To my readers......

Mitchell is on holiday until mid-October.
I've set up some automated posts to finish the present topic.
Thanks for visiting mitchmen!
(Sep 13th 2016)

Friday, 21 October 2016

Greasetank - 2

Read this article from Part 1 

Greasetank - Knuckle Alley #02
This image continues the theme of muscular thugs threatening men who are younger/softer/weaker than themselves. It part of a series in which the victim is beaten and forced into sex by his attackers, which poses the possibility that butch, thoroughly-nasty, queer-bashers can be gay too. However, essentially this is an image about the eroticism of power and fear, a narrative that does not really depend on sexuality.

Greasetank - Rib Bustin' Time

I have featured many images in this blog with a naked captive threatened by clothed attackers and such imagery is commonplace in the movies (e.g. Casino Royale?). It is amazing how a few splashes of red turn such an image into something much more difficult to accept.

There is obviously an erotic dimension to this piece, spelt out by the exposed flesh, the site of the wounds and the guns (the guns!). However, there is no sexual interaction going in a conventional sense. You might suppose that both parties find it arousing, certainly the captive, who for once is both muscled and defiant, bravely confronting an inescapable, seemingly grisly fate.

These two attackers might easily have attracted his admiring attention on the street, their faces are not ugly but they are grotesquely contorted in expression of their sadistic pleasure. Cloaking them in Hell's Angels trappings suggests wildness and a capacity for unrestrained violence that greatly adds to the forebodings of a bad ending.

Interestingly the central figure's face seems to show the characteristics of a black man although his skin is white. Greasetank's faces often blur racial characteristics, it's part of his exploration of eroticism and this is a clue to understanding his art.

 Greasetank - In The Woods

In this image there's a similar ambiguity about the dark-skinned captive whose face belongs to Greasetank's neutral, 'victim' persona more than any distinctive racial group. The noose is probably more eloquent symbolism for race hate. We know that this scene (like the queer bashing and drive-by shootings) reflects real events that happen in the U.S. and is not the product of some perverted imagination, but notice that there is no appeal to our sense of injustice, no clues to what has precipitated this scene apart from the frothing beer bottle and self satisfied grins. Those grins contribute to some well-observed and attractive laddishness. In fact there's a strange sense that these muscular men are seducing their victim into his fate. That becomes more explicit in my next example. 

Greasetank - Scab eyes

These men are not soldiers of the 3rd Reich but have merely donned (over-sized) elements of that garb. It signals danger, but with those enviable physiques and goofy, seductive smiles, Greasetank makes it hard for us to see them as brutes*. But here they are recreating the worst excesses of that hated regime, gently ushering their (blind?) victim into a steel chamber with a teasing tweak of the nipple. A chamber where the lethal canister in his hand will be unleashed.

You may not find this situation sexy. But removed from the narrative, the men certainly are.
How would you feel if the roles were reversed and they were the victims?

This is a more developed example of how Greasetank depicts victims, diminishing them and deliberately contrasting them with the health and attractiveness of their captors and tormentors. In other pictures he takes it further, showing us emaciated, shaven-headed figures who still haven't suffered enough to be spared yet more torture. Or to be spared 'they probably deserve it' status.

Because of the death camp associations, these images shock and repel the intellect even more than the blood splattered ones. But the enhanced characterisations give you an eerie sense of witnessing something disturbingly real.

These images are part of a progression. If you review the other examples in this article you will see the same theme of unequal protagonists and callous indifference - no, pleasure - in threatening and inflicting suffering. That progression chronicles Greasetank's testing of his own limits in linking violence and sex, love and hate. You go along with him or eventually bail out at some point according to your own values, limits perhaps influenced by your own sense of having suffered injustice yourself.

*Greasetank was born shortly after the Second World War and reached his formative years towards the end of the 60's when the true enormity of the Nazi war crimes against civilians and minorities was finally being grasped by the world, long after the initial horror of piled-up bodies had been digested. At this time the Swastika and 'SS' symbols were synonymous with almost unimaginable, ruthless cruelty in a way that is hard for younger people to truly understand, although it is likely that in the years to come the black flag of ISIS will achieve a similar notoriety that we can barely imagine as yet. So when Greasetank uses Nazi imagery in his pictures he is not promoting their ideas nor campaigning against them, but simply laying down the threat of remorseless, unbounded cruelty and twisted, ideological motivation in his thuggish characters.

Greasetank - Beer Bust

This is part of a similar picture to the one above but even I shrink from reproducing it in full. There are enough clues here to what the missing part contains and you'll have no difficulty finding it on the web. You'll probably have noticed how adept Greasetank is in using lighting to highlight the characteristics, good and bad, in his men and this is a striking example. The masculine allure he engineers for these dreadful characters with the facial expressions and body stances he gives them is highly authentic and convincing and downright sexy. It's a skill unmatched by from most other artists in this genre preoccupied as they are with the anatomical and the carnal.
These are very seductive images.


Greasetank's work was seen as controversial and shocking and so it still is, but that is not a particularly enlightening response.  Why do we find violence attractive/arousing even when it's directed against the most undeserving - even people like ourselves. Even when the violence is repulsive, why do we still want to look on, not to witness the suffering but, in Greasetanks art, to watch the pleasure it's perpetrators get from it?
There's an article about Greasetank at Queer Arts which attempts to explain the rationale of his work in the stock intellectual language of the art critic - shock tactics, forbidden thoughts, shining a light into dark areas of the psyche etc etc and making comparisons with the Old Masters. However, the essence of Greasetank's art really is contained in his own comment that he's simply exploring how brutality and sexuality feed off each other. It might be more appropriate to compare his work with the Freddie Kruger school of movie making which uses (more subtly) the same ingredients. At root, Greasetank's work is simply erotic horror art and it's lush sensuality is testimony to that. Sure he takes some major social issues as his starting point and shines a disturbing light on them. But giving them an unreal sexual dimension is not really contributing to any political debate. I don't believe that is his purpose.

Greasetank - Calling the Shots
 For that reason I conclude with this example that shows his skill with figure drawing focused more directly on the erotic content. The callous violence still subtly hovers in the background but arguably adds little to this particular piece which conceptually is a close relative of 'River Shooting' in Part 1 of this article.

Greasetank said his art would become uninteresting when it was neither attractive nor repulsive. Most of his art is striving to be both, portraying sexuality, menace and threat, and giving fears a tangible expression. Most gay men will relate to those ideas as reflecting their own inner lives. He does go further than most to make the threat seem extreme but his heavy-handed examples infuse the rest of his work with a flavour of evil and danger that is undeniably fascinating. Viewing the outcome is both illuminating and disturbing for the open-minded.

Greasetank died in 2009 and there is no website for him but you will find a plentiful supply of his art via search-engines including his most bloody envisioning and links to the blogs and sites of his adoring fans.

Read this article from Part 1

Monday, 17 October 2016

Greasetank - 1

Greasetank has a uniquely legendary status amongst S&M art fans. It stems partly from the exceptional extremes of violence and cruelty which he often depicted but also from the expressive sensuality and drama which infused his most memorable images. 

Greasetank - Why don't you officers just eat me?

Villains were at the centre of his works, like 'Johnny' above.
Evil men but with looks and attitude that commanded attention and admiration.

Greasetank - Sore Losers

Greasetank's badmen have a penchant for arbitrary violence, often using guns and sometimes knives. But no matter how unpleasant, these marauding thugs are always depicted as muscular and strong with villainous good looks. Greasetank uses dramatic lighting to enhance the masculine characteristics of the gunmen. If their weaponry augments their masculinity, their nudity also augments the menace of their guns. The victims are anonymous, mere accessories in this particular Greasetank atrocity and in general rarely achieve equal representation with their attackers.

Greasetank - River Attack

Naturally sex also forms part of the heady mix. I love this representation of sailor-dom with the young rating servicing his older, bigger (and straighter?) shipmate, who keeps marauding locals at bay with a machine gun while lightening his load. The linkage of sexual prowess with guns and ejaculation with shooting, is unmistakeable.

The whole scene is infused with eroticism and drama. The lighting treatment is atmospheric and alluring and you get a sense of Greasetank's underlying artistic prowess. At this stage he is still wrestling with the usual problem of CGI clothing, but the facial expressions of the two sailors are very arresting, the older one's determined grimace seemingly borrowed from 'Popeye'.

 There's a touch of gung-ho, boys comic adventure ca. 1950 about this scenario. There's a whiff of racist sentiment too and it also hovers around Greasetank's Vietnam War images. However, in his All-American 'Red Neck' images he doesn't show blacks as victims or perpetrators, so I'm inclined to give him the benefit of the doubt in this department.
Greasetank - Fag Patrol
Cops raiding a night-time cruising ground and for once the victims take centre stage. Their leather attire speaks of experience not experimentation. But notice how young and vulnerable the two compromised gays seem in contrast to the examples of aggressive straightdom seen in other pictures in this article. How terrified they are by the threat posed by the weaponry levelled at them and the angry attitude of the visible captor. With the damning, rather unpleasant dildo evidence Greasetank almost seems to be setting them up here. He gives you a sense of how perceived weakness can become an excuse for abuse.
Greasetank - We're Coming For You

Greasetank more usually depicted homophobic violence at the hands of gleeful rednecks ruthlessly brutalising their favourite prey. This is a gay boy's nightmare made real*. Men whom he might find sexually attractive are invading his bedroom at night with the obvious intention of doing him harm and motivated by drunken-ness as much as any rational thought. The unfairness of it all and the imbalance of power is spelt out in the contrasting depictions of the characters. If you find this erotic despite yourself, you are discovering one of Greasetank's conundrums - if these people hate us so much, why do we find them sexually attractive?

*it's my supposition that this is a homophobic attack, Greasetank's pictures often accompanied stories and I'm not familiar with this one. There are internet sites that reproduce these stories.
Continued in Part 2

Greasetank as a CGI artist doesn't qualify for my A-Z series 
but is included in my consolidated index of artists

Tuesday, 20 September 2016

Hunk of the Month - Brian Bodine 4

You can read this article from Part 1 here

Given the generally upbeat flavour of Brian Bodine's appearances under the Lucas banner it's not entirely surprising to find this sheer playfulness announcing his appearance for Titan Men in Thrill Ride (2011). How appealing is that, chaps? He's re-adopted the name Jason Diaz for this role, presumably at the request of the studio. Personally I think the understated Brian Bodine suits him much better.

In this film he's unexpectedly paired off with Logan Scott who usually seems to be cast in the role of perpetual victimhood (which he generally plays in a most appealing manner I must say!). His participation is, however, a clue that Bodine is resuming the role of top.

 Before long the two get down to business in the Falcon-esque pool setting which is a world away from the darkly sexy interiors of the Lucas movies. Notice how Brian/Jason has become a little chunkier and a little less 'cut' in his musculature, hopefully that's a sign of contentment.

(Titan seems to have repackaged and re-issued this video as 'Deep End' recently and these stills come from that re-issue.)

As far as I can tell this is Bodine's last appearance and this relaxed and happy shot makes an ideal swansong. A modest career spanning about 7 years but with it's fair share of memorable moments which have given me great pleasure in compiling this article.

My thanks to TitanMen for the images in today's post

However, this is not the end of my story. In researching Brian's career I came across references to the name 'Jay Black'. This model, who has made more recent film appearances, bears a superficial resemblance to Bodine in some pictures (above) and has also used the name Jason Diaz (according to 'Smutjunkies'). For a while I pursued that lead before realising that the face couldn't have changed that much in 4 years and that the faintly-visible shoulder tattoos did not match either. Such is the burden of the terminally obsessive!

This wild goose chase was not entirely fruitless however. I ran across some exciting material including the fab shot above from the now-forgotten 'Lords of the Jungle' (2006). Although it turned out to be a different man in the end and therefore of no value for this article, I think the material I found is more than good enough for a post of it's own and this will appear here soon.
You can read the Brian Bodine article from Part 1 here
 for other articles in the 'hunk' series click on the label below

Saturday, 17 September 2016

Hunk of the Month - Brian Bodine 3

You can read this article from Part 1 here

In 2008 Bodine gets a role with Lucas Entertainment in 'Cruising Budapest' with the Mangiatti Twins and this heralds something of a change in style bringing out a different side to his erotic persona.

The move to a bigger studio has provided a step up in image quality showcasing Bodine's lush muscularity. I'm not a big fan of orgies but this pairing with the twins creates a marvellous sense of  intimacy and 'sharing' which we can vicariously enjoy as well.

That warmth carries on in his appearance with Bryan Slater, also for Lucas in the 'Auditions ' series in 2010. Happily for me he's now  sporting that characterful hair. This isn't Brian's first on-screen bottoming role but he's portraying a nice degree of cheerful discomfort and awkwardness.

 There's a trace of the 'gangsta' persona glimpsed in 'Rush' in this pic,
 but it's not really representative of the flavour of the video.

 In fact there's a warm, almost romantic conclusion to the scene. Bryan Slater puts his arm protectively round Bodine's shoulders as they shoot their loads together. This isn't the norm for gay porn 'climaxes' and it seems to reflect a genuine warmth between these two characters. If you have a look on search engines you will find other images from the same sequence where Bryan is affectionate and playful with his younger companion lying alongside him.

Bodine's 'Rush' encounter with Spencer Reed follows on from this appearance and if you watch it on video you can detect a similar gentle atmosphere.

Thanks to Lucas Entertainment for these images

To be continued

You can read this article from Part 1 here
 for other articles in the 'hunk' series click on the label below

Wednesday, 14 September 2016

Hunk of the Month - Brian Bodine 2

You can read this article from Part 1 here

Bodine's film history is somewhat confusing. Titan Men link him to the 2004 film 'Horse' under the name Jason Diaz. He gets a 10 minute slot with Troy Punk in this atmospheric, heavy leather piece. A surprising debut!

He moves to more conventional territory for the 2006 film 'Wildlands', playing a lone hiker who unleashes the repressed sexual urgings of a Park Ranger. There's a nice manly moment for him where he picks up the naked Ranger, cradled in his arms, and carries him outside onto the porch to stuff him over the balcony rail. As you can see he sports a shaved head for this scene and (sadly from my point of view) this is has been the case for most of his film career.

 Luckily his youthful good looks compensate for the missing thatch.
He made several films for some of the less prominent studios in the run-up to 2008.

Most of these seem to have passed into obscurity as far as the internet is concerned, although this cover suggests that lack of quality was not necessarily the cause.

IMDb calls this a 'Boxing Themed vignette'. It's from the film 'T.K.O.' with Jake Havok in 2007.
(I can't find a link for T.K.O. it now belongs to Raging Stallion)

In this period Bodine's reputation was very much based on his muscularity and the challenging length of his cock, hence the by-line "Jake Havok is man enough.......",
see above for confirmation of this claim

 There are some nice shots from this era emphasising his masculine and ethnic credentials

You can gather from this that Bodine's passive role with Spencer Reed in part one of this article was not the only shot in his armoury, making that episode all the more interesting.
To be continued 

You can read this article from Part 1 here
 for other articles in the 'hunk' series click on the label below

Sunday, 11 September 2016

Hunk of the Month (or Captured Rogue?) - Brian Bodine

This occasional series (very occasional despite the moniker!) charts my periodic obsessions with models I stumble across on my web ramblings. This time it's Brian Bodine, who caught my fancy this week when I saw him for the first time in the image below, 

As you can see, Bodine is pretty muscular and he's being dominated here by a rather youthful-looking Spencer Reed whose own bulk seems have found a worthy match for once. The scene conjures up associations for me that might also have earned it a place in my series 'First catch your rogue'. 

Bodines hair seems to have caused a bit of a stir at the time but for me it contributes beautifully to an image of a butch, streetwise punk who's been riding for a fall and has bitten off more that he can chew here.

When Spencer turns the heat up we get an electric image - a big bouquet to the photographer! Bodine's face here might have graced one of Greasetank's epic encounters.

"Let this be a lesson to you!", Spencer seems to be saying. 
Bodine's face registers 'point made'
 In fact if you watch the video it's a much softer encounter than I have fantasied about here.
 Images from this video on the web are limited in number and the trailers seem to have been withdrawn but the film is still available, visit Lucas Entertainment film 'Rush'

Brian Bodine's not really a ruffian either, but I soon found in my researches that he's made some other interesting films which I will explore next time.
For other 'hunks' in this series click on the label below,
 likewise to see previous 'rogues' getting their come-uppance click on that label. 

Saturday, 3 September 2016

Russian Wedge

 The punishment of 'Riding the Wedge' featured here from time to time over the last couple of years has been featured by the website 'Russian Captured Boys'

The hands above the head tethering used here to expose the torso to punishment also prevents the captive from using his hands to ward off the pressure on his crotch.

Although this captive's ankles are secured to the legs of the wedge I suspect they do not prevent him from grounding his feet which is probably just as well since this practice, if prolonged, is a lot more dangerous than it looks. Don't try it at home, fantasy stuff only.

Photos courtesy of Russian Captured Boys
For more examples of 'riding the wedge' click on the label below.