Archive for June, 2011

e[lust] #27


Photo courtesy of A Bedroom Blog

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~ This Week’s Top Three Posts ~

Ruby LOVES her body, so should YOUWhat ever size you are, love yourself, be nice to yourself and concentrate on health instead of looks.

Performances - So, of course, I don’t have any sensation in my cock, but holy baby Jeebus, sinking into her is so fucking hot that I groan right along with her.

10 reasons why I shouldn’t have had sex, but did anywayI’ve written extensively about happy-sex; so now here are some of the more unpleasant reasons why I’ve had sex.

~ Featured Post (Lilly’s Pick) ~

Energy OrgasmsThere is a moment, an incredible moment, when it feels like the universe is concentrated in my body.

e[lust] Editress: Dangerous Lilly

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Caning Amelia

Pandora Blake caning Amelia Jane Rutherford at Spanked in Uniform

I was perhaps unreasonably excited by the opportunity to cane Amelia-Jane Rutherford on my last shoot with Spanked in Uniform. Mike asked us if we were happy doing any F/F scenes, and I knew that Amelia-Jane didn’t enjoy switching on film. But to be honest, that wasn’t the reason I volunteered. I’ve only recently tried [...]

66 cane strokes

Pandora Blake caned by Thomas Cameron

By the time Tom and I made it to the bedroom last Friday night, we were already high on each other’s company. Talking, drinking, smoking, dreaming, talking: we began on the economics of abundance as related to the porn industry, and ended up designing businesses for our future, building castles (or perhaps brothels) in the air. We are overflowing with plans and dreams, enough for several lifetimes, more than we can ever realise. That’s not the point. The point is how tuned in to one another we get when inspiration starts to flow, when we knuckle down to the business of discussing logistics and viability. It’s nice to have a plan down every avenue we can visualise, but both of us are prepared for unseen doors to open. We aren’t trying to map the future accurately; we aren’t pinning our hopes on any of these projected routes. The castles are fun to build even if we never get to live in them.

When we reach the bed we’re sparkling, alive, connected. We put down the props of conversation (wineglasses, ashtrays); our non-physical communication requires the introduction of different tools. A bolster and two pillows for me, a slim crook-handled cane for him.

Initially, he uses it like a switch. Light, regular strokes, slightly faster than my heartbeat, at least at first. My heart soon catches up. Like any good appetiser, it stimulates the senses and sharpens my desire for something more substantial.

For the main course, he swaps the lighter cane for 12mm of unsmoked dragon. I ride the sets of twelve with ease. I know these waters well. Each wave I crest brings a new surge of confidence. The rhythm of the strokes is slower than my heartbeat, now, but it’s still a rapid pace. I breathe, and count, and breathe again.

As we move into the fourth dozen, the waves get higher. I find that it helps if I look back over my shoulder at him before the stroke lands. My beautiful man, skin glowing in the lamplight. Sometimes he’ll meet my eyes and our gazes will lock as the wave breaks. Those are the easiest to take; the trick then is just remembering to breathe. When I ask for a sip of water I slide a hand between my legs and am unsurprised to discover how wet I am. This ocean takes skill and concentration to navigate, but whenever I return I’m reassured that it’s the only one for me.

Sailing this course is a little bit like working magic; it requires a sideways sort of focus. You can’t face the sensation head on, you have to ebb and flow beneath it, moving at the same rhythm, unsurprised, unshockable. Focus, clarity, balance. There’s a calm place, if you can reach it, where every slice of pain is a warm touch, as welcome and familiar as his hand rubbing my back.

But if you lose your mental grip, suddenly you realise how deep the waters are. Unbalanced, you lose the rhythm and the next wave crashes over your head, depriving you of breath. The more you panic, the harder it is to stay afloat.

And then you realise how far you are from land. Five sets of twelve so far, and suddenly I’m tasting fear as it occurs to me to wonder how many more there are to come. The waves are very high now, every stroke a blaze of pain, and once my state of mind falters each one seems unendurable. I grit my teeth and persevere, but Tom quickly realises that I’m not cresting these waves any more, they’re battering me. At sixty six he stops.

The best thing about this ocean is that there’s always an island in the middle of it. His arms are as welcome as any sunlit shore.

Defining ‘fairtrade’ porn

One of the concepts I’ve been talking about a lot lately is that of “fairtrade” porn. This contrasts with feminist porn, which has a specific gender political agenda: whether porn is fairtrade or not does not to refer to the content of the porn, but rather how it was produced and the relationship between performers and producers.

The simplest type of fairtrade porn is homegrown – ‘amateur’ movies produced by couples, or solo performers running all aspects of their own business. When director, performer, producer and web salesperson are all the same person, chances are no-one’s being exploited or treated disrespectfully. The bigger the company and the more employees it has, the harder this sort of thing is to manage.

Personally speaking, I am enthusiastic about making feminist AND fairtrade porn. But if I’m watching porn, my first concern is the ethics of its production. I think this is the primary concern for a lot of consumers, and I’d like to see it become an industry standard to which porn producers are upheld.

So what exactly does it mean? I imagine people will have different ideas, and if we were to try and pin down a trade standard it would take a lot of discussion. But in trying to arrive at a code of conduct for my own business practices, I’ve done a lot of thinking about what has been most important to me as a performer, and what is most important to me as a viewer. I’ve come up with the following list:

  • Enthusiastically consensual. Ideally, performers aren’t required to do anything they don’t enjoy, or engage in acts beyond the scope of their sexuality/sexual interests.
  • Performers and all other crew members are paid a fair fee, whatever their gender. Ideally, men and women are paid the same rates for the same jobs.
  • All production is undertaken with a responsible attitude is taken towards health and safety, and care for the wellbeing of the performers.
  • Performers are asked about their boundaries, and not put under any pressure, either on the shoot or in correspondence surrounding it, to change those boundaries.
  • Performers are treated with professional respect, and not condescended to, belittled, bullied or sexually harassed.
  • Performers aren’t coerced, pressured or tricked into doing anything they aren’t comfortable with, with anyone they aren’t comfortable with. Once a performer has said “no” to a request, it is not made again.
  • Performers of any gender are named and credited using their chosen stage name.
  • Performers who are travelling to a shoot are well looked after. If catering, accommodation and travel will not be arranged by the producer, the producer will notify them of this before making a booking.
  • All limits and rates are agreed in advance of the shoot date, and that agreement is kept to by the producer.
  • Performers are made aware in advance of the uses the image will be put to, or else a release makes it clear that the producer may use the images for unannounced purposes in future.
  • The porn is at least in part performer-driven. Homegrown, independent productions in which performers create their own content strongly embody this principle, but all fairtrade porn should involve its performers in the creative process to some extent.
  • Presentation of the content is respectful to the performers. A clear distinction is made in the presentation between fantasy and reality so that the professionalism and enthusiastic consent of the performers is not in question for viewers.

Which covers the shoot process (how contracted performers are treated), pay and marketing … but is there anything I’ve missed? If you care about how porn is made – whether it was produced safely, consensually, whether the people making it had fun – what is most important to you? While it is valuable to clarify my own priorities, I am also trying to come up with a set of ethical principles which will reassure viewers that the edgy, severe scenarios I film are fantasy, not reality. I want to explicitly make porn which answers the question “how can I tell if this is consensual?” So how would you define fairtrade porn, and if you wanted to be confident that a website was sound, what would you look for?

On capitalisation conventions

I found myself nodding as I read this post by Not Just Bitchy, on the reasons why she dislikes the BDSM convention of capitalising the start of names, pronouns and nouns relating to tops, and using lower case for names, pronouns and nouns relating to bottoms. Her case rests on three points: it’s hard to read, it drags others into a scene space without their consent (if used in public – people doing this in private emails to each other is their own business), and:

It puts all dominant identified people above all submissive identified people, which I’m really uncomfortable with. Dominant people as a group are absolutely not better, more worthy of respect, than submissive people as a group. Outside of silly capitalization rules, pronouns in English are only capitalized when referring to God. Equating dominant people to a supreme being like that is ridiculous.

I first started reading about BDSM online at the age of 15, and I was very attracted to the formal structures and protocol which people used. My first relationship with Tom employed a lot of protocol, which aligned neatly with the verbal conventions I encountered online. I’ve always got annoyed by people capitalising My, Your, His, Her – I find it disrupts the flow of a sentence and always comes across as pretentious and arrogant, particularly when tops use it to refer to themselves. But in blogging about my relationships I got into the habit of capitalising Sir, my Lord/s, Dominant. Even once I started thinking more critically about sexual politics, some of these habits persisted.

Some of that thinking has crystallised recently with various things I’ve read online. A note on terminology at the start of this excellent article on sexism and intersectionality in the San Francisco BDSM scene really clarified something for me:

Some people use “dominant” and “submissive” to include “top” and “bottom” because they’re more intuitive for new readers, which is a choice I understand but bristle at. Some people use “dominant” and “submissive” to include or replace “top” and “bottom” because they think that dominance and submission are better or more real, and what I really think is that these ideas should die in a fire and be buried under a headstone that reads “Total Power Exchange”. These prejudices towards power exchange are part of the problematic dynamics I’m describing, but since I’m talking about belief systems that operate around dominance and submission and prefer to ignore or devalue “mere” topping and bottoming, I’ll frequently use dominant and submissive as my operative terms below. I’ll add that for myself, I don’t use the term “submissive” as a noun, but sometimes as an adjective to describe my bottoming style.

I have always gone along with the convention of describing myself as “a submissive”, but actually, I’ve known that it wasn’t accurate phraseology for some time. A sentence I tend to use in online profiles puts it succinctly: “I’m submissive to my dominant partners, but rarely to anyone else”. It’s been an understood part of my self-identity for some time now that I am not submissive by nature, socially submissive, or submissive by default. Since I grew out of my adolescent insecurities and into my adult self I’ve realised that I am, in fact, hyper-responsible, a bit of a control freak, fiercely territorial, proud, loud, independent and disinclined to take any shit from anyone. And yet these facts don’t compromise the truth or power of what takes place when I surrender control to my lover.

I like the idea of “top” and “bottom” describing behaviour, rather than identity. I like the idea that it might be considered normal for a person to top in one situation and bottom in another without having to rethink their self-identity. I certainly believe that sexuality is fluid and inclined to change over time, and I include kinks and preferred power orientation in that as well as gender. It was no great wrench to stop thinking of myself as “a submissive” – it hadn’t felt right for a while anyway. Claiming “bottom” as an identity was a bit more of a stretch. I suspect it’s prejudice on my part, but I’ve always thought of “bottoming” as the sort of playful engagement in a scene that doesn’t involve any power exchange; and power exchange is still very important to my ability to enjoy play (although it’s no longer the only way I can enjoy it). Still. If I’m not a submissive, then I’m a kinky person who submits to my romantic partners, and bottoms to anyone else I play with. I’m comfortable with that, and I’m coming around to the idea that that “bottom” might be a convenient shorthand in kinky social spaces.

When talking to Tom and D about this, though, I realised that one thing was still very important to me (and it clearly was to them, as well); I may not be a submissive, but I am still theirs. Hearing one of them call me “my sub” makes me feel glowy and loved, rather than twitchy and uncomfortable. I’m happy to think of that as being short for “my submissive partner”, just as they are my dominant partners. Which is useful, because I do still think of them jointly as my doms. I’m just training myself out of the habit of capitalising it.

Submissive and dominant are, in fact, the two greatest hangovers of those pretentious BDSM conventions I picked up all those years ago. It wasn’t until reading that Not Just Bitchy post today, and nodding vigorously, that it occurred to me that I still had a blog category titled “D/s”. Old habits die hard. So hard, in fact, that I had to consult Twitter before having it pointed out to me that the acronym still means the same thing spelled d/s or D/S. (I’m still not quite sure which I prefer. All-caps is standard for acronyms, I guess, but the lowercase one feels a little more familiar.)

Which leaves the question – what about the convention ‘M/m’, ‘F/f’, etc to describe the orientation of players in a scene? (This in itself is fairly old-fashioned, and seems conspicuously binary to a modern eye. I haven’t encountered a similar shorthand suited to people of other genders, but I’d be interested in discovering one). In a two person scene, capitalisation doesn’t matter as long it is understood that the top is always named first. But in a scene with three or more players, the capitalisation provides a visual aid to help convey sense. I find, say, FM/m – to describe a scene with one male top, one female top and one male bottom – more instantly legible than fm/m or FM/M, but it’s not like the latter is incomprehensible. And putting all letters in the same case would remove the ambiguity of trying to describe a switch role. In a scene with, say, one top, one bottom and one person who plays both a top and bottom role, would the S/slashy convention use F/F/f or M/m/m? Both are misleading.

A convention in which letters before the slash describe players topping, letters after the slash describe players bottoming, and any letters between two slashes describe players switching seems like a perfectly comprehensible system. This is me stating my intention to use it unless you can convince me there’s a better one, and to root out any other residual, unwanted capitalisation habits while I’m at it.

Oh, but there’s one exception. If I’m in a scene and I call someone Sir, it’ll always have a mental capital letter (or Miss, Ma’am, Milord or whatever else my top prefers to be called); and it’ll keep that capital if I’m quoting what I said in text. In English, a capital on Sir is a gesture accorded to rank. I don’t extend the same to all tops, or even my tops in all contexts, but if I’m addressing them directly in a scene space, the capitalised honorific seems appropriate. I don’t know if that means my approach is inconsistent, but right now it feels like it makes sense to me.

Close Friends

The title of the most recent photoset of mine to be published on Northern Spanking is a little ironic. I haven’t been in touch with the artist formerly known as Niki Flynn since she left the scene in 2009, although mutual friends assure me that she is well and happy. But when she was still Niki Flynn, it felt like we did become close friends. The NSI shoot in December the previous year was the first and only time we ever shot together, and looking at it brings back a whole load of memories.

This photoset explored one of the “grown-up” scenarios we both enjoy as a counterpoint to the endless (if still fun) schoolgirl scenes, and Niki was the perfect person for it. Elegant, graceful, a consummate professional, she was a pleasure to work with. Here’s the blurb:

Lifelong friends Niki and Pandora are enjoying a genteel afternoon tea together on a stormy afternoon, when Niki’s husband (Michael Stamp) arrives home with a face like thunder. His Saturday has been ruined due to Niki forgetting to renew his golf club membership. Imagine the embarrassment of being barred from the first tee at the Royal & Ancient.

Horror-struck, Niki is fully aware of what is about to happen; she will be taken to the bedroom, undressed and punished most severely.

Once the chastisement is well underway, Pandora cannot resist creeping up the stairs to listen more closely to her friend having her bottom smacked, just like when they were naughty little girls. The sounds have a powerful effect on Pandora, awakening long-forgotten desires of the dormitory and her fingers wander inevitably to her knickers, then inside.

It is when Pandora herself is drawn as if by electricity to enter the bedroom, to actually see Niki’s bottom bouncing and wriggling, spanked red from the crown of her pert buttocks to the tops of her black stockings. There is a caning to come and, caught, Pandora is told to fetch the implement and witness her friend being stripped and thrashed.

It is not long before Pandora herself is undressed to her pretty underwear, presenting her lovely bottom alongside that of her friend, to be adorned with stinging stripes. And afterward of course, Niki and Pandora discover the new level to their friendship that only humiliation, suffering and very sore bottoms can bring about.

The first few times I met the lady known as Niki Flynn I was somewhat in awe of her. Older than me, a published author, fiercely intelligent, the star of those notorious political Stalin films by Lupus Spanking, ever courteous but somewhat reserved in person. Over the years, Tom and I played a number of intense scenes with her and Cameron; at their house, in hotel rooms, even in my North London bedroom. One of the best things about playing with Niki was the way that her shyness would melt away after a scene, revealing a bubbly, extroverted, affectionate person who would happily chatter away late into the night, sharing stories and secrets. But even this wasn’t quite what it seemed. It’s not that play would strip away Niki’s shields, so much as the extrovert persona that emerged through CP play was a shield of sorts. There was a lot more to this extraordinary lady than I ever encountered. All of us have layers, different facets of ourselves that we bring out in different contexts. Niki’s private nature made her my opposite in some ways, but I had an awful lot of respect both for her privacy, and for her.

It makes me all the more grateful for the intimacies we did share, brief as they were. There are moments I will always remember. Niki giving me a lapdance during a slave-girl scene – and afterwards, taking me by the hand and cleverly, generously helping my shy, awkward self through a dance together, for the benefit of our watching owners. Her cradling my head in her lap as I was caned, and stroking my hair – and me returning the favour. Being schoolgirls together, reformatory inmates, a serving maid to her aristocratic niece. Watching Tom gently hold her foot as he caned the sole, and hearing her gasps of pain and pleasure.

Close Friends is, in some ways, closer to the truth than you might think. I may not have known her well, but the times I felt closest to her were always during or after we were punished together.

Deserved vs undeserved punishments

1.“Real” punishment in spanking porn One of the most popular tropes in spanking porn is the concept of the performer being consensually punished on camera for some real misdeed, and experiencing genuine feelings of remorse, catharsis and release in the process. Real Life Punishment, Dallas Spanks Hard and Strictly Spanking all focus exclusively on this [...]

Weekend hyperkinks #1

I spend quite a lot of time sharing links and chatting on Twitter. I know not everyone uses it, but often some of the most memorable online moments of my week go past on there and are quickly lost again in the fast-moving stream. I see a lot of interesting articles, sexy pictures and videos [...]

Clover’s first birching

Often it’s an image that catches my attention first. Lighting, colour, composition – all these can snag my gaze and draw me in. But I look at bodies, too, hungry in particular for representations of the sorts of bodies you see all the time in real life and rarely in erotic imagery. Curvy bodies, for [...]

Anatomy of a pinup

I love this recent interview with sex performer and educator Annie Sprinkle, in which Annie talks about sex work, polyamory, ecosexuality and taboos with refreshing frankness. I particularly enjoyed these snippets. On bad sex: When I was very promiscuous, I liked all kinds of sex. I could enjoy bad sex on a bizarre level. Bad [...]

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