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The caption notes that reproductions of the complete "natural (nude) Tom drawings" are for sale by mail order. In 1956 Laaksonen submitted drawings to the influential American magazine Physique Pictorial, which premiered the images in the 1957 Spring issue under the pseudonym Tom, as it resembled his given name Touko. In the Winter issue later that year, editor Bob Mizer coined the credit Tom of Finland.
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One of his pieces was featured on the Spring 1957 cover, depicting two log drivers at work with a third man watching them. Pulled from the Finnish mythology of lumberjacks representing strong masculinity, Laaksonen emphasized and privileged " homoerotic potentiality relocating it in a gay context", a strategy repeated throughout his career. The post-World War II era saw the rise of the biker culture as rejecting "the reorganization and normalization of life after the war, with its conformist, settled lifestyle." Biker subculture was both marginal and oppositional and provided postwar gay men with a stylized masculinity that included rebelliousness and danger. This was in contrast to the then-prevailing stereotypes of gay man as an effeminate sissy, as seen in vaudeville and films going back to the first years of the industry. Laaksonen was influenced by images of bikers as well as artwork of George Quaintance and Etienne, among others, that he cited as his precursors, "disseminated to gay readership through homoerotic physique magazines" starting in 1950. Laaksonen's drawings of bikers and leathermen capitalized on the leather and denim outfits which differentiated those men from mainstream culture and suggested they were untamed, physical, and self-empowered. This in contrast with the mainstream, medical and psychological sad and sensitive young gay man who is passive. Laaksonen's drawings of this time "can be seen as consolidating an array of factors, styles and discourses already existing in the 1950s gay subcultures," this may have led to them being widely distributed and popularized within those cultures.
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Starting his professional career in 1958 as a creative executive in renown marketing agency, McCann Helsinki, further encouraged his creativity. Laaksonen's style and content in the late 1950s and early 1960s was partly influenced by the U.S.
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Censorship codes that restricted depiction of "overt homosexual acts".