True to his word, that next Monday morning Shane reported for his new job that McKinley had organised for him. Officially, Shane had been employed as McKinley’s assistant. However Shane’s tasks seemed to be limited to getting coffee for McKinley and being available for sex whenever McKinley had a few spare minutes.
It was a working environment that suited Shane perfectly. He was in awe of McKinley’s masculine authority, and he loved the illicit nature of being called on to service McKinley’s needs whenever the door was closed or there was no one around.
Shane was at his desk, Googling for some new speedos, when he heard McKinley shouting for him.
“Shane!” demanded McKinley’s loud voice. “Shane! Get in here now!”
Shane quickly bustled into McKinley’s office, locking the door behind him as he was accustomed to doing. McKinley had already drawn the blinds. “What took you so long?” growled McKinley impatiently.
“I… um…” Shane knew that he didn’t have a good answer, that whatever he said would somehow just make McKinley angrier.
“Get your clothes off…” instructed McKinley. “I said… get your fucking clothes off!” growled McKinley when Shane didn’t move as quickly as McKinley obviously wanted.
Shane quickly stripped off his shirt and trousers and he was soon standing naked in front of his boss. He’d been naked in front of McKinley before, there was nothing unusual in that, but McKinley seemed to be in a particularly bad mood and that was making Shane feel a little bit vulnerable.
“On your knees…” growled McKinley, pushing his chair back from his desk. Shane immediately dropped to his knees, waiting for the next instruction. He could see that McKinley was still fully dressed — a smart, navy blue suit, trousers and jacket, a crisp white shirt, cufflinks, a dark tie, perfectly polished black shoes. “Crawl over here…” snarled McKinley. Shane did as he was told, without question, shuffling across the floor of the office until he was kneeling at McKinley’s feet, looking up at the man that he worshipped so much.
“Yes, sir?” asked Shane, eager to please.
“Who owns your boy-cunt?” asked McKinley.
“You do, sir…” replied Shane without hesitation.
“Who is allowed to fuck your boy-cunt?” growled McKinley.
“Only cocks authorised by you, sir…” replied Shane, remembering the ground-rules that McKinley had set at the beginning of their working relationship.
“Get up on the desk…” growled McKinley. “Show me your cunt…”
Shane did as he was told, quickly scrambling up on top of the desk, positioning himself on his hands and knees so that his smooth, hairless ass was presented to his boss.
“Anything you want to tell me?” asked McKinley quietly.
“Sir?” asked Shane, looking back over his shoulder, unsure exactly what McKinley wanted to hear.
“Who else, beside me, has been fucking your boy-cunt?” growled McKinley.
“Um… no one, sir…” replied Shane.
“Don’t lie to me, slut…” snarled McKinley, bringing the palm of his hand sharply down onto Shane’s exposed ass. “I saw you at lunchtime, coming out of the gym, that guy was all over you…”
“He didn’t fuck me, sir…” explained Shane, flinching as McKinley brought his hand down once more onto his ass, leaving a red palm print on Shane’s white skin. “I’ve seen him a couple of times at the gym, he’s been checking me out in the showers. Today I sucked him off, but he didn’t fuck me… he didn’t breed me… he didn’t breed my boy-cunt…”
“You’d better be telling me the truth…” snarled McKinley. “I’ve got my belt right here and I won’t hesitate to tan your white ass if I catch you lying to me…”
“Yes, sir… Yes… I promise I’m telling the truth…” stammered Shane, becoming increasingly turned on by McKinley’s dominance, by his control.
“You can go now…” said McKinley dismissively.
“Sir?” asked Shane, a little confused.
“I said you can go…” repeated McKinley.
“Please, sir…” said Shane.
“What?” asked McKinley.
“Please, sir… my ass… my boy-cunt… I need to be fucked… I really want get fucked right now… I really want you to fuck me…” begged Shane, reaching around behind himself and beginning to finger his aching fuck-hole.
“You want my cock? You want me to fuck you?” demanded McKinley, standing behind Shane.
“Please, sir…” begged Shane, continuing to finger his fuck-hole, pushing his ass towards his boss.
McKinley spat a mouthful of saliva directly onto Shane’s exposed hole. Shane used the lubrication to push his fingers inside himself. McKinley spat again, Shane added another finger and began to slide them in and out of his fuck-hole, fucking himself with his fingers, closing his eyes as he surrendered his body to the pleasure that he was giving himself.
Suddenly Shane heard the sound of the door opening. He opened his eyes and quickly looked around the office. He realised that McKinley had left the room and had left the door to the office wide open. At that point — kneeling on his boss’s desk, naked, fucking himself with his fingers, begging to be fucked, the office door open so that anyone could walk by and see him — it was at that point that Shane knew that he had given himself completely to McKinley. There was no turning back.
Riding the Waves
We’re serialising Riding the waves on Mainly Male. This is the third instalment.
We want to hear your opinion
Beach Boys in the Buff
I caught up with artist Marc DeBauch to look at his series of work titled Beach Boys.
When did you discover and start to explore your passion for art?
I started drawing and painting when I was three years old. Before I was five, I remember creating a crayon drawing of the Sinking of the Titanic on the rough plaster of the living-room wall of my parents’ house. It was impossible to remove — my parents weren’t happy with me, but after that they provided me with enough art materials to pursue my creative interests without destroying their home.
When did you start specialising in painting naked men and creating erotic art?
It was 36 years ago when I started painting male nudes and selling them in a local gay book store. Then, in 1995, I entered two paintings in the Tom of Finland Foundation’s Emerging Erotic Artists Contest. I was won first place, which opened the door for my art career, as I was immediately approached by galleries and magazines that wanted to feature my art.
This gave me the confidence and notoriety to exhibit and sell my work at erotic art fairs and gay events. At that time, the internet was just emerging, so my friend Andrew created a website for me, which was a fantastic tool to get my art out to people around the world.
You’ve written that Tom of Finland is one of the major influences on your work — when did you first encounter the work of Tom of Finland?
I remember seeing Tom of Finland’s art in a porno magazine my friend had in high school. I was just amazed at the sexual tension, outrageous anatomy, and attention to detail in Tom’s art.
This was back in the early 1970s, so gay porn was just emerging legally in magazines and films. At the time, I wasn’t talented enough to draw the human figure accurately. But, I was fascinated enough to want to try. My sister’s boyfriend was a photographer, and he gave me his dark room equipment — back then you actually had to develop film, as there were no digital cameras.
I talked a friend into posing naked for me while jacking off, and I developed the film and made some prints. I was 14 years old, photographing another 14-year-old boy. It was very exciting creating my own porn! Unfortunately, my dad — being supportive of my art — wanted to see the photos, and of course I couldn’t show him. Not only did he not approve of gays, he didn’t want his son to be gay. He would have probably hit me if he knew I was a homosexual creating gay porn! So, I destroyed the photos almost in front of him, while saying — “The photos didn’t turn out and I would show him better work at another time.”
I was scared and freaked out. I knew I was self-censoring. But I also realised that if I was going to create erotic art that I would have to do it in secret. When Tom of Finland began drawing naked men, he also had to make his art in secret. I think most erotic artists learn to be very careful about choosing the right audience to exhibit their work to.
Where do you draw your inspiration from?
My inspiration comes from people I know. I’ve been fortunate to see and meet many beautiful men in my life. Capturing their beauty and illustrating them in a unique way, is my goal.
What’s your creative process?
My creative process is different every time I paint. Sometimes an idea for a painting just pops in my head and I try to find model to pose for a photo to match my vision — that’s often the easiest route.
I rarely work from a live model. My paintings take so long to create — I often work all night on a painting — so, finding a model to sit for that long of a period and whenever I want them, is impossible. I use the photos of my models as reference.
Often, I look through hundreds of images and piece things together in a collage. It’s more like a jigsaw puzzle — lots of pieces missing, and my mind fills in those missing pieces with an arm from this model, the chest from another, the dick from another, the face from another, and so on, until I have the entire figure. But then I have to decide how the light and setting will pull all of those puzzle pieces together.
I have dozens of photos that are my references for every detail of plants, animals, rocks, furnishings. I sort through a constant mess of photos — gradually eliminating those references as my brain digests the information and my brush puts it on the canvas or paper.
The paintings that form the Beach Boys series are beautiful — what are some of the challenges in creating beach scenes like this?
Trying to find a balance between the setting and the model is always a challenge. I don’t want the model to overpower the beach, or the beach to feel more important than the model. I want my paintings to have a natural feeling, like you could be at the beach with my models.
Who are the men featured in the paintings of the Beach Boys series?
The men in my Beach Boy series are mostly friends that have modelled for me. Sometimes I find a photograph of a model that someone else has taken, that inspires me to use it as a reference pose to work from, then I find one of the photos of a beach that I’ve visited and I try to recreate a similar pose in a drawing that will eventually become a painting.
What do you hope that people feel when they look at your work?
I don’t want to just give the viewer of my art an erection, I want them to feel like they’re part of the painting, that they want to invite the men in my paintings into their homes, their beds, their dungeon, their car, their locker room, or the bushes for a hot fuck, butt licking, cock sucking, ass spanking good time.
I hope to excite the viewer visually, emotionally as well as spiritually. It’s my goal as an artist and sexually active gay man to paint erotica that continually challenges the views of people who oppose sexual freedom. If my paintings assist the viewer in discovering where they are in the spectrum of human sexuality, then my aim is reaching its target.
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