El Rey Arturo Y Su Espada Excalibur

On the same site, which I've pillaged in times past for similar images of iconic Mexican and other Latin American men who enjoy exhibiting their bodies anonymously and pseudonymously to an adoring public, as that from which the pictures of the previous post were drawn, come these compositionally more monumental images of a young man who, for some reason unstated but to me readily apparent, identifies with the legendary English monarch who as a boy was able to pull the sword from the stone.



The following pictures show this legendary hero in an even more monumental mood. At the very least, the legendary and heroic are characteristics this youth seems to be aspiring to; and I for one hope to support him here in his noble ambitions.








Below are the most recent images this boy king has uploaded for the viewing of his people. He appears to be doing his best to display, in these images, the power of his youth and the pleasures to be found therein.

El Ranchero De Visalia

This isn't the first time I've shown photos of this fellow, Ricardo, on this blog; but I didn't show all the ones I had saved; and since then, I developed a new reason to share them. There's this young man who buys large quantities of strawberries and other produce from my employers twice a week. He looks about twenty three, acts and dresses like a great overgrown teenager, and I imagine his body looks a great deal like this one when stripped of his sagging jeans and other obstacles to my pleasure. Despite this handsome cholo's unfathomable need to shave his pubic region, I find that Ricardo (at least for the moment) represents my current physical ideal.






These night shots are from his most recent postings on that Mexican exhibition site mentioned in several previous posts. There was something I found very moving in his need to show himself connected to the soil. I find this self identification with the dirt he works with deeply sexy.




Some men take great pride in their ability to let loose with a full steady stream of piss. When the hose employed is as magnificent as the one belonging to Ricardo, I don't mind watching (so long as he's not pissing on me.)


As in the previous post devoted to this remarkable young ranchero, he's seen here showing off his farm equipment, which looks in as good godly shape as himself.



One may have reason here to recall the old rhyme: April showers bring May Flowers; but as one can see from the yellow dates stamped on these pictures, the shower shown here came in March and the flowers arrived in April. In any case, it looks like he has a lovely home and garden awaiting some lucky young vaquera.

The Bad Sleep Well (悪い奴ほどよく眠る)

In this dream the drifting consciousness of The Dreamer is sometimes sheltered within the mind of Apolinar Yerena or that of his second son, Ricardo (and sometimes outside those stable boundaries.) Fumi Kimura is to be a witness to her own funeral. She has left all of her property to the disposal of her unscrupulous neighbor, a long haired jackal with curly locks, named Caterina Chakal. With Fumi's disembodied spirit hovering over the proceedings, Chakal informs Poli that the funeral will take place inside The Truck, in which Fumi and her parents hauled their flowers and cacti to market for the last twenty five years.



From the outside, The Truck looks just as it did during Fumi's market days. Inside, it is much larger than it appears from without. (It's the same width as it was, but twice as long.) Where before there were shelves on the back wall behind the cab, now there are shelves running along both sides of the interior. On the right hand side are seven bronze urns labeled with raised characters in Japanese.



Cati tells Poli that only one of the urns contains Fumi's ashes and that the other six are empty decoys. If Poli (or Riki) can guess which one contains Fumi's remains, The Truck will belong to him. Though he considers this game beneath his dignity and inappropriate to the solemnity of the occasion, he walks unhesitatingly to, and places his hand on, the correct urn.



When the curly haired Jackal, who walks upright on her hind legs, realizes that he's seen through her and past her schemes, she flashes her false smile, which is intended to disarm her enemies. Poli is instructed to drive this Truck, whose interior keeps growing longer, to Fumi's garage on the hill above the greenhouses.



The Dreamer is now within Ricardo, among the mourners of The Funeral; and separate from Apolinar, who is driving the vehicle in which the ceremony is taking place. The shelves of The Truck (those not occupied by the urns) are filled with potted succulent plants of many varieties native to Mexico, some of them dying and others flourishing, but all of them uncared for. The mourners are grabbing plants off the shelves as keepsakes, while a Buddhist Monk chants instructions to Fumi's spirit from The Book Of The Dead.



While the others grab plants, The Dreamer takes hold of the bronze urn with Japanese characters that Poli chose as Fumi's. (Cati didn't realize that Sr Yerena can read Japanese!) When The Truck stops inside the garage, which unlike in reality is here underground, The Dreamer dodges The Jackal's attempts to stop him and takes off running with Fumi's ashes. The rest of the funeral party and Cati chase after him as he runs out into the light and up to the top of the hill. When he reaches the summit, Fumi's urn disappears, as do the people chasing him and he returns to the garage. In the cab of The Truck, he finds a hairy little succulent in bloom, a type of calencoe, sitting on the dashboard in a small green plastic pot. He takes it with him when he goes; but as he wakes, he hears Cati telling Poli that she doesn't remember giving him permission to take The Truck.

Gregg's Porn Quilt, Drawings, and Transfers

This last post (for now) regarding Gregg Woolard and his sizable oeuvre (so far) shows some overlap with the previous post (as it should.) It is not all his most recent work. The quilt, Thousand Pyramids, must be at least fifteen years old, but it represents an area that he has not yet exhausted in his exploration of forms and contents. The large black and white drawing (with a few odd colored areas,) which logically follows the quilt here, in three generous details (unfortunately without an image of the whole remarkable piece,) is clearly related in theme, structure, and imagery. The rest of the pictures, which employ various techniques, such as collage, painting and transfer drawing, again use photos of gay porn models, torn and cut from their context and set to work as representative figures, talismans and symbolic self-projections.