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One day I was walking down the street. I noticed my shoe lace was undone, so I bent over and tied it. Then I felt something touching my ass. I quickly jumped up and saw a huge overweight man feeling my ass. He then handed me a card from his pocket. It had an address on it, and It looked really professional too. Half an hour went by and I'd been walking around with a hard on. I was outside his house, so I walked up to it and knocked. I heard someone walk to the door and then he answered it.

He was naked and had a full hard on. No sooner had I gotton through the door, than he'd pulled my pants down and pushed me onto the stairs. He stuck his fat cock up my ass.

I moaned and we both were breathing heavy. It was quite difficult for him to fuck me because of his huge stomach, but he managed to. By this time he's cummed up my ass. He took his cock out and I could feel the cum dripping out. I slowly stood up Free gay fetish stories turned round to looked at him.

I looked at his cock and saw a fat, cum covered cock. It probably would have been much bigger ig he didn't have all that fat. I'm completely shaven down below, so you can see everything. He just stared at my cock and told me to go into the kitchen. He bent me over the worktop and stuck his cock in me again. He pumped really hard this time.

My fat was wobbling everywhere, especially my man breasts. I could feel and hear his fat stomch slapping on my back as he fucked me. There was so much fat I was in heaven. He came again Free foot fetish webcam tgp my ass, but didn't stop.

I stood there for a few seconds, but then I got going. I rubbed myself, just like I do when I'm alone. I pushed one of my breasts up and licked my nipple. I then moved my hand towards my fat cock. I masturbated it slowly, but Causes hair fetish I got carried away. I pumped really hard, I was so horny. I walked up to him in the chair. He moved his hands round to my ass and massaged my fat butt cheeks.

I came all over his face. He pushed my onto the floor and said. He stood up and slowly knelt down and then got onto all fours. I was still on the floor on my back watching him. He crawled over to me and pushed me so I'd roll over. He then layed ontop of me and fucked me again. This time he was very rough. He nearly ripped my asshole with his fat cock and he kept saying "Naughty Fat Boy".

His hands slid under me and he grabbed my breasts. He twisted them and maasaged them. This was it, I'd had enough. I came allover the carpet. There was so much pleasure in me. After our little or fat fuck fest we got dressed and I went to go home. Before I went he said I could come back anytime as I was the best fat boy he's ever had. TAGS anal sex fucking all tags. Free bondage fetish or lesbian caught him looking at me just a bit too long and decide to make the most of it.

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In popular culture and sci-fi, time travel devices are often a MacGuffin to either fix past mistakes or explore alternate actualities. In the comprehensible vernacular of North Philly-artist Camae Ayewa, aka Moor Mother , time travel became a tool to depict harsh realities and ugly truths, the black boxes in history that need shaking.

Her second appearance at the festival was part of Subserve And Unprotect , a haunting collaborative live piece about police brutality led by King Britt — another Afrofuturist and early champion of Moor Mother. From on, Moor Mother became a crazy prolific creative outlet for Ayewa, employing the vocabulary of hip hop — with its unmatched ability to put archaic sounds into present-day contexts — and the dilettantish impetus and activism of punk rock.

Ayewa, who also coaches varsity basketball, connected with DiS via Skype after an early practice. How does your music correlate with Black Quantum Futurism http: Everything I do comes through that Black Quantum Futurist lens. Sounds that span generations. When I do interviews, people tend to ask: In my collage work, there are so many pieces: Ways of training people through symbols of time, bells and whistles and things like that. If I wanted to do a soundscape on time, I would have to get the bells and whistles first.

What are the people's own vocalizations of time? How do they try to slow it up? All these different things come up. I can't sample any type of blues without sampling the music they made in prison, the grunts and moans. It kind of tells a whole story to me and even if I try to, and if I don't know the whole story, the research leads me to more things. You developed Community Futures Lab last summer with co-Black Quantum Futurist, partner, and housing attorney Rasheedah Phillips, a physical space several blocks away from your home in North Philly.

What sparked that endeavor? If I was just concerned with becoming an artist, it would be easier for to block out everything else and make whatever I want. My community bleeds into my art. Rasheedah and I both do community work and hold workshops. As a housing attorney, Rasheedah is involved with a lot of the policy and the clients who live and work in our community in North Philly.

That's stuff we both are constantly invested in. So we wrote up a grant to get that space. The continuation of the things we're looking at as far as time, futurism, and how that affects communities and personal trauma. And to put that in relation to sci-fi and futurism. People in the community are either taken aback or suspicious… because so much has been done to them. They have dealt with so much on a daily basis.

Last year, within a four block radius, 1, properties were demolished and people were removed. So we are in a community where people day-to-day are going to these public services, dealing with evictions, or having to travel far to get their kids to school.

We're up against a lot. And having artists leave the neighborhood. That's just two things besides the Housing Authority and the police coming in. Right now, we're just carving out space along with everyone else. Just going door to door, tonight I'm going to a church meeting. In most cases, people are planning on the future of the city and those actually living here have no input, especially people with low incomes. So we're collecting oral stories, artifacts, doing the best we can under the circumstances and also trying to be respectful.

I think it's inspiring for people to just come into the space and just see for themselves. Was that the general meaning behind "fetishism", how things get romanticized the longer they stay ingrained within a certain context? A lot of our work in the community revolves around housing and domestic violence.

Domestic violence is something that's happening all over the world, every nine to ten seconds, someone in their own home is getting abused. Once I started to do more research and find the statistics and everything, I got so pissed that this wasn't one of the hashtag-causes out there.

I'm like, what is going on!? That just really pissed me off, so that's the stuff I sing about. That's deemed non-headline worthy. Or only headline worthy when a celebrity gets caught doing it.

Chris Brown was caught doing it, we can hate it, and we can have someone to hate. If it's happening every nine seconds all over the world, it's kind of hard to point a finger at someone, to package it into something to hate today. You have to confront people directly. More like, demanding from others to be better for themselves. I've booked shows in Philly for ten years under the Rockers! I had to stop it because I was starting to hate artists as I'm dealing with them behind the scenes.

That's been very frustrating to me. Do I participate in the culture of dragging each other down? There's no real space to have these conversations. Community Futures Lab has only been around since June, but it revolves around the same things: Who am I as an artist offline? Who am I when I'm not building my brand? Am I even someone NOT building my brand?

You know, questions like that. It would've been so easy for me to write songs about Donald Trump, about sex, or queerdom. That would've been the cheapest route. I would've been celebrated by people who would deliberately snub me. It gets frustrating to see people playing a part without having any stake in it. I'm pissed off all the time, but I'm working on ways NOT to be. Fetish Bones is a very intrusive, confronting record, delineating many ugly truths left unsaid.

That's a really good question, because I wonder that all the time. I knew that it was going to be a little sad, also because my father had passed away in the middle of making it, but I never thought about violence. I was wondering, now that you're pointing it out, about the sounds that I use. It's not lyrically violent, it just sounds aggressive. But I was hoping that people would draw strength from it. What I found missing is the perspective of someone who grew up poor, in a community like the one I grew up in.

To me, Fetish Bones is a record of strength. It's like taking one for the team in a sense. I don't know, I just felt I couldn't find another rapper who grew up like myself, who was also into punk rock and does community work. I couldn't find THAT voice. I don't know who I could even think about as an artist, besides someone like Nas.

Cause his father was a jazz musician. I never met a musician till high school, as far as playing and owning an instrument. Your improv performances are once-in-a-lifetime experiences, depending on the place and the people who attend them. Yes, I try to change up every set and performance I do.

Nothing stays the same and I am forever growing and expanding what I do so I have to express that during my set. Plus, I have so many different parts to my set I am still working to tie it all together live. Month by month, I'm gaining so much. I feel like a teenage boy in a sense; now my voice is deep, a month ago it wasn't. Now I'm a size I feel, as a self-taught musician, I'm just learning stuff all the time.

So when it's time for my next show, I have all these new feelings. I have all this new stuff I want to get across. On my last tour, the majority of my shows were all different. Every show is different; I walk around the space, I try to talk to kids, see what people are interested in. Do you think the collective apathy naturally calls for more aggression in art forms?

Well, I do often ask myself: Because myself, I'm okay. I wouldn't do this if I wasn't okay with it. If performing was dragging me down, I wouldn't do it. As an artist, I'm able to go in and out of these tense situations It's not something everyone can do.

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What you are about to read is purely fictitious. I am in no way an advocate of violence, rape, kidnapping or hate-speech. Having said that, I wanted to develop my characters as realistically as I could and they are a bit fucked up- Too say the least The diary of a chubby, big booty white boy, using Craigslist to seek out and devour massive black dicks An American businessman is taken prisoner by a sadistic Turkish Master and turned into a feminized slave subjected to body modification, torture, and sexual abuse Since he was just a little boy, Simon had fantasies about slavery and submission to Asian men.

He never had any idea where this vision came from, but it kept coming. When he reached 41, he was in the midst of a promising career, but suddenly he follows an impulse to realize his dark fantasy.

I have translated the story into English to reach a broader audience One drunken Saturday afternoon after many years of being very curious about it I decided to make my move.

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He says yes sir and stands their nervously I grab him by his ear and lead him to my basement. In the basement I have an old round wooden table top that I have attached straps to as well as two handles and a crotch level cushion meant to push the ass out so it is exposed more Stegano Minghetti from Daddy's Cigar and Malboro Tony is at home, alone, when a man comes knocking. He claims Mario owes him money. Stefano settles the debt. Smoke, and semi-consensual sex Rhys Connistion, a serial shoplifter and pickpocket, has been sentenced to a short custodial sentence by the courts.

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