SLAVE TASK Your slave task for Friday 27th January 2023 These slave tasks are designed to be interactive - feel free to send any pictures / videos of yourself completing the tasks to my inbox for my reply
2023-01-27 08:06:30 +0000 UTC View PostSLAVE TASK Your slave task for Monday 23rd January 2023 These slave tasks are designed to be interactive - feel free to send any pictures / videos of yourself completing the tasks to my inbox for my reply
2023-01-23 08:05:55 +0000 UTC View PostEvery other day @subboy4all has to “spin a wheel” and report to me what he lands on so I can set him some tasks whilst we are apart. Having been so busy lately, I have been a little lax and a few have built up so I have decided to do them all at once!
2023-01-16 07:44:02 +0000 UTC View Post
Had a £300 binge on gym kit that actually fits after my weight loss.
2023-01-04 12:29:16 +0000 UTC View Post"Handcuffed, Pegged & Ruined Orgasm" Concerned that pegging is ultimately too pleasurable for her slave, Goddess Serena sets a pair of handcuffs on her slave before taking him for a ride. Any resistance will be felt by the slave as the handcuffs dig into his flesh. Slave is fucked by Goddess Serena until she is satisfied, and then she sets about to edging him with her Doxy vibrator, all the while having already planned to leave it on him post orgasm for 30 long seconds to ensure once again that the pleasure of the play is all hers, and not his.
2023-01-02 18:16:21 +0000 UTC View Post
I’ve bought this in silver for my best friend. Who would like to buy me one in gold so we can match? 😍
2023-01-02 14:25:29 +0000 UTC View PostOne last thing... There are no more slave tasks currently queued. At the end of each year, I film all 150+ slave tasks and schedule them in for you all to take part in. I have been so busy / unwell this year that I haven't had the chance to do this yet. Please bear with me 1-2 weeks or so whilst I film, edit, upload and schedule them all! My list has already been prepared and specially curated, however, if you'd like to comment and make some suggestions, I would be more than happy to read and perhaps even adjust what I have planned!
2023-01-01 22:28:23 +0000 UTC View Post𝐇𝐚𝐩𝐩𝐲 𝐍𝐞𝐰 𝐘𝐞𝐚𝐫 𝐃𝐚𝐫𝐥𝐢𝐧𝐠𝐬! 💲✂️💲✂️💲 𝗡𝗘𝗪 𝗟𝗢𝗪 𝗣𝗥𝗜𝗖𝗘𝗦 💲✂️💲✂️💲 FOR 🤳💬📲𝕺𝖓𝖑𝖎𝖓𝖊 𝕯𝖔𝖒𝖎𝖓𝖆𝖙𝖎𝖔𝖓📲💬🤳 Online Domination resumes as normal on the 3rd January but with new LOWER prices! 🕒10am - 12pm AND 🕒9pm - 10pm every 🗓️Monday, Tuesday, Thursday and Friday. 🔥10 minutes = $20 🔥20 minutes = $30 🔥30 minutes = $40 ~~~~~~~~~~~~~~ New content coming soon, between being unwell, Christmas, New Years & decorating my office it's been a real nightmare to upload! Once I'm back and connected to my server again you'll all be in for a treat. 2023 is going to be even bigger and even better than 2022. Thank you all for your ongoing support. I have big plans for 2023 and I plan to make a little video to update you all ASAP.
2023-01-01 21:26:35 +0000 UTC View Post
♀️ Feminist Friday ♀️ Sulpicia Sulpicia was a Latin poetess from the time of Emperor Augustus. She was probably a niece of, among others, Servius Sulpicius and Valerius Messala Corvinus, to whose literary circle she belonged. She is known for her poems in the fourth book of the Corpus Tibullianum. Presumably Sulpicia is the only poet of Latin literature whose verses we possess. Where and when she was born, who she was and when she died, we do not know. She must have lost her father as a chil d, making her uncle Valerius Messala Corvinus (64 BC-13 AD) guardian over her. He may have been her mother Valeria's brother. Messala had some fame as a warlord. He also had a literary circle around him, which included poets such as Tibullus and Cornutus. This circle was quite special, because most of the poets belonged to the group of the emperor's confidant at the time, Augustus. This confidant was Maecenas. Today we still call a generous art giver a Maecenas. We can assume that Sulpicia knew both Tibullus and Cornutus and that she may have come into contact with poetry in a playful way through her uncle's circle. Perhaps thanks to those informal contacts and the good upbringing she received through her uncle, she eventually ventured to write a few poems herself. The barely forty verses of Sulpicia that came to us through Tibullus are written in simple elegiac disticha. The six Sulpicia poems are in the fourth book of Elegies of the Corpus Tibullianum. Its chronology has been disputed. Emotionally yet free-spirited, Sulpicia addresses a certain Cerinthus who has broken up with her. This was probably a pseudonym for Cornutus by the way. In that case, Tibullus would certainly have been able to monitor the situation closely. He or Cornutus have written some answers to Sulpicia's rhymes in the same book. Its style contrasts strongly with the girl's somewhat simple poetry. Her rhymes seem to come straight out of a diary... Apart from a few papyrus fragments or other fragments, these are in any case the only lyrical outpourings of a woman that have survived to us in Latin literature. That fact alone lends it a rather special aura… As has just been described, Sulpicia was not very good at writing complex texts, which had a difficult meter and structure. Her poems are very simply written and laboriously formulated, but refreshing. It's something different from the normal "difficult" lyrics by, for example, Tibullus. The lyrics testify to self-knowledge and sketch a situation from the perspective of Sulpicia herself. The poems are very direct and personal.
2022-12-30 12:00:06 +0000 UTC View PostYour slave task for Friday December 30th 2022 These slave tasks are designed to be interactive - feel free to send any pictures / videos of yourself completing the tasks to my inbox for my reply
2022-12-30 08:00:07 +0000 UTC View PostYour slave task for Monday December 26th 2022 These slave tasks are designed to be interactive - feel free to send any pictures / videos of yourself completing the tasks to my inbox for my reply
2022-12-26 08:00:03 +0000 UTC View Post
♀️ Feminist Friday ♀️ Louise Blanchard Bethune Louise Blanchard Bethune, née Jennie Louise Blanchard, (born July 21, 1856, Waterloo, New York, U.S.—died December 18, 1913, Buffalo, New York), first professional woman architect in the United States Louise Blanchard took a position as a draftsman in the Buffalo, New York, architectural firm of Richard A. Waite in 1876. In October 1881 she opened her own architectural office in partnership with Robert A. Bethune, whom she married in December. The firm of R.A. and L. Bethune designed several hundred buildings in Buffalo and throughout New York state, specializing in schools. They also designed hotels, apartment houses, churches, factories, and banks, many of them in the Romanesque Revival style popular in the late 19th century. Among their major commissions were Lockport High School, the East Buffalo Live Stock Exchange, and the Hotel Lafayette in Buffalo (completed in 1904). In 1885 Bethune joined the Western Association of Architects, of which she later served a term as vice president. She helped organize the Buffalo Society of Architects in 1886; it later became the Buffalo chapter of the American Institute of Architects. She also promoted a licensing law for architects, as well as equal pay for women in the field. In April 1888 she became the first woman elected to membership in the American Institute of Architects, and the next year she became the first woman fellow of the institute.
2022-12-23 12:00:03 +0000 UTC View PostYour slave task for Friday December 23rd2022 These slave tasks are designed to be interactive - feel free to send any pictures / videos of yourself completing the tasks to my inbox for my reply
2022-12-23 08:00:02 +0000 UTC View PostYour slave task for Monday December 19th 2022 These slave tasks are designed to be interactive - feel free to send any pictures / videos of yourself completing the tasks to my inbox for my reply
2022-12-19 08:00:02 +0000 UTC View Post
♀️ Feminist Friday ♀️ Remedios Varos She was born María de los Remedios Alicia Rodriga Varo y Uranga in northeast Spain in 1908. Her father was a hydraulic engineer, whose profession often uprooted the family. Having recognized her artistic talent early, he had Varo reproduce his technical engineering sketches. An intellectual and a believer in universalism, the philosophical concept that certain ideas recur in all cultures, he introduced her to the work of Edgar Allan Poe, Alexandre Dumas, and Hieronymus Bosch. She was provided texts on mysticism, science, and philosophy. Her mother, in contrast, was a devout Catholic (Varo was named after the Virgin of Los Remedios). At 15, her parents enrolled her at the Escuela de Bellas Artes in Madrid, the alma mater of Salvador Dalí and Pablo Picasso. Varo rebelled against it all—the formal instruction of the Escuela de Bellas Artes, her father’s expectations, and her mother’s religious ideology. At 19, she eloped with fellow student Gerardo Lizárraga, and the two left for Paris. She left him soon after to pursue a bohemian lifestyle, taking up with Péret. As an adult, Varo resisted speaking about her childhood. “I do not wish to talk about myself because I hold very deeply the belief that what is important is the work, not the person,” she said. A triptych created in the last years of her life functions as a metaphor for her early years. In the first part, Toward the Tower (1961), Varo depicts herself as one of a group of uniformed girls bicycling away from a Mother Superior figure, an allusion to the convent she attended for primary schooling. Mother Superior is joined by a looming man and flock of birds. The girl at center resists the hypn otizing effect of her teachers, who have entranced her schoolmates. The central image of the triptych, Embroidering the Earth’s Mantle (1961), offers an alternate view of creation at odds with her conservative Catholic upbringing, which created anxiety for Varo throughout her life. In the work, convent girls are shown captive in a tower as they embroider a story dictated by a hooded figure. The figure stirs a boiling liquid, through which the thread emerges. The final panel, The Escape (1962), represents her successful emancipation. United with her lover, they flee to the mountains. Varo spent the majority of her life in transit, first as a chi ld, then in adulthood as a political refugee. Varo moved to Paris in 1937, and because of her political ties, she was barred from returning to her native Spain following the Spanish Civil War. Her time in Paris was fruitful for the connections she made: through Péret, she met leading artists such Breton, Max Ernst, Salvator Dali, and Leonora Carrington. After arriving in Paris she exhibited in the International Surrealist exhibitions organized by Breton and poet Paul Éluard. When World War II neared Paris in 1940, Varo was jailed under suspicion of espionage along with fellow Spanish expatriates. After her release she fled the country with Péret aboard one of the last ships allowed to depart the country, en route to Mexico. Displacement and travel is frequently alluded to in her painting, often in the form of surreal vehicles of voyage. In Exploration of the Sources of the Orinoco River (1959), an intense figure dressed in a bowler hat and English trench coat is ferried in a small, vest-like boat. She reaches a wooden hut, where water flows from a goblet. The work alludes to Varo’s gold mining trip to Venezuela, where the Orinoco River flows. Here, gold is reminiscent of philosopher’s gold, an alchemical substance which symbolized perfection of the mind and soul, as well as a source of transformation. Varo blended Renaissance and Surrealist painting techniques in her work. In one of her best-known paintings, a juggler (or magician) transfixes a crowd of near-identical figures clad in a single gray cloak. The juggler is illuminated by white stardust, and he stands on the platform of a cart filled with a lion and goat and fantastical instruments. Varo created the painting by first transferring a preparatory drawing onto a panel that had been primed with gesso, then scratching the panel to produce an unusual texture. Varo also used decalcomania, a decorative technique popularized by the Surrealists, in which designs on paper or aluminum foil are pressed onto another surface, transferring the image. This created the halo-like effect around the juggler. The central character has also been painted over a five-sided piece of mother of pearl, which Varo associated with enlightenment. Among her many influences was the writings of the Russian mystics and philosophers Georgii Giurdzhiev and Piotr Ouspenskii, who espoused the idea that people live their lives in a state of hypnotic “waking sleep,” but have the potential to awaken a state of hyper-consciousness. Psychoanalysis played a large role in Varo’s work. Like many of the Surrealists, Varo was drawn to the psychoanalytic theories of Sigmund Freud and Swiss psychiatrist Carl Jung, both of whom focused on the complexity of the uncon scious and untapped desires. It’s unknown whether Varo ever saw a psychoanalyst (a few unsent letters seeking psychiatric help were discovered in her belongings), but she populated her paintings with overt references to the field of study. In the 1956 work Woman Leaving the Psychoanalyst’s Office, the central figure exits from the office of Dr. F. J. A. (Freud, Jung, and the Austrian psychotherapist Alfred Adler) and proceeds to drop her father’s disembodied head into a small well, an act which she described as “correct to do when leaving the psychoanalysis office.” Looked at one way, this could be Varo liberating herself from the patriarchy and approaching autonomy. She found success and an enduring artistic practice in Mexico City. Her early exposure to Surrealist and Cubist artists, in particular the work of Georges Braque, were formative on her later practice, but Varo produced little work while in Paris. This was partly due to the sexism of Varo’s male peers, who she said held contemptuous attitudes toward women artists. In Mexico, however, she produced a lush body of work that often elevated a feminine figure. In The Call (1961), her body is illuminated from within by a supernatural glow. While working odd jobs, including a stint as Marc Chagall’s assistant, Varo reunited with fellow European expatriates, such as Leonora Carrington and photographer Kati Horna, who together became known as “the three witches.” Upon Varo’s arrival, Mexican muralism still held sway, but by the time of Varo’s first exhibition in 1955, Surrealism had become a market force. The show was a hit, with buyers for ced to add their names to a waitlist. She showed again at the Salón de la Arte de Mujer in 1958, and died of a heart attack five years later, in 1963. After a period of relative obscurity outside Mexico, Varo’s star rises on the market. Frida Kahlo, Varo, and Carrington are often considered the preeminent women artists associated with the Mexican Surrealist movement. Varo remained relatively unknown outside Mexico after her death, but her profile has steadily climbed in recent years alongside rising demand for female Surrealists. Varo, having passed away at her prime, behind few works, many of which reside in private collections. In 2012, the Museum of Modern Art in New York acquired The Juggler (The Magician), 1956, which is now prominently displayed in the Surrealist gallery beside works by Max Ernst and Salvador Dalí. In 2019, Varo was featured in “Surrealism in Mexico,” a retrospective at the Di Donna Galleries in New York, and in a pop-up show presented by Gallery Wendi Norris in San Francisco, which paired Varo with works by Carrington. “Some of the best paintings of Surrealism were made in Mexico during the 1940s and ’50s, by women,” wrote the New York Times in its review of the show. In June 2020, Varo’s 1959 canvas Microcosmos (Determinismo) sold at Sotheby’s for $1.8 million, marking the fifth-highest price paid for the Varo’s work at auction. Armonía (Autorretrato Sugerente), 1956, achieved an even higher number, selling for a record-breaking $6.1 million, far surpassing its high estimate of $3 million.
2022-12-16 12:00:01 +0000 UTC View PostYour slave task for Friday December 16th 2022 These slave tasks are designed to be interactive - feel free to send any pictures / videos of yourself completing the tasks to my inbox for my reply
2022-12-16 08:00:07 +0000 UTC View PostYour slave task for Monday December 12th 2022 These slave tasks are designed to be interactive - feel free to send any pictures / videos of yourself completing the tasks to my inbox for my reply
2022-12-12 08:00:06 +0000 UTC View PostApologies for the slow content! I've been so busy with side projects and life in general. Soon I'll be recording all slave tasks for 2023. I'd love to know your thoughts and have your feedback and input. What tasks did you enjoy the most? What tasks would you like to see more of? Do you have any suggestions? Comment below!
2022-12-11 22:33:23 +0000 UTC View PostPt 2 of 2 Sub is finally allowed to cum after 154 days in chastity
2022-12-11 21:54:05 +0000 UTC View Post
♀️ Feminist Friday ♀️ Margarett Abbott The first American woman to win an Olympic championship died without ever knowing what she had achieved. That woman, Margaret Abbott, won the ladies’ golf competition, as the event was genteelly known, at the 1900 Games in Paris. She received a gilded porcelain bowl, a smattering of coverage in the newspapers and then nothing. “We didn’t have the coverage that we have today,” said Paula D. Welch, a historian of women in the Olympics whose sleuthing uncovered Abbott’s triumph. “She came back. She got married. She raised her family. She played some golf, but she didn’t really pursue it in tournaments.” Only the second Olympics of the modern era, the 1900 Games were a scattershot affair, presented in fits and starts from May to October. There were no opening or closing ceremonies, and the competitions were little more than a puny appendage of the city’s main attraction that year: the Paris Exposition, familiarly known as the World’s Fair. As a result, many athletes were never made aware that the contests in which they played were being held under Olympic auspices. Abbott was one of them. “The 1900 Olympics were a sideshow, because they were really an afterthought to the World’s Fair,” Bill Mallon, an Olympic historian, recently said. “A lot of the events in 1900 were considered demonstration sports. It’s very hard to tell what was an Olympic sport and what was not.” Though men’s and women’s golf appear to have been earmarked as Olympic events from the beginning, Welch said, few competitors seem to have realized the fact. Abbott apparently thought that she was playing in a small, self-contained tournament, held at a course in Compiègne, some 50 miles north of Paris. She had entered it simply because she played golf and happened to be in France. “They were calling it ‘Exposition Competition,’ ‘Paris World’s Fair Competition,’” Welch explained. “Because ‘Olympics’ wasn’t attached to it, she didn’t know.” When she died, at 76, on June 10, 1955, in Greenwich, Conn., Abbott remained unaware that she had ever been an Olympian, much less her country’s first female champion. Then, in the late 20th century, Welch’s work restored Abbott to her place on the podium. In the 1970s, while researching her doctoral dissertation on American women in the Summer Olympics, Welch came across fleeting references to Abbott. “I said to myself, ‘I’m going to find out about her,’” she recalled. “It took me 10 years.” Scouring newspaper morgues and United States Olympic Committee records, she confirmed beyond doubt that Abbott had been the first American woman to win the equivalent of Olympic gold. She also began cobbling together the outlines of a life: The daughter of Charles Abbott and the former Mary Perkins Ives, Margaret Ives Abbott was born on June 15, 1878, in Calcutta, India, now known as Kolkata. After the death of her father, who was an American merchant there, when she was very you ng, Margaret moved to Boston with her mother and siblings. When Margaret was a teenager, her mother — a writer whose work included the 1889 novel “Alexia” — took a job as the literary editor of The Chicago Herald, and the family moved to Illinois. At the Chicago Golf Club, in Wheaton, Ill., Margaret, who stood 5 feet 11 inches tall, took up the game. She was soon winning local tournaments and, by the turn of the century, was reported to have a two handicap. “She could hit the long ball,” said Welch, now a professor emerita of sport history at the University of Florida. In 1899, Abbott and her mother traveled to Paris, where Mary Abbott researched a travel guide, “A Woman’s Paris,” and Margaret studied art with Rodin and Degas. She learned of the tournament at Compiègne, entered and found herself unwittingly in the Olympics. The 1900 Games were a sideshow indeed. Besides conventional summer sports, events included tug of war, kite flying, hot-air ballooning, fishing, firefighting, pigeon racing, pigeon shooting, and taxi and delivery truck racing. These were also the first Olympics in which women were allowed to compete. They took part in five sports: golf, tennis, sailing, equestrianism and croquet. Competing on Oct. 4, Abbott shot a 47 — it was a nine-hole tournament — placing first in a field of 10 French and American women. All played in long skirts and fashionable hats. Mary Abbott, who had also entered, shot a 65 and finished tied for seventh. To this day, the Abbotts are the only American mother and daughter to have competed in the same event at the same Games. Women’s golf would not be seen again at the Olympics until 2016, when it returned at the Rio Games. The last men’s match before Rio was at the 1904 Games, in St. Louis. Abbott, who remained in France after the Games, went on to win a French championship before returning to the United States in 1901. The next year she married the renowned journalist and humorist Finley Peter Dunne, and they settled in New York. They had three sons and a daughter. Like so many women of her era, Abbott appears to have left few imprints in the historical record. Her later-life domesticity was largely eclipsed by the highly public work of her husband. Their son Philip Dunne also gained renown, becoming a screenwriter — his credits included “How Green Was My Valley” (1941) — and a famed public opponent of the Hollywood blacklist. In the mid-1980s, after tracking down Abbott’s surviving family, Welch telephoned Philip Dunne. By then, she learned, the gilded bowl his mother had won at Compiègne had long been lost. “Do you realize what your mother did?” Welch recalled asking him. “Your mother was the first American Olympic champion.” “He was astounded,” Welch said. “She did not know, nor did her family know.”
2022-12-09 12:00:06 +0000 UTC View PostYour slave task for Friday December 9th 2022 These slave tasks are designed to be interactive - feel free to send any pictures / videos of yourself completing the tasks to my inbox for my reply
2022-12-09 08:00:05 +0000 UTC View PostYour slave task for Monday December 5th 2022. These slave tasks are designed to be interactive - feel free to send any pictures / videos of yourself completing the tasks to my inbox for my reply
2022-12-05 08:00:03 +0000 UTC View Post
The morning view of my slave in Vienna
2022-12-03 16:48:41 +0000 UTC View Post
