Tag Archives: Wykd Dave

LFARJB 2011- Saturday

Ooopsie daisy. I found this the other day. 2012’s festival is soon coming up. I’m not sure I have anything from the Sunday or Monday written down anywhere, but I think it will have to be a ‘perhaps, maybe’ kind of thing.

On the Saturday, 2nd day of the festival, our little group of rope lovers all fell asleep on the train in the morning when going to Resistance Gallery. We got there a bit late (again) and by then, the schedule for the day had already been subjected to a reshuffle. The Japanese team were jet lagged and needed some rest, so others stepped in and did their classes or classes on other topics. I must admit I was terribly bad at keeping check on what went on during the day time, as it flew by so very quickly. Wykd Dave did his class on tension while Esinem held a beginners class upstairs, which went on during the day. I found myself walking around, looking at what was happening as well as relaxing. My two friends, one who has just only recently started to explore rope, went in very enthusiastically with all of his energy to learn as much as possible, and for others I offered myself up to be a demo-bottom. After a couple of intense weeks previously to the festival, with a lot of tying, I was quite happy to just kick back and relax. The mezzanine got very warm very quickly. That weekend was  sunny and very warm, and while we were  inside with ropes, the sun heated the building. A fan will probably be appropriate for next year, as people who walked down the stairs from the mezzanine were sweating like they had just been in a sauna. Rope can indeed get you flustered.

As a side-note, for the organizers, during the Saturday, the information was better displayed then on Sunday. Although the chalk-board worked as well as it could, those who arrived later during the day found it a bit confusing to find all the information. All in all, the festival was busier than ever, with more amazing rope going on, but for next year, the challenge will be to develop the organisation of the festival itself and focus on the small things which makes it even better for the visitors. One lecture which was very engaging and I would say vital, was Esinem’s talk on nerve injury. He was joined doing this by Wykd Dave. I don’t know how many times I’ve heard this talk, and yet, I make sure I always try to listen as if it was the first time hearing it. Give the document a read if you yet have not done so, do this regardless if you bottom or top with rope, that is my advice. To no surprise, the Q&A section of this talk was buzzing, and had to continue even if Esinem had to leave to continue doing the beginners classes upstairs. Due to different reasons, I did not have time to stop and sit down to listen to talk and demo on Hojojutsu by Strange Love. During the day, Esinem performed with Ika. Previous to the show, he had written:

Whilst most have been busy practising their shows, I have been busy not practising.  In part this is due to logistics, as my model does not arrive till Friday, but it is also a case of attempting to practice what I preach. In other words, I believe passion wins over emotionless precision every time.  Anyway, if I properly get into a rope scene, I become lost in it and there is no way I would ever manage to follow a rehearsed set. So, I have decided to “let The Force be with me” and rely on the connection with Ika to guide me.  It remains to see whether I can make the grade as a rope Jedi or will crash and burn …either way, I plan to keep it real!


And keeping it real he did. While I missed the beginning of the performance, a friend of mine did a recap. Esinem started with a floorbased  ichi-nawa session, very distinct to his style. You can see it here. Up close, fully embracing Ika, playing with balance  moving her back and forth, off balance, utilising all of the small nuances that are so important to kinbaku. Ika was then tied into a TK and a futo momo, partially suspended sideways and had wax dripped over her body. It was at this point I came into the room, and to my surprise, the soundtrack was one from the operas,  and

other classical pieces. An interesting contrast to the music that you usually hear in rope performances. What followed, I saw Esinem demonstrate how it is possible to make the untying seamless from the tying, and in the end, Ika was rather wobbly legged and had to be helped off stage.

The evenings’ performances started off with something really special. Yui Namiko . I first met this shy firecracker in Berlin a week earlier, where she was Kinoko’s model. During that week I slept at Schwelle7 and got to see her both in practice as a bottom, as well as on her own, + a performance for the crowd at the playparty in Berlin. All left me rather….flustered, as her presence and passion is somewhat out of the ordinary. Tiny, smiley and though as nails, determined as no other. In London, Yui entered the stage with dimmed lights carrying a large candle, dressed in a kimono with several layers of sheer fabrics and cotton ropes tied around her body as decorations. Her performance cannot be described in any other way but as a demonstration of her love of ropes. First, it evoked a sense of loss, sorrow and mourning within me and I thought that the candle represented someone close who was with her anymore, but after thinking more about this, I decided to revise this notion and instead focus on the story she told us with her body, without having some kind of  imagined ghost from the past lingering in my imagination. If there was any loss, it was her loosing herself completely into the ropes, with acrobatics and movement very rarely seen. She peeled layers of layers of clothing off her body, and the striptease aspect was heavily ingrained with the way in which she stripped herself raw, revealing layers of herself through the ropes. Every movement was deliberate, as an illustration of specific feeling; a story written and told with the body, all for art.  To say it was a night of wax-candles it not to exaggerate. Yui herself lit candles that were tied into a bundle of and traced it over her body,and there was no way of escaping this, no way to stop watching (not that you wanted). She drew all of us in, as she poured the wax over herself whilst still being suspended.  The candles burned close to her body, the drips  of wax falling into her face, into her hair. Yui held us in a tight grip from start to finish and afterwards, when she left the stage on shaky legs, she had the whole crowd in the palm of her hand, standing and cheering her name. When she peaked out from the balcony back stage area she was meet with even more cheers. If it wasn’t that she had given us all, we would probably would have asked for an encore.

The next performance was from one of the Peer Rope London crew, Will Hunt, who tied the wonderful Rabbitbunnie and Zahara. This was something completely else. Will Hunt was the guy dressed in black who had caught an innocent lady, Rabbitbunnie, who was prim and proper in a pussy bow blouse and a pencil skirt. Hunt is not someone who hesitate to pull a punch, and the tempo went from 0 to 100 in less than 30 seconds.

With somewhat of a new take on the damsel in distress, set to music by She Wants Revenge, Hunt was rather terrifying and Rabbitbunnee played the damsel so very convincing, demonstrating a growing panic, but also screaming her lungs out, resisting, trying to get away from the brutal Hunt.  He tied her into a TK while tossing her around, and if Esinem previously had played with balance with Ika, the way in which Hunt had Rabbittbunnie like a rag doll was a much more  extreme example of this. While it looked rough and aggressive, it was also controlled. This kind of physicality also came through when he started to ripping the blouse open, tearing her skirt up, flipping her forwards across his knee to tie her leg. Rather than him moving,he kept her moving around him, like a cat playing with a mouse; catch and release.

As his frenetic aggression started to make her submit physically, we suddenly were all surprised as he brought out Zahara, covered up by a trench coat. As he uncovered her, he showed her off. She was already tied into a tight 3 rope Takate Kote, he smiled, and giggle rippled through the audience.I laughed, because it made me feel a bit like the classic cooking show; “Here is the one I made earlier!” but with a much darker undertone obviously. This damsel was completely different to Rabbitbunnes’, as she had surrendered completely to his will, completely letting go into the ropes, showing no sign of struggle.  They all looked at each other for a moment, him grinning, Zahara completely calm and centred, Rabbitbunne on the ground, struggling to breathe slowly after her ordeal.

He quickly the attached a suspension line to the TK, and suspends her face down, in a very sharp angle so that she is almost diving down, before it is evened out.  The only points of suspension at this point is the TK and one ankle and this is how the suspension remains; yes, Zahara is a tough one. Securing the points, Will then took out wax candles, and a lighter run by gas.

He lit it with another huge grin and for the second time made the audience giggle. Zahara turned into a chandelier, watching down upon her co-prisoner. As Zahara came down, he positioned them next to each other and started untying. During this time, Rabbitbunnie sought to get the attention from her, to wake her up, to make her realise what situation she was in. But Zahara were lost, in the ropes, perhaps the Stockholm syndrome. A favourite moment of mine during this show were these still seconds, captured so beautifully in this photo.

These contrasts, with Rabbitbunnie’s desperation, wanting to escape his aggression and Zahara’s stillness, acceptance of her predicament, showed us a classic story about the damsels in distress, with signposts that were still rather wonderfully kitsch in its portrayal of the bad guy; add then also excellent rope work, showmanship, control and technical skills. Speaking of technical skills, the untying of the two damsels were done in a tandem, right hand working on untying one of the TK’s, left hand on the other, never relinquishing his control over the situation. support, or attention from Zahara, who was completely still.

The next performer was  Pedro & Karina.  Tying with no music what so ever, only a history being told by a voice in a microphone, we heard of Karina, who had disgraced her family and thus had to be punished by being exhibited, tied up on public display. The story, narrated by the excellent Mac added much of the feel.  Pedro, dressed in black with the classical black glasses embodied a type of kinbakushi we rarely see in this day of  age; the distant shadow. All the focus here was on her exposed body that made us into the ultimate voyeurs, the exposure and the intention of the humiliation of being on display, tied up. We did not get the flashy, fast rope, nor explosive transitions, but instead a slow build up of a situation, a scene, also illustrated by the changing of the setting of the light which marked the passing of yet another day. We get very used of seeing a specific type of rope here, and have often quite rigid ideas about what it should be like, that it gets easy to forget where it comes from and different expressions of it. It has not always been the kind of ‘connected’ experience that we like to push it, there are other factors there, playing with shame, but furthermore, also playing with a total kind of objectification, in which the object is the female body being tied up for display, and the subject of the rope artist is the person enabling this. If looking at rope and forgetting about the history, the background, and much of its present use, and denying these specific pornographies which are still very much alive and kicking, if we remove this, we would commit some serious cultural appropriation. Pornography or not, rope is multifacetted, and through Pedro’s historical reminder which was also very beautiful and technically excellent and innovative.

Next up on stage were Wykd Dave and Clover. The calm of the previous performance was gone, this was a performance with a lot of sadism, adrenaline and insanely beautiful bottoming. The way in which Clover totally surrenders into the ropes is rather extraordinary. Suited up, Dave cut the dress off Clover, and started tying her into a sidesuspension, , moving into a futo momo, using a lot of wax as well as a couple of cane strokes. Clover always look remarkable in rope, and my friend noted how Dave controlled each and every part of the performance, even when they bowed to the audience. You can find a video of the performance here.

Max and Tina came on stage next. This is a couple who have tied only with each other for more than 10 years. He does not tie anyone else and she is not tied by anyone else. Seeing them work together thus become very personal, intimate. The first thing you note is the focus of Max. His eyes, firmly fixed on Tina sent chills down my spine, in a good way one might add, and probably down Tina’s as well.

 The drums pushed this performance very much.  Tina was tied into a beautiful, slick face down suspension with both of her legs in futo momo’s which more or less had become the new black of this festival, a tie which featured a lot both in private play as well as on stage. But still, the way in which it featured in this performance made it really beautiful and unique.
Attaching clamps with bells on that then were slapped off with the help of a towel, Max followed the tradition of the evening, which was really about a lot of sadomasochism. There was a different pace here though, slow, controlled, almost settled way of moving, with outbursts of energy. Tina herself looking very strong and beautiful in the ropes, working not against, but with the ropes. Tied into a tough guyaku ebi (face down suspension) with both of the legs in futo momo’s it was a performance which was truly memorable.

And I’m sorry dear readers. But this is as much as I will write about the festival 2012.  The post is more than one year old now, and it is time to let it go. Time for new adventures. But this has really been nostalgic.

See you on the flipside.


Sunday and Monday classes- Shibaricon 2011

So, after a couple of days at the convention, I was taking it a bit slower, only attending a couple of more classes. One of these were Wykd Dave‘s class on tension. It was a pleasure to attend this class, in which the core concept boiled down to ‘Do not loose the tension’. Or more over, do not let go of the rope. If there is something that you can see with all great riggers is that the rope continuously flow through their hands, almost seemless in its movement , one hand follows the other, constantly holding and controlling but also following the rope; a mix between control, tension and movement.
The element of tension is probably often forgotten when a pattern of a tie is learned, because the focus is so much on where the rope should go, instead of how it which should go there. That essentially means that if you let go of the rope, the tie itself quite often looses its integrity. So all those nice things that you perhaps build, you loose when the rope loose contact with your hand (unless you need to/have to/intend to). Dave also pointed out how different types of tension gives different kinds of sensations and impressions of the experience of the rope. So it is not just about the practicality of the tie, but if you let go of the rope, you essentially let go of the person you are tying.

One of the things Dave demonstrated which I found was very interesting was the baseline of his way of tying, a beat making it fluid and consistent, but never boring. It made so much sense to see how he had almost a beat in the pace he was tying. If you remember the Saturday cabaret, Daves tying made jaws drop towards the floor, and his system of flows, tensions and the connection he has to his wonderful partner, Clover is truly worth to study. Clover is also an extremely talented photographer who work together with Dave as a rigger.

The last class on Sunday was Lochai’s Speed Bondage. Again a class which was really well presented, clear and focussed. I especially liked it because of  my poor spatial skills, something which I need to work on. Lochai pointed how the speed is not about how you tie, but the preparations that one makes, both in terms of one self, the rope, the environment around you and how to keep aware of these and what it means to keep these factors in mind.

Play followed on the Sunday evening, such as the experience of an inverted one ankle suspension, but also much more. I think Monday was one of those almost unreal days, as it by then had been so many days of rope. It was almost like there was no outside world, like this was a world we could live in, and continue to live in. Sadly, it was also the last day of the con, and it felt like my body had gone through a marathon. Aches and tensions, but those that you get from really good play, rather than the disconcerting kind. Needless to say, I wanted to be a responsible adult (hrm) and take a class which could probably benefit my knowledge as a member of the Peer Rope London crew. That was why I attended Graydancers, RACK roleplay class in the morning. This was really, really good, both on a personal and ‘professional’ level. I don’t know if this is the case in the U.S because you seem to have so many classes and talks and a general discourse which constantly seems to be centrered around communication skills, but in the U.K and Sweden we talk a lot about the importance of communication and action, but not really how. And dear god, we need it.

Graydancer had set up a couple of different scenarios that was to be played out. The scenarious would challenge those involved with the scene to think about safety, communication, outside factors, all of those things that can jeopardize the safety of a scene. Suddenly, I’m about to be a rigger that has to stay in control of an over-zealous dungeon monitor, a grumpy and slightly unruly sub and a scene that is, well, hardly allowed to start. The unruly sub was the wonderful Naiia, and the DM was a man who kept asking me questions about everything from the rope to the hardpoint. Lets just say it is easier to shut a sub up, than steering off a DM who is (in the roleplay) not knowledgeable about rope. The brain was really going full out to deal with it all. At one point, when the DM came up and I responded to him, I placed myself automatically between him and Naiia, as if I was the physical barrier between them. This was pointed out afterwards by someone, and I kind of had not realised I was doing that, but it felt good such a move is so ingrained into my spine.  It could be because of the nature of some of the clubs that I go to, such as TG, in which one really has to be hyperaware of wandering hands, and actively guard your play-partner. In the end, I have the responsibility to  make who ever I play with feel safe and if that means stearing off wandering hands, or automaticallyput myself between the sub and an intruder (who ever they are) I will.

As Gray broke the role-play, we got feedback and constructive criticism. And this is something which is really unusual on the scene, to get a review of the good and the bad things. Some of them, like my potentially poor spatial awareness, I had already noted, but other stuff was fairly new to me. One of the interesting things that was said, was how it was pointed out that  I did not react stronger when the ‘DM’ picked up the rope. And it really struck me how slack I’ve gone with that, and how silly it is to not mark that it is not ok for any non-consensual touch what so ever. I’ve often found myself getting slightly annoyed with having my stuff rumaged through (like the odd “what kind of rope do you use?” and the person pick up a coil without asking) but not knowing why. And it became clear that these ropes and the stuff I use are under my control, they are that which is so important to what I do, but also what they are. I need to know that the ropes are in the same condition as when I left them, need to know where everything is, and for god’s sake, it is my bloody stuff!

The other role-plays were one about negotiation for a scene and then seeing how much a playspace would get out of control before a rope-bottom would call it a day.
The negotiation was interesting, as it did not focus that much on ‘I want to do A, B and C’ but rather on ‘Who are you and how are you feeling?’. The general interest in a suspension was established, and who would be doing what, but then it became more about the relationships DNGG was in, such as other partners attending the same event. Who else but her would one have to consider? What kind of closeness and intimacy is ok? Any sexual contact? Any medical history? Et cetera et cetera. All of this was so bloody good to hear, and to pick the bones carefully, it also made the feedback afterwards really good, as it showed that it is quite good to be specific and clear in both questions and answers while ‘negotiating’ (hate that word sometimes!). So if the question is about sexual contact, make sure what you both understand as being ‘sexual contact’, what does that entail? Also, specific questions in regards to health and safety are good. Instead of a general; “Do you have any medical problems?” ask specifically about arms, legs, diabetes, history of fainting/nausea, back problems, or even about the last time they were in the hospital. Old injuries, or not even that old are easily forgotten, and it is when prompted to think about that part of your body that it might trigger a memory. And note, these are questions to ask both the top and the bottom!

The last roleplay was one in which a rope-bottom that was to be suspended suddenly had everything from puppies, people speaking loudly and commenting upon the scene to a group of littles sitting and loudly singing. Suffice to say, it was hard to not laugh and while really admiring the lovely rope-bottom who just took it in with such serenity. Following the scen came a discussion that was about trust, limits and safety, mainly in relation to when a bottom/submissive feel they are not safe or in a situation which could go out of control. Here my mental notes actually are completely blurred, so if anyone remember what we spoke about more specifically, please feel free to comment and I can update this section.

As a final part of this class we sat down, divided into one group for tops/dominants, one for submissives/bottoms and one for the switches. We were asked to note down a scenario which could stand for a problem that we, as switch, dom or sub could encounter, and that could be role-played. These scenarios were then the last discussions in a class which I would have loved to have more time to engage with, as it was a really good work-shop. Apparently it was also the first time Gray had given the class, and I’m seriously considering bringing it to the U.K as it raised so many good questions, answers and scenarios to work with.

The last class of Shibaricon 2011 was one with Midori. But this turned rather special and I think it has to be written in a separate post. Stay tuned!

Saturday, classes and Cabaret- Shibaricon 2011

So, Saturday turned into a very interesting day. After the shenanigans on the Friday evening and night I was lucky enough to not oversleep, but was instead very early to Graydancers Partial Suspension class. This was along with the focus I had intended to take for classes during Shibaricon; classes on interaction and classes on the most basic suspension-work. Lets just say that any kind of awesome plan I had, from Saturday afternoon, it went out of the window, as it became so much easier to just float a long and see where you ended up. Some of the classes I made, others, well, falling into a class you have no idea of what it is about is sometimes the best thing you can do.

Back to the class; I was joined by the delectable Duracell, a rope-bottom and submissive who I had the pleasure to see in Lochai’s class the previous day. The room in which Graydancer gave his class was huge, with a dozen of frames, all providing multiple points of suspensions, and sharing is indeed caring, which many had to do, as the interest for a class like this is huge. Several people had mentioned that the suspension-classes in general are very popular, and there seems to be this interest in general when it comes to performing suspensions. Will perhaps return to a discussion on this at some point later. One of Gray’s very kind assistants (name?) helped to put up a ring and then the class started. Gray started out with the basics, and one of the most important points that ha made was; Why? What is the purpose of what ever suspension you are doing, partial or otherwise? What does it add to the scene that you are doing and what is the possible affect?

After the introduction we started chasing a bunny around a small tree and a big tree. Yes, that is a description of a knot-figuration used for suspension-lines and the like. What I really enjoyed was how straight forward the teaching  was. Broken down into the important elements, clearly defined and explained and then put into action. Exercises followed, all of which gave new input or clarified for me, ‘old’ information. Duracell was delicious to work with, communicating clearly, helping if I missed something that was said due to being so focussed on the rope. One really good point that was made that is easy to forget, when pulling the suspension-rope, do it with the whole of your body, use your knees and not your back. This made me laugh, as it reminded me of how we were instructed to lift and to move with heavy things when working in the stable. Stuff like this can be a real physical exercise, my fingers were quite raw after this class, and the physicality of it gave certainly an extra buzz. Another trick; keep some hand-lotion with you in your bag, as working so much with rope can really dry your hands out.

After the class it was time to start to properly prep for my own presentation. I’m actually not going to post the presentation itself yet, as the work is going to be revised during the Summer, for the benefit of future readers hopefully. Academic constraints meant I had to cut several 1000 words, and leave elements I sought to explore out. But what I can say was that I was overwhelmed by the interest and the will to engage with this kind of research, both on an academic and also personal level. I want to continue talking with all of you, because your relationships towards rope is what counts, it is not what the general discourse on pathological deviance that matters, it is your lives and your experiences, in what ever way you wish to approach it. Suffice to say, we need different approaches to researching ‘alternative’ sexualities and expressions of these, stronger methodologies and methods.

I was intending to go to Midori’s talk on Pink Japan, but after the presentation I was fairly tired and was instead asked if I wanted to do some rope to relax. J is a blonde, smiling ball of fun, with an awesome hairdo, and very rubbable head as well. We had met at the meet and greet and as we got so well along, I had already had a very good time her once. She felt a bit tired as well, so we went to find a spot to get some rope done and relax. The tying turned very meditational, but also very emotional. I don’t really know, but as it happened, she ended up feeling better afterwards, and I felt up feeling very down and droppy. Instead of going to another class or socialise, we went up to my room, ate Reese’s Cups and drank lemonade, chatting about everything and nothing. Convention-drop is a concept which is apparently quite common in the U.S, where large gatherings over a couple of days are more common in general, but I was first not sure about how to deal with one drop during the con itself. I guess it was all the jetlag, all the tying, nerves about the presentation, all the focus et cetera that played a part. But with a rest, some sugar, and good company I felt ready for another evening, and it was also time for Graydancer’s Cabaret.

This cabaret was more than rope-shows, including stand-up comedy, burlesque, singing, presentations of new inventions to ease the pains of being a pervert. We also got to see a butoh-inspired dance by Cherries Jubilae and Tatu, which emotionally framed the silent auction of a printed photography, donated by the rigger Wykd Dave and the photographer, Niko Photo. This was for the benefit of earth-quake relief in Japan and was in the end picked up for $500 by Hammer. Congratulations on a massively beautiful print!

Another show which made me smile was the uber awesome queer rope-busters rope-scene, which featured Parker the Ropeboi, coming out on the scene dressed as a ghost, doing a self-suspension with both rope and chains. It was impossible to stop staring at Parkers face as it was so incredibly expressive, and it got even more expressive as the Ghost-busters came out. Following this, a large hose-down with the ghost-busters, and suck/fuck/hump fest followed, with the ghost being properly treated while still hanging in the ropes and the chains. So funny, so sexy, so awesome.

DNGG performed a lovely strip-tease,and one of the reasons why it was so awesome, was because of the obvious intense connection and interplay between her and her partner. Every time their eyes met it was like electricity, and seeing that between them was just beautiful.
There was also a very hot rope and singing number, but my memory fails in remembering which song Cherries Jubilae sang while Leon Monkeyfetish tied her up, cut her clothes and then cut the suspensionline.

A rope-number came from from Wykd Dave and Clover. They played heavily on Japanese Aesthetics and did it so very well with beautiful interaction, delicious rope-skills and flawless suspensiontransitions, of which they were many!We had the shame of exposed flesh, a complete abandonment into rope. I’ve seen these guys before doing rope together, and know of the strong bond they have, but never actually seen a performance. There was a speed and a preciseness in Dave’s movement which made me want to go and practice my own rope to get better, but there was also a connection; that together with Daves technique and presence and Clovers strength and trust in her partner all shone through as they performed, not just for us, but also for themselves. And I could not stop smiling.

The final number was The Rope Touch, a rap by Graydancer.

sung to the tune of “The Bad Touch” by the Bloodhound Gang:

“The Rope Touch”

Ha-Ha! Well now, we call this the act of tying
But there are several other very important differences
Between riggers and bottoms that you should know about

I’d appreciate your input

Tie baby tie baby sex with a Texas cuff
Me and you tie the kind of stuff that makes Claire Adams yell “Enough!”
I’ll tie your hands round my pants and you’ll fondle my butt
Yes it’s Sisal, yes I’m Evil but I could use coconut.
Kink from Maui, think it’s owie, you want it rough around your junk
Could use 4 mil like Boss Bondage, could use an asshook from twisted monk!
Quicker than Lqqkout never showin’ no doubt I’m like Isopropyl alcohol you seen
Cuz my burn rate’s faster than Multi Filament PolyPropylene

Tie it now
Jay Wiseman said that we don’t need to worry
If I tie you in Shibari that I learned from Midori
Jay Wiseman said that we don’t need to worry
If I tie you in Shibari that I learned from Midori
Gettin’ kinky now!

Dov, the guy with balls bigger than the moons of Mars
If he were into CBT I bet they could suspend Fivestar,
Kinbakushi? Nawashi wanna sushi? Fuck that pseudo-Japanese

My knots capsize on your thighs cuz my carabiner’s finer with a sexy gated lock
And if we can’t find a hard point I’ll suspend you from my cock!
I’ll tie up yours you’ll tie up mine and neither one of us will bitch
Cuz we know the sexiest ropesluts all identify as “SWITCH!”

Tie it now
ein, svei, drei, baby tie how you feel
Gonna do some kinbaku like I was fuckin’ Zamil,
ein, svei, drei, baby tie how you feel
Gonna do some kinbaku like I was fuckin’ Zamil,
Gettin’ horny now!

Babe you got an ass that is tender and juicy,
So you be my M-jo baby and I’ll be your bakushi…
You can be my windmill and I’m Dom Quixote,
Gonna tie your tits up in a takate kote,
Tie it now

Tie it now
I’m a bad-ass rigger and you are a hotty,
So let’s grab us some hemp and get dirty and knotty
Gettin’ kinky now
Rope bondage means never sayin’ you’re sorry,
So let’s do it like they do when they’re doin’ shibari!