Damsels in Tupperware

I like my damsels fresh!

I'm having one of those days where everything I write starts off with a coherent point and then trails off into something that seems to have no clear finishing point. I originally wanted this post to be about props and how the economy of shooting affected their use in my productions. I used to use a lot of props but now not so many because of the cost in time, space and money. It's really not a fun topic though when you can talk about props and damsels, more specifically why I use a certain prop with a particular damsel.

I worked with a girl for a while that had long legs, beautiful feet and slim-fingered hands. Without realizing it I started having her read books, go through drawers, hide keys in her shoes and try to get at things with her legs. Everything was showcasing her legs, feet and hands. Form was dictating function. The physical attributes that I liked in her drove my choice of props that she interacted with. Is it a coincidence that at the same time I was working with a woman with large, wonderfully shaped breasts. With her I'd tie her arms so her hands were useless. She'd knock over her purse with her bound beasts and try to dial phones with he nipples. I actually used an old phone that had large buttons just to make this possible. One model would have the use of her hands because I wanted to see them while the other would totally use the use of her hands because I wanted her to show her breasts as much as possible.

I started to realize that with each model I spoke with about shooting I'd spot some things that I liked about them for story and every prop became a way to showcase those attributes. My notes would say things like, "she drove up to the house slowly," but it would mean, "I will love the look of her hands on the steering wheel." They would say, "even with her arms completely useless she someone knocked the phone off of the mantel," but it would translate to, "I want to see her knocking things over with her breasts." In my mind somehow I was processing what I felt would look good on film from a visual element into prop support of physical elements. It wasn't about the props telling the story as much as the props showcasing the most appealing attributes of the models.

That's how you end up with a damsel in Tupperware. I knew Amaya was small and light, so my initial story idea focused on transport and carry. I would never write a story about stuffing someone into a trunk and dragging them around, but it was the first idea I had for her. She is cute and petite. The best way to show that is to stick her in a plastic tub.

Image courtesy of Agent A is MIA with Amaya Solace.

Now that is a hogtie!

Should I have used clean pantyhose?

I've often spoken of my respect for a gal that pushes herself for content. Angelique Kithos is the pinnacle of that work mantra. From the first shoot with her I was able to attempt things that I'd never consider with other people. I've been fortunate to come across several other people that fit this mold, but Angelique is still the the example I'd present to anyone.

She has been busy finishing up her second college degree, yes second, and hasn't been doing as much bondage during that time. We've done some nice sets including some latex bondage and a hemp rope hogtie that I'm very proud of. I kind of make this assumption though that when someone doesn't do something as much you need to put on the kid gloves and work them back up to the old standards. As the saying goes though I definitely make an ass out of myself with that assumption.

She wanted to do a set for me to fill some updates while she's on a shooting trip and she said she wanted a hogtie, she wanted a mouth-packing and she wanted it tight. I pull out a pair of pantyhose, some tape and some rope. She tells me to get more pantyhose and more rope. She then proceeds to say that she wants her back arched. This isn't my suggestion, she tell me. She wants her tits off the floor, her face totally packed with two pairs of pantyhose and a tape wrap so tight her face will sweat.

Who am I to argue? We do a full struggle sequence where I tie her up on camera. The ropes are tight and neat and dig in deeply. I cinch every rope and pull every knot tight. As more and more rope goes on I notice she's not slowing down. She's struggling like hell and if I'm not careful she'll put a high heel brand on me somewhere. I get to the gag and push in one pair of pantyhose and then the second. I'm wrapping her face with medical tape with both of them in there and wrapping it tightly.

The truly special point came when I put the hogtie in place. Girls make this grunting noise when you've pulled it far enough. If you pull it too far you get, "Unn Uhh, Unn Uh!!" She made no noise. She folded into an arch and I cinched the hogtie tight. There she lay on her stomach. Her face was filled with two pairs of queen-size pantyhose and her body is arched like crazy. She struggles like hell, rocking back and forth and arching her body to the sky. I don't know where she got the energy. I patiently film waiting for her to give the "done" sign. It never happens. I filmed the time I wanted and then we finished up the set.

I untied her so we could film her pulling all of that wadding out of her mouth. This is the point where a model says, "Did you get what you needed? Good, because that's not happening again any time soon." The camera stopped rolling and she says, "Next time we need to tighten up that arch. I can go way higher!" Holy crap!

Image courtesy of Packed Mouth and a Jacked Hogtie with Angelique Kithos.

Neat coils make for escape foils

When two arms become one!

Every so often I work with a model that really, and I mean really, tries to get loose. They shimmy and shake, wiggle and wriggle with all their might trying to loosen the ropes. Delicate fingers capped with shiny polish reach towards knots and pick at rope coils. They rub their faces against anything to get that gag out and if given the chance will roll everywhere to find something to help with release that would only come from the end of the set.

Anyone who has worked with me knows that I will tailor a restraint based on their requests. I will make adjustments, I will redo certain aspects and I will respect any limit. I will tie you up quickly and release you even faster. I'm a firm believer that if you can't get somebody out in the time it takes to cut them loose then you deserve to spend a lot of money on new rope. Anyone who has worked with me also knows that despite how flexible I am you will be restrained tightly, completely and with everything as taut as possible.

I had a model ask me once, "Jesus, why do you have to tie so tight?" I offered to loosen things up for her. She refused and said, "It's not a complaint, I just really want to know why everything is so damn tight." I really had to think about it after the shoot. Why did I tie so tight? Am I an ogre? Is it just visually appealing to me? After a couple days mulling over it I was putting together a clip sampler for a website interested in me helping them with content. Going back through my footage I realized I used to tie tight but much more modestly. The rope was snug and neat, but there was a lot less of it and it was much less strict.

I worked with a model about two dozen times during those early days who was for lack of a better term a character actress. She didn't do lines very well and couldn't handle complex direction. The way she handled that was to tell photographers she was a great struggler ... tie her up as tight as you want, and she would do her best to get free until you said, "cut." The first time I worked with her she actually got loose. I was shocked. I watched dumb-founded as one knot came loose, followed by her ankle ropes, followed by her going into a drawer, followed by her finding nothing but using the corner of the drawer to work loose the knot on her wrists, followed by her rubbing her elbow ropes on the mantle until they slid off. She had no concern for personal comfort. Her entire goal was to endure anything to keep struggling and get loose.

I realized at that point the reason I tie so tightly is that it's the only way a girl won't get loose. It was a simple matter of form following function. My goal was to show true restraint, and my tagline was heroines at their most helpless. That means nobody gets out until the shooting is finished. My footage showed a clear evolution from the time she showed me what happens when a damsel actually tries to get loose. Each time I worked with her she tried harder to get loose, and I made things more and more impossible for her to free herself.

She never got loose again, nobody has. The experience did show me though what a real damsel looked like, and it taught me that if someone really wants to get loose you really need to be strict to make sure they don't!

Is it too cold for you Stacie?

Everyone who reads anything I write knows that I have a goofy name for almost everything that happens during a shoot. I don't know why it happens, it just does. I'll joke about something at the time, the model and I will get a chuckle over it and then it becomes stuck in my brain. It's over at that point. Every time something similar happens the silly little word or phrase comes back into play. In this case it's "the turkey popped, she's done!"

I do a series where the damsel begs to be tied up instead of taken and dumped in the middle of nowhere or locked in a closet. She pleads with her captor that if she is tied up really tightly and with a lot of stuff she'll never get away. She explains that if you stuff her mouth, wrap it, tape it and cover her face she won't be able to call for help, she won't be able to get free. The captor is assured a getaway because her predicament guarantees  nobody will find her until the next morning, an exhausted, sweaty and still very much helpless robbery victim.

The thing about this series is that it relies on layering tape over rope. Poor Stacie up there has her elbows welded and her legs pinned with bands of thin cord three times wider than what I would normally use. The knots are protected from prying hands by tight wrappings of electrical tape crushing the rope into her delicate skin. Her mouth is filled with a huge ballgag, her face covered with a stocking and her head tightly wrapped with electrical tape.

She is not comfortable and not a happy camper at this point but her wonderful nipples pop out into full erection. Is she turned on? No, she's in agony. She knows she has at least 5-10 more minutes of this plight and is hoping that any second I'll say I've got my footage. Is she cold? No, she's roasting. We're shooting with over 2000 watts of halogen lights. The room is 90+ degrees. Those nips are popping out because she's a turkey, and she is done.

There is a point in any strict restraint where the damsels starts to sweat. The ropes are so tight that her skin is taught and her nerve endings are sensitive. As the tape started going on Stacie broke out into a light sweat. There was no relief from the rope or the tightness, so the only things her system could do was sweat. That's how you know it's tight, when the model sweats standing still. We finished the restraint, and her playful moans were gone. Every noise she made was a reaction to her restraint. She slid off the couch onto the rug and "pop." Her body told her she was ready to be untied and her built-in turkey thermometer popped out.

The nipples are a great way to know that your damsel is at her physical edge. They don't pop out to let you know she is in trouble, they pop out to let your know that at that moment she is not faking. She is not acting, she is not playing a role. She is gutting it out for your material.  Those erect nipples let you know that physically she is done but mentally she is pushing herself so that you get the footage that you need. When a restraint is super-tight there is a point where the only thing the body can do to alleviate the discomfort is rush blood to the skin. The nipples are no longer controlled by discomfort, temperature or your mental state. They perk up an perk up fast. When this happens you need to make a note for later. Shoot your footage, get her out quickly and thank her like you've never thanked a model. She just gave you 5-10 minutes of the most precious footage you can get, the time when a model becomes a real damsel in distress, the time when she can pull the plug and doesn't, the time when she is mentally stronger than she is physically, the time when she chooses your material over her comfort!

Image courtesy of Stuff My Mouth and Cinch Me Tight So I Can't Call the Cops with Stacie Snow.

30,000 and counting!

Kerri wears a lot of duct tape

First I want to thank everyone who visits this blog for bringing it to over 30,000 views! I remember when I first started and didn't even have 3 views. I was overjoyed seeing it get over 100. Over 30,000 is just incredible, and it wouldn't be possible without so many lovers of strict bondage!

I recently put together another compilation clip. I like to do these from time-to-time. I find that a lot of people new to my store like the sampler aspect they bring. I also see that people who bought the full clips will still buy the compilations with shorter, all-action versions. I think the latter are like me in a certain respect. I love seeing five beautiful ladies totally helpless and squirming all in one video. There's just something about 25 minutes where you have five of the hottest ladies around around jacked into complete helplessness and groaning through some thorough gags.

I decided to put in Kerri Taylor for this compilation because I love the position I did with her. Kerri is very expressive and easy to play off of because she acts so put out by her captor. I told her about my, "please tie me up" series and her comment was that tape bondage is lame because once you wiggle around a little it starts to slide off. She told me about one tape restraint where she got out in a couple of minutes. She moisturizes a lot which is the enemy of tape. I tried to explain to her that this was going to be different, but she laughed and said, "sure." I mean really? She had worked with me a half dozen times, she should know it's not going to just slide off.

I think her first clue that the tape wouldn't just slide off was all the cotton rope I tied her up with. 250 feet of cotton rope is a full restraint in itself, and it would make sure no tape would slide around. The electrical tape came next, covering every inch of rope. She wouldn't be getting to any knots and that stuff was not sliding anywhere. That rope was crushed into her skin by the time I covered everything with duct tape and used it to add a full arm sleeve taped to her chest and waist. She wasn't really happy at the extent I was going to to prove that tape can be a great restraint. We fixed that with a stocking over her head, a bit-gag and a duct tape blindfold. Kerri had worked with me before and knew the way you admit defeat with me is struggle like hell until you can't go on anymore. Her white flag was uncomfortable wriggling, arms slowly going numb and a nylon-covered face slowly wetting with her own drool!

Image courtesy of The Burglar Ensured His Getaway By Making Sure I Couldn't Get Away with Kerri Taylor.