expecting visitors in his dressing room. Tony is portrayed as a chunky, ordinary man who is probably delighted by the stripper's eagerness to serve him. Its a dream come true that was never expected. 

All of us can relate to that. 

There's a hint of mild S&M in the toys which Tony can see draped over the chairback and on the dressing table beyond (seen by us in the mirror). The shiny thing in his groin is proves to be a chunky cock-ring later, but who fitted it is not revealed.

Oztangles - Tony's Adventure 09

Tony gets to sample one of the dildos in the finale but he's had the pleasure of the stripper's ass in the mean-time. This is the nearest the stripper gets to returning the favour. Clearly Tony isn't disappointed and there's a nice sense of  playfulness here which shows the hunky stripper to be a thoroughly nice bloke, happy to give this somewhat unprepossessing stranger an experience to remember and cherish.

Oztangles - Tony's Adventure 07

This is an intermediate scene. Normally I would pass over an image like this since it's frequently replicated in every porn film you've ever seen and most homoerotic art. But I think Oz has made an exceptionally good job of it here. Tony's pose is perfection and his chunky physique is transformed into an idealised form that any man would appreciate. Paradoxically, the slender stripper unexpectedly exhibits gloriously chunky thighs, an exaggeration that I appreciate. His sitting position has no hint of submissiveness, he's comfortable giving service. Nice.

Oztangles - Laundry Day 01

This is a more everyday fantasy, which was memorably invoked in 1985 (but not fulfilled) in the Nick Kamen launderette ad for Levi jeans and also in one of my own ramblings My Beautiful Launderette. Like the 'Tony' series this story features a man whose outward appearance might be considered unattractive by some, in this case because he is wearing spectacles. 

By contrast his opposite number is a classic, desirable hunk with a trendy, undercut hairstyle, an enviable physique and skimpy cut-off shorts intended to make sure everyone notices him. But in an unusual twist on the 'Unattainable Bar Man' syndrome, it's he who falls for the Laundromat attendant - or his ass at any rate - as he watches him tending the machines.

Oztangles - Laundry Day 05

Inevitably the spectacles have to be discarded as soon as the attendant gets down on his knees to show his appreciation . A routine sex episode follows but it climaxes (as it were) is this unusual, wheelbarrow position which suggests to me that this dumb hunk is something of a sexual athlete. Or perhaps the bespectacled attendant is a very good teacher.

Oztangles - Pier Street Sunday Morning

This image is also based on an unusual pose, but it is really a commonplace sight on city streets and at surfer beaches. Oz transforms the imagery by making the city skateboarder a grown up man and stripping away his clothing to reveal an emphatically adult and well-honed physique. The resulting figure study seems surprisingly original and his twisted body and balancing pose is comparable in beauty to the male statues of antiquity - just imagine the skateboard replaced by a discus or a javelin in his hand. However, this modern, over-grown kid is much sexier. 

This is one of those render pictures where it's hard to tell where the software leaves off and the artistry begins, but for me it's the result that counts and this is a great result. It's one of several images in 2021 where Oz explores athletic, unconventional body poses (like the wheelbarrow and quarantine images above) and it's much to the benefit of his art.

Oztangles - Naughty Corner 02

The title of this piece prepares you for another S&M romp but in fact this is more chuck-flick than bdsm. It shows the moment when Mario, the sub is freed from his chastity cage and tether after 3 weeks in isolation for dilly-dallying with the plumber. Oz does not indicate whether the formidable electrical installation nearby has figured in this punishment.

 The sub-title to this scene is 'Keep still, dammit, the key's stuck!'  So it's actually a comic moment with the master kneeling, apologetically almost, before his hyper -frustrated slave. 

Another cum-splattered mirror seems in prospect.

Oztangles - A Busy Day (detail)

I won't leave 2021 without mentioning this series, entitled 'Execution'. It's a frank and disturbing telling of a grisly tale with a twist of cynical exploitation thrown in. Coming from this artist, it's unexpected. I have covered noose art here at mitchmen before (see 'noose' label at foot of the post for other posts on the subject) but this detail is all I intend to show of Oz's challenging contribution to the genre. 

You can view the whole sequence at the link given at the end of this post. 

2022

Oztangles - Punishment Cell 01

Oztangle's 2022 work is dominated by the Punishment Cell series. It picks up the theme of isolation as punishment which featured also in Naughty Corner (just above). However, in this case it's a Military Punishment for answering back. The nudity of the prisoner here doesn't quite fit with that background and the chastity device on a chain which is only just long enough to allow him use the bucket seems to take us into Guantanamo country. It seems that he is in the midst of relieving his (understandable) anxieties when the disciplinarian Sergeant Vane arrives wearing his 'wet work' outfit and bringing rope and blood-curdling promises.

Oztangles - Punishment Cell 03

Jack, the hapless offender is released from his chain, but only to be trussed for punishment on a bloodstained table. Hopefully, the assorted implements on the bottom shelf mean the torments planned for him will be bloodless. 

The tight leg restraint shown here is a tie that has long excited me, going way back to the 'My Initiation' image. It's ultimately a demanding stress position and often features (without ropes) in wrestling contests. Tied like this, I doubt that Jack could achieve the back-lift shown, unaided.

Oztangles - Punishment Cell 05

Sgt Vane's ropework ultimately results in this neat shibari packaging coupled with suspension (again). The Sgt proceeds to torment imaginatively Jack's unprotected, vulnerable areas. 

This is a further example of Oztangle's interest in unusual, stressed positions for the male body which seemed to begin in 2021. Technically it's a significant advance from the simple X-Spreading deployed in Ed's Nightmare (see above) and several other Oz images.  For the observer this tight, self-contained restraint causes the erotic focus to shift from the body of the prisoner to the restraint mechanism. 

This tight relative of the hog-tie position is very hard to capture, even in photographs, so Oz has done well here. The eternal rendering problem of achieving a snug-looking fit with clothing and (here) rope doesn't prevent him from producing a great, stimulating image.

Oztangles - Punishment Cell 08

Sgt Vane is not without a sense of humour. He expounds the theory of chaotic movement as he swings Jack on the suspension chain with weights attached to his nipples and balls and going in different directions. Oz manages to capture a real sense of swinging movement in this picture and his contrasting characterisations of the two men work well too. The more subtle bdsm of this image lies in the tweaking of Jack's arms as he swings, heavily weighted on the chain.

Oztangles - Punishment Cell 10

Lesson learned,  Jack formally makes amends in the time-honoured, homoerotic way. 

Offering service while tied up is not uncommon in fetish imagery but I can't recall it being portrayed in quite this way before. Oz emphasises Jack's restraint and submissiveness, rather than the sexual exchange. This position, formally kneeling with head-bowed, departs from the usual 'oral' formula whereby the sucker is expected to look up at his master as though entranced with him and anxious to know that he's doing the job correctly.  

By contrast Jack's pose looks detached and rather dignified and it is intensely appealing.  

Oztangles - Five More Minutes

This image relies on a similar use of weights to torment, but with the focus on simple endurance rather than rough tugging. Once again, Oz does well to create a real impression of stretching with the captive forced to stand on tip-toes. It's a virtually inescapable form of restraint and immobilisation and it's pure simplicity heaps frustration on top for the captive. His agonised expression gives a real sense of that his thresholds are already being tested to the limit and the announcement (in the title) of an extension to his designated time is adding anger to his difficulties.

The tormentor's slightly unkempt and grizzled appearance contrasts with the college boy neatness of his test subject and predictably he's completely indifferent to the poor man's mute appeal. Characteristically abreast of the latest trends, Oz shows him taking a photo of his discomfort and helpless captivity. It adds a little twist of sadistic humiliation with the further threat of a public airing of his plight for the amusement of strangers - and possibly those who know him.

These two make an improbable couple, but Oz des not enlighten us on what has brought them together in this way.

Oztangles - The Night Before

This image may offer a clue to that puzzle. It seems to show the same older man, but dressed in an unexpectedly professional manner. He's approaching a younger street hustler who's neatly dressed and clean looking, but provocatively appealing. More fantasy than reality alas. He has a similar appearance to the prisoner in the preceding picture.

Oztangles - The Morning After

The companion image shows a very different outcome with both parties having ended up in a seedy hotel(?) room, naked and apparently unfulfilled. It harks back to the 2019 Night Clerk image which seemed to embody a similar sense of disillusion and disappointment. In another Oz reversal of the usual, depressing rules of life, it seems to be the prodigiously equipped young hunk who has not come up to the mark.

Oztangles - Imperial Guard

This is Oz's latest posting at Renderotica as I write. 

Here's to 2023!

Read this mitchmen series from Part 1

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Oztangle's work is not always perfectly crafted but there a plenty of impressive highlights. He explores interesting bdsm themes but also more commonplace feelings which ordinary mortals can relate to.

There's an extensive collection of Oztangles at Renderotica which is free to join. The filters applied to some works don't always stop you viewing them, but they're not always as exciting as you might hope!

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

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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.

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.

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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

Bondage Art by Team52Crazy

 

A rather sexy picture of a somewhat bewildered man, tied up and gagged in his underwear. His armband, I think, is that of a military policeman and most of  this artist's output seems to feature military scenarios. You sense this image is derived from a photograph, the bold angling somehow looks familiar, but the artistic transformation using simple outlines and subtle colouring creates a pleasing result.

In this image the bondage ingredient is given the context of an abduction with a hooded villain lording it over his captive. The top of the head is quite a sensitive area, so touching it like this is more unpleasant than it looks, it's usually inflicted on children in our culture and they hate it.

 The speech bubbles (with an unusual, angular shape) suggest the villain is better at shibari style bondage than gagging, since his captive is still able to converse with him. The language is Thai, making this the first contribution to mitchmen from that part of the world. I haven't a clue what they are saying, I'm afraid. Maybe one of my readers can help out.

The artist has shied away from a realistic depiction of what happens when two tight ropes pass under a man's crotch, they are resolutely straight (if you'll pardon the expression) and don't appear to be troubling the contents of his pants.

This image switches the captivity and restraint theme to a Police scenario, but the belt buckles suggest that the captive himself is also a cop. His captor's relaxed stance and smile suggests that it's not interrogation at the forefront of his mind but smug superiority. 

His crossed arms showcase meaty muscles indicating that it was his superior strength that enabled him to overpower his Police colleague. Psychologically, though, the pose is closed and unthreatening, as if he's not really interested in investigating the unzipped, sagging trousers. Nevertheless the captive seems to be having an 'oh no, not that' moment. 

The detailing of the exposed underwear is a clue to this artist's interest in such garments which almost matches his obsession with uniforms.

Underwear comes to the fore again here. A traffic cop has been part-stripped, gagged and restrained in a mild hog-tie arrangement. His underpants are intact but have been soiled by his captor's ejaculate as has his uniform and his body. It looks as if his boots have been stolen in the manner of 'Boot Lust' fetish, but it seems that the despoiling of the man and his uniform excites this artist most. To a military man, his uniform is sacrosanct and such contemptuous treatment would be extremely offensive and degrading - and likely to get him into hot water with his superiors (figuratively speaking of course!).

If you are interested in uniforms you will probably be appreciative of the military styling and brevity of Scout gear but it's an interest that is easily misunderstood. I'm able to include this example of the delicate subject because the wearer is clearly a well-built, adult man, the Scout Leader, shall we say, and he's enjoying himself alone. 

The detailing of the uniform here is marvellous and naturally, beneath every uniform is a pair of underpants. The artist's illustration of them here is much more graphic than in the pictures above. The soiling of underpants in it's different guises is a recurring theme in this artist's work.

The gag is a slightly odd embellishment which I can't explain. The absence of any other bondage suggests a very personal picadillo, perhaps or maybe it's some sort of political allusion to forbidden matters.

This picture explicitly homes in on the soiling theme.

The baton introduces the slight possibility of unpleasant external causation.

The artist's darker side is expressed even more graphically in this image with  a disturbingly but marvellously realistic depiction of a horrifying practice that was once unimaginable - literally. The blank eyes of the torturer add a truly devilish dimension to what might have been claimed to be a necessary evil. 

The captions in the picture may shed more light on motivations and the artist's stance, but any pleasure we take in appreciating the sheer quality of the drawing here has to contend with discomfort, revulsion even, at the subject matter. This artist has unexpectedly lured us into Greasetank territory

By contrast, this shibari bondage image is almost academic in nature. The naked captive has been given a muscular body and his face and haircut seem to be be indicative of inner strength and dangerous qualities if provoked. However, that potential has been completely tamed by this comprehensive restraint. Holding the strip of cloth in his mouth seems to be a hugely submissive gesture, it's as if he is passively waiting to be gagged with it. 

The cloth actually resembles the Japanese fundoshi or loin cloth and I believe there is a Thai equivalent, equally drenched with cultural significance regarding maleness and coming of age. Being gagged with one's own personal loin cloth is more humiliating, I suspect, than the western equivalent of stuffing mouths with expensive, designer Calvins.

That sense of power and strength being tamed and contained (and abused!) is equally evident in this colourful image of a Thai boxer who has body tattoos that lay claim to the dangerous qualities that characterise the dragon. I guess 'windy' does not mean 'inclined to be cowardly' in Thai!

This man tied to a rail in an enclosure of some sort seems from his clothing to have the tough qualities of a workman or labourer. His tee shirt logos suggest a military background too. 

He, like the cop above earlier, seems to have lost a boot, perhaps suggesting this is an encounter with  a stronger man who has an interest in the olfactory side of foot worship. Personally I find the leg openings of his shorts more tempting.

This image introduces the theme of buddies kidnapped together but it's also interesting in the way it draws attention to the closely observed detailing of the uniforms, even their creases, in this artist's pictures. I'm fascinated by the thumb resting on the bench but I've no idea if it's a particularly significant detail. The wary, expectant looks of the prisoners tell of unpredictable captors and fear.

This final image is a calming example of classic shibari with a near total absence of erotic undertones - on the part of the artist anyway. The captive's restraint imposes an unnatural posture on him that may become increasingly painful but he has been spared the demands of a shorter neck-to-ankle linkage. 

The colour palette is beautifully balanced here. The dark toned, plain background seems to reflect the captive's inability to see what is happening around him. The colouring of his uniform is suggestive of an Air Force man but most of the uniforms drawn by this artist seem to incorporate a winged badge, sometimes more than one.

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This artist has multiple social network pages including Team52 @ Twitter and Team52 @Instagram but the best selection seems to be at Team52Crazy's facebook page. Most of the public art is censored or innocuous with a few exceptions but you get nice drawings of military men undressing or in suggestive situations. The adult content is (presumably) at Team52 @Patreon 

Bareass Blogs No 64

 Bareassed, Blond and Begging for it.

Go to Bareass No 65 (link pending)

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For other mitchmen bareass blogs, click on the label at the foot of the post 

or start reading at Bareass No 1 and follow the links

Photo: Samuel at Amateur Straight Guys, he's 23 according to the blurb there.

Royale Studio Models - Peter George 4, BDSM and Fetish

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.