Feb 24

Jake Cam: How Has February Been...

…just one word: A.W.E.S.O.M.E.!February 14th was my birthday, but because of all my new found on-line love and support, it has been a month long (and continuing) birthday celebration.Also (on the 14th), I celebrated my one-year anniversary of being with a man for the first time.Everyone has been so supportive either thru chats, boosts, tips, group video, private video and/or VOD’s (videos on demand of my past shows), it TRULY IS ALL VERY OVERWHELMING; so, thank you (again)!Let’s explore this journey together and make it the best that we can make it for ourselves!!-JAKE CAM

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Feb 23

Cales: Encyclopedua

Most silent comedy is farce in the broadest sense of the term, since it is most often low and physical. What have been called the silent comedies of remarriage could better be described as toned-down sex farces, though their use of divorce reflects its increasing frequency in America at that historical moment. Cecil B. DeMille (1881-1959) made three such films: Old Wives for New (1918), Don’t Change Your Husband (1919), and Why Change Your Wife? (1920). As if to illustrate the difficulties of silent romantic comedy, these films, like many American silents, are heavily dependent on title cards, which present proverbial cynicism about marriage. In Why Change Your Wife?, marriage is illustrated by a scene repeated between the husband and each of his wives. As he tries to shave, his wife interrupts him repeatedly, refusing to acknowledge that finishing the shave might reasonably be something the husband should do prior to helping his mate. One expects, given this repetition, that when the husband remarries wife number one, she will revert to type, but the film ends with a title card expressing a previously absent faith in the ability of the romance to last. The new lesson is aimed at women: forget you are wives and continue to indulge your husband’s desires. In The Marriage Circle (1924), Ernst Lubitsch (1892-1947) used subtle gestures and expressions to convey complex emotions among six interrelated charac- ters. Here, irony replaces more overt mockery of mar- riage, and the film treats its subject without moralizing. Other silent films staged romantic comedy by importing conventions from slapstick comedy and melodrama, as does It (1927), which made Clara Bow (1905-1965) ever after the “It Girl.” The story of the ultimately successful cross-class courtship of Bow’s shop girl and her employer, the department store’s owner, the film uses its title to refer to a special sexual magnetism that a lucky few enjoy. It thus offered an attempt at explaining the power of romantic love, as well as its own improbable plot. The sound era brought a raft of romantic comedies adapted from the stage. In the pre-Code era (1928-1934),

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Feb 13

Cody Lancaster: Can't Wait to Get Home

A few years ago I ended a relationship with a girl who I clicked with mentally, but not quite physically. After our break up, I asked the Universe to send me a small, cute girl who I was super attracted to…mind, soul and body. Boom! My wish was granted. Now, I can’t wait to get home and see what she has planned for me. Either be sitting on the kitchen floor, dolled up, just waiting to suck me off….or waiting in our bed wearing nothing but a hat, begging me to fuck her. yeah….I can’t wait to get home.

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