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Tight Elevator Ride - FULL #VORE AUDIO! Listen below. Patrons get access to the BONUS scene, a prequel where you hear Giselle eat two other people! 🔞Nami955 🎙️NSFW VA (🌴Sep 12th-26th) as Giselle (female pred) Verasdorn as Veras (male prey) BB as Carrie (bonus scene only, for Premium members)... show more
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![— ✧ Soft Ramblefap Listen to the full audio here or over on GWA (link in comment below). [F4M] I want more 🏷 Tags [ramblefap] [why am I so awkward] [begging] [soft moans] [imagine with me] [rain sounds] [overstim] [don't stop] [whimpering] [real orgasm x2] [pussy is a funny word] [I bought my first bottle of lube for you] [slight fourth wall break] [please just fuck me] [I deserve this] 📖 Summary The dating scene is rough. And sometimes you want more than a quick fuck. You want someone to hold. Someone to love. Someone who will love you back. It can get lonely, but at least we have each other. ─── ⋆⁺‧₊ ☾ ₊‧⁺⋆ ─── Hi Dreamers, I made this while testing out some audio equipment upgrades as I ramble and yearn. I don't do ramblefaps often. I always feel a little awkward doing them as opposed to roleplays. But I'm thinking I might do them more—not a lot, but not as opposed to doing them anymore. Just feeling myself as I imagine things I'd want to do with someone. It's just another way to explore what I want, like roleplays, right? Maybe you and I can imagine we're doing all these things with each other. Sweet dreams, Kimari 🌙🥀](https://image.24vids.com/tw-2088427358726541736/amplify_video_thumb/2088425588453408768/img/WvFq0g6CmabG1e1Y.jpg)
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— ✧ Soft Ramblefap Listen to the full audio here or over on GWA (link in comment below). [F4M] I want more 🏷 Tags [ramblefap] [why am I so awkward] [begging] [soft moans] [imagine with me] [rain sounds] [overstim] [don't stop] [whimpering] [real orgasm x2] [pussy is a funny word] [I bought my first bottle of lube for you] [slight fourth wall break] [please just fuck me] [I deserve this] 📖 Summary The dating scene is rough. And sometimes you want more than a quick fuck. You want someone to hold. Someone to love. Someone who will love you back. It can get lonely, but at least we have each other. ─── ⋆⁺‧₊ ☾ ₊‧⁺⋆ ─── Hi Dreamers, I made this while testing out some audio equipment upgrades as I ramble and yearn. I don't do ramblefaps often. I always feel a little awkward doing them as opposed to roleplays. But I'm thinking I might do them more—not a lot, but not as opposed to doing them anymore. Just feeling myself as I imagine things I'd want to do with someone. It's just another way to explore what I want, like roleplays, right? Maybe you and I can imagine we're doing all these things with each other. Sweet dreams, Kimari 🌙🥀
KimariRoseVA 🌙🥀
61,169 views • 1 month ago
![You are incorrect. There's no connection between sexuality and gender identity. A man can be gay, straight, bisexual, or otherwise, and identify as masculine, feminine, or neither. If you wanted artistic depictions of "robust masculinity," as you say, you can always go back to J. C. Leyendecker, a German-American immigrant responsible for producing some of the best commercial art during the early 20th century. Leyendecker, who is widely believed to be gay, created "The Arrow Man" for Arrow Shirts and hundreds of The Saturday Evening Post's covers. If you're into menswear, as I am, you are undoubtedly familiar with his work, as he created much of the menswear art during that period. "Trad" corners of Twitter also often put his art forward today as representations of "traditional Western society." Or you can check out Osmar Schindler, whose works are markedly homoerotic. See Muskelspiel (Muscle Play, 1907) and Germanic Warrior with Roman Helmet (1902), pictured in the second and third slides below. These images celebrate "robust masculinity," but there are often layers of meaning, which makes his work interesting. What you're hinting at is a stereotype that has always been around but, in my opinion, crystallized after the trial of Oscar Wilde. In his essay "Out of the Closet," Max Mosher writes about some of this history. An excerpt: “Pansy, Nellie, swish, queen: the fairy went by many names, but one thing universally acknowledged was that he wasn’t a ‘real man.' Sexual theories of the time suggested that homosexuals were women in men’s bodies, unnaturally devoid of masculinity. But the easily recognizable identity proved useful for lonely men desperate to find each other. Gay men flocked to the stereotype like fairies to a flame. [Later], masculine gays felt alienated from an identity that didn’t represent them; early queer activists worried that the fairy stereotype gave the community a bad name.” In the 1970s, gay men rejected this "fairy" stereotype and embraced over-the-top representations of masculinity, often forms connected to the working-class male. In San Francisco, some of these men were known as "The Clones" or "The Castroids" (for how they would hang around Castro Street, a historically LGBTQ+ area of the city). Moser continues: “Clones had taken the look of the working-class male and sexualized it, emphasizing muscles through tight t-shirts, and shapely buttocks through deliberately shrunken jeans. The Clone Look was, in fact, a deconstruction of the traditional male, a kind of ‘butch drag.’ By dressing like ‘real men,’ clones had discovered that masculinity was a performance with costumes no less contrived than the fairy’s tailored suits or the radical drag queens’ gowns. The Clone Look, the first style to say it was okay to be both gay and masculine, may have encouraged thousands of men to come out.” Today, much of this aesthetic has been co-opted by the far right, as conservatives wear skin-tight Buffalo plaid shirts, stretch denim, and work boots. Regardless, I don't care for the original image not because it depicts masculinity — which I'm totally fine with and in fact have built a career in writing about as an aesthetic — but because it's cliché. To be sure, it's remarkable as photojournalism, as it captures the moment when Secret Service agents rushed Reagan out of the Augusta National Golf Club when someone crashed the gate and took people hostage in 1983. But people are not necessarily reacting to that moment; they are reacting to the semiotics of the image. I find the image cliché because it's so inert and overdetermined. There are no layers to the image; people are just into the accumulation of masculine tropes in a small frame — preppy clothes (symbolizing wealth), semi-automatic weapons (violence), and a sense of urgency (ACTION!!). I find it cliché the same way I find it cliché when a certain kind of guy loves referencing the Scarface scene where Tony Montana says "say hello to my little friend." The red-carpeted mansion (wealth), shootout with semi-automatic weapons (violence), and fast-paced scene (ACTION!!) have some obvious appeal. But... it's also pretty cliché. You are easily impressed by low quality symbols, which is perhaps why our current political moment is so exciting for you.](https://image.24vids.com/tw-2086563138481381888/amplify_video_thumb/2086557586678251520/img/ynB1h_6haBQvlPbO.jpg)
![Michael Caine explains why he broke his own rule of not kissing a male during this scene with Superman [Christopher Reeve] in 'Deathtrap' (1982, Lumet): "There were two routes out of the ghetto: sport or show business. Sport was out for me, so show business was the only option, although I had very little practical experience. When I was seven I appeared in the school pantomime with my fly open and got my first on-stage laugh which was very gratifying — until I found out why they were laughing. I learned two things from this debut: always make the audience laugh with you and never at you; and always check your fly before you go on. These days it's an automatic reaction with me. My second attempt at show business was at Wilson's Grammar School where I went to the first play rehearsal without reading through my part and found out that I had to kiss a small boy who was playing my wife —a necessity in an all-boys school and one of the reasons why I am against them. I couldn't do this love scene; apart from the fact that Jenkins was not a girl he was also very ugly —even for a boy —and he had bad breath. I retired from the play. After this I promised myself I would never do anything where I had to kiss a male. I only broke this vow once, when I did 'Deathtrap' (1982) many years later. And I had three good excuses: I was kissing Superman (the other part was played by Christopher Reeve); his breath only smelt of the bottle of brandy we had drunk between us before we did the scene; and I got paid a million bucks to do it. My sense of values, as you can see, did not alter much over the years." ('What's it All About?', Michael Caine, 1992)](https://image.24vids.com/tw-2007180094658544005/amplify_video_thumb/2007112175173914624/img/F-0JrROD-oINVAsW.jpg)