#sounds wild and broken

[sapphicautistic]

In the 1980s in France, musicologists and archaeologists Iégor Reznikoff and Michel Dauvois used their voices to explore caves with notable Paleolithic wall paintings. By singing simple notes and whistling, they mapped their perceptions of the caves’ acoustics. They found that paintings were often located in places that were particularly resonant. Animal paintings were common in resonant chambers and in places along the walls that produced strong reverberation. As they crawled through narrow tunnels, they discovered painted red dots exactly located in the most resonant places. The entrances to these tunnels were also marked with paintings. Resonant recesses in walls were especially heavily ornamented.

In a 2017 study, a dozen acousticians, archaeologists, and musicians measured the sonic qualities of cave interiors in northern Spain. The team, led by acoustic scientist Bruno Fazenda, used speakers, computers, and microphone arrays to measure the behavior of precisely calibrated tones within the cave. The caves they studied contain wall art spanning much of the Paleolithic, dating from about forty thousand years to fifteen thousand years ago. The art includes handprints, abstract points and lines, and a bestiary of Paleolithic animals including birds, fish, horses, bovids, reindeer, bear, ibex, cetaceans, and humanlike figures. From hundreds of standardized measurements, the team found that painted red dots and lines, the oldest wall markings, are associated with parts of the cave where low frequencies resonate and sonic clarity is high due to modest reverberation. These would have been excellent places for speech and more complex forms of music, not muddied by excessive reverberation. Animal paintings and handprints were also likely to be in places where clarity is high and overall reverberation is low but with a good low-frequency response. These are the qualities that we seek now in modern performance spaces.

Sounds Wild and Broken, David George Haskell

[kammartinez]

By Sara Hudston 

Dusk on a Dorset hill in early May. A bat flits overhead, a leathery sound like a pair of gloves being lightly slapped. But it’s not a bat that I’m waiting for. A tawny owl calls “kwick kwick” in the wood – not that either. Quickly it is too late. Colour has leached from the heath and the moon is casting shadows.

Two evenings later I try again. After twenty minutes of waiting, there it is, unmistakable, low, inexplicably thrilling – the sound of a male nightjar “churring”. A steady, almost electronic flicker of sound, rising and falling for several minutes, then ending with a brief, bubbling warble and an abrupt wing clap. European nightjars produce thirty or forty notes a second, creating reverberations that can travel up to a mile. As they sing they turn their heads from side to side. This small movement gives the trill an eerie ventriloquist quality, as if it were coming from several directions at once.

Was it coincidence that throughout my first visit, when there was no churring, I heard the continual whine and rumble of tractors cutting silage in the fields below? Harvesting had finished by the time of my second visit. Reading David George Haskell’s Sounds Wild and Broken, makes me wonder if the bird was in fact present the first time, but silenced by the distant thrum of engines.

Birds experience sound differently from us. Unlike human ears, which have three inner bones and a long cochlea, avian ears have a single bone and a shorter cochlea. They cannot hear as high as we can and it seems that they are less concerned than we are about sequences of notes, what we might recognize as the tune. Instead, they are keyed into resonance and the layering of frequencies. As Haskell explains: “Where we discern a melody in bird or human song – shifting frequencies between notes – birds likely experience the rich nuances of the inner qualities of each note”. The nightjar’s song exemplifies this difference in perception.

Human noise pollution is increasing. By some estimates noise in oceans has doubled every decade since the mid-twentieth century. Haskell contends that sea life, especially near shore or along busy trade routes, “now lives in a din previously unknown except near underwater volcanoes or during an earthquake”.

Seismic surveying for oil and gas is particularly disruptive, especially when prospecting vessels use air guns that shoot bubbles of pressurized air into the water, creating blasts that Haskell claims are “six to seven orders of magnitude more intense than the loudest ship”. “For aquatic creatures”, he reminds us, “sound is sight, touch, proprioception, and hearing”. Sound for them affects “every nerve ending and cell, suffusing them for months on end with the violence of explosions”.

If that sounds overly dramatic, consider the plight of whales, which flee from areas where seismic testing is under way. Haskell cites scientific studies of marine mammals, including whales, which found that underwater noise of all kinds, be it seismic testing, shipping, explosions or sonar, “reduces feeding, cuts off echolocation, increases time spent travelling, decreases rest, changes the rhythms of diving, and drains energy reserves”.

This is not to say that ecologies undisturbed by humans are quiet. Haskell imagines how it was before the seas were decimated by overfishing, when “the ocean world pulsed, shimmered and seethed with song”, and “every water molecule in the oceans continually thrummed with the sound of whales”. Similarly loud land environments still exist, among them the insect “vibroscape” of the Ecuadorian Amazon. Some of these soundscapes are beyond human range: Haskell describes “the quiet sounds of water fizzing through plant veins” and says, “the world is speaking but our bodies are unable to hear much of what surrounds us”. He is not afraid to speculate about what we might be missing: “Is bacterial hearing like pressing a trembling thumb into jelly, viscous and enveloping?”

Sounds Wild and Broken surges between precise observations about individual life forms to big-picture theories about existence itself. Evolution, the development of human language, the invention of musical instruments and the effect of agriculture on the shape of the human jaw are but a small sample of Haskell’s topics. He is adept at synthesizing such a range of material, and does so with confidence and panache. It’s a shame that at times his style becomes somewhat overblown and platitudinous: “Beauty inspires us to connect, care, and act”; “We live surrounded by the many gifts of flowers”.

Although Haskell tends to fuzz his argument with overexcited verbosity, his deeper reflections are potent. He is right to critique what he calls “our culture of inattention and lack of appreciation”. He is picking up on our long-established tendency to exceptionalism when he observes: “We generally regard human language and music as outside nature, disconnected from the voices of others”. Unappreciation of the world’s sonic diversity is an aspect of our severance from a larger living community of beings.

When we do listen to non-human voices we tend to divorce them from their original settings and repurpose them as entertainment. Online music stores offer hundreds of contemporary recordings of humpback whale “music” for our relaxation. All of them, Haskell notes, have been edited to “omit the blare and cacophony of the lived experience of real whales”. He adds that “to be authentic, a whale soundtrack ought to suffuse our blood with alarm chemicals and steep our mind in anxiety and dread, distress rooted in the infernal noise that we pump into the whales’ world. Instead, we feed ourselves the aural equivalent of synthetic tranquilizers”.

Much of the aural world Haskell explores would be hidden from us without the aid of specialist technology for listening and recording. He admits feeling queasy about this technological mediation, even when recordings are “authentic” and listened to in an appropriately attentive manner: “For our ancestors, listening and speaking were entirely embedded within all the senses and in a singular place and time. Now music and words arrive through ears or eyes only – ears in headphones, eyes on books – and are deracinated from their place of origin”.

Yet as a biologist and environmentalist he appreciates the power of science (and its equipment) to bear witness. In 2000 and 2001 he conducted surveys of bird species on the southern Cumberland Plateau in Tennessee. At that time the region’s indigenous oak and hickory forests were being cleared for pine plantations with little regard for biodiversity and the effect on local communities. Haskell’s research was part of a larger effort to show corporate decision-makers the consequences of their actions. Tellingly, all sides involved in the issue lacked sensory knowledge of the places under debate. Graphs and statistics served as substitutes for lived experience: “In the Manhattan lawyers’ offices where the fate of the forests was decided in a meeting of besuited corporate CEOs, forest managers, scientists and conservation advocates, few people had spent more than a few hours on the land they controlled. There were no representatives of local communities present”. Haskell concludes: “For large businesses and nonprofits, and for many parts of government, listening is present only in highly mediated forms”.

His solution to this disconnect is a combination of participation and community. He believes we must step back into an active relationship with the living world. This involves fulfilling our needs for food, energy and shelter with renewable materials of biological origin, rather than synthetic replacements. When it comes to forests “the question should not be whether we cut trees, but where and how we should do so”. Haskell’s vision requires that “we participate in the forest community as all other animal species do, as consumers. This is a matter of ecological and economic realism”.

How to do this without devastating the land is another matter. Haskell would like to see the recreation of vibrant local economies that produce what they need with less necessity for transporting materials and energy from far away. He thinks we lack the will to do this because we have lost our sensory and imaginative connection to the living world. Restore this link and all else will follow. While this argument is hugely appealing, and a potential source of hope, it is hard not to regard it as naive given the fierce global struggle for resources. David George Haskell reaches for “joy, belonging, and action”, but how that might be achieved is, inevitably, beyond the scope of this book.

[kamreadsandrecs]

By Sara Hudston

Dusk on a Dorset hill in early May. A bat flits overhead, a leathery sound like a pair of gloves being lightly slapped. But it’s not a bat that I’m waiting for. A tawny owl calls “kwick kwick” in the wood – not that either. Quickly it is too late. Colour has leached from the heath and the moon is casting shadows.

Two evenings later I try again. After twenty minutes of waiting, there it is, unmistakable, low, inexplicably thrilling – the sound of a male nightjar “churring”. A steady, almost electronic flicker of sound, rising and falling for several minutes, then ending with a brief, bubbling warble and an abrupt wing clap. European nightjars produce thirty or forty notes a second, creating reverberations that can travel up to a mile. As they sing they turn their heads from side to side. This small movement gives the trill an eerie ventriloquist quality, as if it were coming from several directions at once.

Was it coincidence that throughout my first visit, when there was no churring, I heard the continual whine and rumble of tractors cutting silage in the fields below? Harvesting had finished by the time of my second visit. Reading David George Haskell’s Sounds Wild and Broken, makes me wonder if the bird was in fact present the first time, but silenced by the distant thrum of engines.

Birds experience sound differently from us. Unlike human ears, which have three inner bones and a long cochlea, avian ears have a single bone and a shorter cochlea. They cannot hear as high as we can and it seems that they are less concerned than we are about sequences of notes, what we might recognize as the tune. Instead, they are keyed into resonance and the layering of frequencies. As Haskell explains: “Where we discern a melody in bird or human song – shifting frequencies between notes – birds likely experience the rich nuances of the inner qualities of each note”. The nightjar’s song exemplifies this difference in perception.

Human noise pollution is increasing. By some estimates noise in oceans has doubled every decade since the mid-twentieth century. Haskell contends that sea life, especially near shore or along busy trade routes, “now lives in a din previously unknown except near underwater volcanoes or during an earthquake”.

Seismic surveying for oil and gas is particularly disruptive, especially when prospecting vessels use air guns that shoot bubbles of pressurized air into the water, creating blasts that Haskell claims are “six to seven orders of magnitude more intense than the loudest ship”. “For aquatic creatures”, he reminds us, “sound is sight, touch, proprioception, and hearing”. Sound for them affects “every nerve ending and cell, suffusing them for months on end with the violence of explosions”.

If that sounds overly dramatic, consider the plight of whales, which flee from areas where seismic testing is under way. Haskell cites scientific studies of marine mammals, including whales, which found that underwater noise of all kinds, be it seismic testing, shipping, explosions or sonar, “reduces feeding, cuts off echolocation, increases time spent travelling, decreases rest, changes the rhythms of diving, and drains energy reserves”.

This is not to say that ecologies undisturbed by humans are quiet. Haskell imagines how it was before the seas were decimated by overfishing, when “the ocean world pulsed, shimmered and seethed with song”, and “every water molecule in the oceans continually thrummed with the sound of whales”. Similarly loud land environments still exist, among them the insect “vibroscape” of the Ecuadorian Amazon. Some of these soundscapes are beyond human range: Haskell describes “the quiet sounds of water fizzing through plant veins” and says, “the world is speaking but our bodies are unable to hear much of what surrounds us”. He is not afraid to speculate about what we might be missing: “Is bacterial hearing like pressing a trembling thumb into jelly, viscous and enveloping?”

Sounds Wild and Broken surges between precise observations about individual life forms to big-picture theories about existence itself. Evolution, the development of human language, the invention of musical instruments and the effect of agriculture on the shape of the human jaw are but a small sample of Haskell’s topics. He is adept at synthesizing such a range of material, and does so with confidence and panache. It’s a shame that at times his style becomes somewhat overblown and platitudinous: “Beauty inspires us to connect, care, and act”; “We live surrounded by the many gifts of flowers”.

Although Haskell tends to fuzz his argument with overexcited verbosity, his deeper reflections are potent. He is right to critique what he calls “our culture of inattention and lack of appreciation”. He is picking up on our long-established tendency to exceptionalism when he observes: “We generally regard human language and music as outside nature, disconnected from the voices of others”. Unappreciation of the world’s sonic diversity is an aspect of our severance from a larger living community of beings.

When we do listen to non-human voices we tend to divorce them from their original settings and repurpose them as entertainment. Online music stores offer hundreds of contemporary recordings of humpback whale “music” for our relaxation. All of them, Haskell notes, have been edited to “omit the blare and cacophony of the lived experience of real whales”. He adds that “to be authentic, a whale soundtrack ought to suffuse our blood with alarm chemicals and steep our mind in anxiety and dread, distress rooted in the infernal noise that we pump into the whales’ world. Instead, we feed ourselves the aural equivalent of synthetic tranquilizers”.

Much of the aural world Haskell explores would be hidden from us without the aid of specialist technology for listening and recording. He admits feeling queasy about this technological mediation, even when recordings are “authentic” and listened to in an appropriately attentive manner: “For our ancestors, listening and speaking were entirely embedded within all the senses and in a singular place and time. Now music and words arrive through ears or eyes only – ears in headphones, eyes on books – and are deracinated from their place of origin”.

Yet as a biologist and environmentalist he appreciates the power of science (and its equipment) to bear witness. In 2000 and 2001 he conducted surveys of bird species on the southern Cumberland Plateau in Tennessee. At that time the region’s indigenous oak and hickory forests were being cleared for pine plantations with little regard for biodiversity and the effect on local communities. Haskell’s research was part of a larger effort to show corporate decision-makers the consequences of their actions. Tellingly, all sides involved in the issue lacked sensory knowledge of the places under debate. Graphs and statistics served as substitutes for lived experience: “In the Manhattan lawyers’ offices where the fate of the forests was decided in a meeting of besuited corporate CEOs, forest managers, scientists and conservation advocates, few people had spent more than a few hours on the land they controlled. There were no representatives of local communities present”. Haskell concludes: “For large businesses and nonprofits, and for many parts of government, listening is present only in highly mediated forms”.

His solution to this disconnect is a combination of participation and community. He believes we must step back into an active relationship with the living world. This involves fulfilling our needs for food, energy and shelter with renewable materials of biological origin, rather than synthetic replacements. When it comes to forests “the question should not be whether we cut trees, but where and how we should do so”. Haskell’s vision requires that “we participate in the forest community as all other animal species do, as consumers. This is a matter of ecological and economic realism”.

How to do this without devastating the land is another matter. Haskell would like to see the recreation of vibrant local economies that produce what they need with less necessity for transporting materials and energy from far away. He thinks we lack the will to do this because we have lost our sensory and imaginative connection to the living world. Restore this link and all else will follow. While this argument is hugely appealing, and a potential source of hope, it is hard not to regard it as naive given the fierce global struggle for resources. David George Haskell reaches for “joy, belonging, and action”, but how that might be achieved is, inevitably, beyond the scope of this book.

[bonefall]

Just curious, is Russetfur still Raggedstar’s half sister in this universe or are they completely unrelated now? Also do you have anything on Boulder? He was always one of my favorite background cats

If they are half-sibs, it's not relevant! They won't know or care.

Chelford cats are matriarchal. Sires don't inherently play a role in the lives of their children, and seeking that sort of company is something a parent keeps discreet. Uncles and brothers fill the role of "father" in raising the kittens, with cats tracking their lineages through mothers

So Russet has no idea who her father is and doesn't care. Ngl, I also just... don't care about Hal lmaooo

(Imagine writing a super edition about one of your most popular characters, with a story that people have been begging to hear in detail for years, and then dedicating the entire opening to her shitty husband's daddy issues. Couldn't be me.)

Instead, Russetfur is related to the leader of BloodClan at that time. Brick is her sister. I might make Hal her uncle or older brother.

The conflict that occurs between BloodClan and ShadowClan at this time will cause the leader to be killed suddenly, triggering the Frenzy, the period of time during which a new leader is chosen. Pinestar is already having issues over in ThunderClan, and starts seriously thinking about leaving to go help out.

(Though it's certainly not his last straw.)

In any case... if Russetfur and her buddy Boulder had been having second thoughts about Clan life, getting the BloodClan Leader killed and burned the hell out of THAT bridge.

Anyway.

Russetfur and Boulder are in danger during TigerClan. Serious danger. They were loyal to Brokenstar and were safe as long as they were good warriors, but Tigerstar had his eye on them.

So, I feel they may have supported Deerfoot's Rebels, but deniably. I want Blackstar picking Russetfur to be heavily based on her participation, but I also need her to stay safe.

(Might end up having her escape and take refuge with Mistyfoot...)

Boulder is a lot more passive. I like him a LOT and want to expand his role a bit, just because... I Like Him. Literally just blorbo lmao. It's funny how the fandom consensus is just, "this guy's cool!"

I go back and forth on when Boulder's kids are born, and who they are. But he WILL be having kids

I'm set on Whitethroat being one of them, and leaning towards Wetfoot being another.

If Wetfoot is one of Boulder's kids, Firestar knows Boulder as a concerned dad. Wetfoot is going to get a bigger role as a friend in ShadowClan and Deerfoot Rebel.

In my head, Boulder likes the community of Clan life more than the violence, but because he's huge and served under tyrannical leaders he gets forced into battles he doesn't enjoy.

He massively regrets following Russetfur, honestly. He doesn't want to leave and go rebuild his reputation in BloodClan... but he also wishes he never came here.

In my heart, TPB is like the WORST period in this poor guy's life. Background character going through an absolute WRINGER

He's anxious for himself, anxious for his friends, anxious for his kids. Loses Whitethroat. Might lose Wetfoot to the Plague. Serves under TigerClan, terrified that if he isn't a perfect warrior he will get killed.

(And he's right. His fear is warranted. If Russetfur does something, like if I go with her being a refugee in ThunderClan, HE is going to get punished.)

And, of course, he is eventually used by Tigerstar to open up talks with BloodClan.

Even though he has Sasha, Nightwhisper, and Jaggedtooth to serve the same purpose... Tigerstar chooses Boulder.

He doesn't trust Jaggedtooth after he "fails" to contain the prisoners that escape to ThunderClan. He "proved" his loyalty by following his order to execute Deerfoot, but Jaggedtooth is now at the bottom of the pecking order.

Sasha is being reduced to a mate Tigerstar can control, even though she served as one of his mercenaries. He doesn't give her ANY agency.

Nightwhisper is a stupid tool, in Tigerstar's eyes. He does not respect his intelligence, just his eagerness.

So Boulder is chosen. He's smart enough to translate properly, fearful enough to do what Tigerstar says, has lived long enough as a Clan cat... and if he HAS any remaining kids, there is the implicit threat that if Boulder tries something funny, his child is who will pay for it.

After TigerClan ends, I feel like Boulder is desperate to retire early, but also feels like he can't ask for it. He's only survived this long because of his usefulness. It would be hard to trust that he can just... not serve, anymore.

If I can scrounge up more kits for ShadowClan (IT'S SO SMALL), I also would like him to end up having another litter mid-Po3.

Hopefully one of the kids of his first survived, so I can play around with the harrowing dynamic of, "Our dad is so much happier while raising you... I envy my younger sibling's childhood."

And on a final note, Boulder is probably going to get a Warrior Name during TPB. It doesn't really make sense that he just keeps his old one, unfortunately, when Clan Culture is at its most xenophobic and he's in active danger. He'll get Boulder back as a request between TPB and TNP.

[mumblelard]

we are having wonderful storms this morning. the air is cool enough to have the back door all the way open and listen to the rain and the thunder. i had already planned a rest day after yesterday's jarring fall in the muddy woods, and this weather is unambiguous affirmation from the kami of rambles

i am still working on finding my next project, still in the middle of the dark uncertainty of it all. what comes next? every time it feels like nothing comes next. maybe this time nothing will. the story of me not going through the door

[astranauticus]

while ive got untranslatable cpop on the brain shoutout to on Naihe bridge by Ice Paper because its a fanastic song with a truly wild vibe but how in the world am i supposed to preserve that second verse where the whole joke is its comprised largely out of chengyu where the first characters count from 1-9. hello??

[angeltannis]

I thought Forspoken just fuckin Ended after the credits rolled and there were no more missions. Turns out at some point apparently my Detours marker on the map got turned off lmao

[saintqueer]

i would like to take this opportunity to warn everyone (especially any and all gemini placements) that mars is in gemini currently AND mercury went retrograde today and mars goes retrograde very shortly

beware of being overly combative especially online

keep an eye out for online arguments, miscommunication, misinformation, misunderstandings etc etc

[substitious-bastard]

I think one of the most healing things I’ve ever done is listen to Stella firma

[theheadlessgroom]

https://www.tumblr.com/beatingheart-bride/712824990556405760/theheadlessgroom-beatingheart-bride

@beatingheart-bride

Randall smiled as he set aside his quill once he heard Emily coming, once again making sure the ink was dry before closing his libretto and moving to the lounge chair, where on the coffee table in front of it sat a pot of fresh tea and some little macaroons-his way of expressing his delight at how rehearsals were going so far.

Rehearsals were going far smoother than they ever had with La Constance around: It seemed like they dragged on forever with her, as she constantly threw fits about anything and everything she could possibly think of-her costume, the libretto, any noise her castmates made when she was practicing, the way the orchestra sounded, the stagehands working around her, and more. She was as unpredictable as the weather, and it made rehearsals a dreadful experience for everyone-even though Randall tried to curb her attitude in his own way, it still didn’t save everyone completely from her wrath, much to his disappointment.

But with Emily? It was a breeze: She arrived on time, didn’t make a fuss, got along well with those around her, and perhaps most importantly, gave it her all as she practiced. La Constance often arrived when she felt like it, hated to be rushed, and put very little enthusiasm into her performance, clearly showing she was not here because she loved her craft, but because she loved the money it made her instead.

But he wasn’t about to dedicate any time thinking about La Constance when he had much more important matters on his mind; namely, greeting Emily with a smile and proclaiming, “Brava, brava, bravissima!” She was quickly getting the hang of the role of the Countess, and doing a beautiful job to boot, giving an easily-superficial character a touch of depth, as she yearns for fun and excitement and love, and not the staid life she had now.

[tempestclerics]

.

[sapphicautistic]

different anon but i have recently picked up reading again (after visiting my local library woo), and ive been reading this book on birds called “bird sense: what its like to be a bird” and been having a great time! whats the bird book have you been reading/listening to if you dont mind sharing? and if you like, are there any orher nonfiction books youve found engaging that you’d recommend :]? no worries if not, and i wish you the best with recovery!!

Oh shit that book you're reading sounds exactly up my alley!! I just checked it out as an ebook so hopefully I can read it soon!! I just finished a book about ravens, called Mind of the Raven, by Bernd Heinrich, and it wasn't at all what I expected but I ended up enjoying it!! I've been reading stuff like the Jennifer Ackerman books (which I suspect are frequently recommended but if I'm wrong give em a shot!), which is much more like, "here's a bunch of info and speculation about birds in general". Most of the nature books I've been listening to are pretty packed with interesting info and a long bibliography.

The raven book wasn't anything like that. It was written around 1998 and it's almost like a memoir of one researcher's time spent with ravens. It really feels like it's from a different time, it's much slower paced and contemplative, but in the end I think I enjoyed it. (It's also 60% longer than the average audiobook, so... that's a thing)

Before the raven book I read a book on flies, called Super Fly by Jonathan Balcombe, which was pretty fun and taught me a lot, and before that I read Tree Story by Valerie Trouet which taught me stuff I'd never even thought to wonder about! I know there were more but Libby's not cooperating to show me what I've checked out recently 😭

Def highly recommend the Jennifer Ackerman books though!! Oh and last year I read Other Minds by Peter Godfrey-Smith and I really thoroughly enjoyed it!!

I'd recommend those last 2 far over the other ones I mentioned for sure. Do you have any favorite books about animals/nature, anon? Or anyone who feels like answering?

[sunarc]

Based on this nsfw audio

Boys who absolutely lose themselves when they sink their cock into your pussy. They go from being this beefy big scary man to a whimpering moaning mess. He has his face shoved into the crook of your neck while his hands grip your legs spreading them apart so he can shove himself deeper inside of you. His whimpers are so loud and anyone outside of you would never think that he would lose himself whimpering begging you to let him cum inside of you. 

“Oh fuck please baby let me make you mine baby please” he pants breathlessly into your ear. 

His moans sound so pretty paired with his wild thrust. He can barely think straight. The only thought that plagues his mind is how good your pussy feels sucking his cock in. He sounds like a broken record whining for you begging for your pussy. 

“Feels so good baby I- I cant stop” he stutters out barely able to form a dull sentence. 

He’s so pussy drunk off of you. His fingers dig into your skin as he plunges his cock into, fucking you as if he were feral. 

“Mine, Mine Mine” he chants like a choir. 

Your moans mix in with his creating a tune he never wants to forget. Moments like this he can’t help but fuck himself into overstimulation. He just loves the feeling of your warmth sucking him in, creating loud wet noises to match his reckless thrust. His voice is shaky as he whimpers about how good your pussy feels. His hands push your thighs up folding you into a mating press so that he can see how perfect your pussy looks sucking him in. He’s so mesmerized by the sight. The way your pussy creams around his cock creating a mess he promises to clean up with his tongue. 

“My pretty baby” his eyes are wide and filled with lust. 

He’s long gone consumed by the pleasure. His hips slam against yours as he promises himself to you whispering and begging you to let him be yours. To anyone else he’s a scary man looks like he could kill you with his stare alone but to you he’s a sweet baby who just needs to have his cock shoveled deep inside of you to feel good. 

“Fuck I’m gonna cum baby please can I cum in your pretty pussy please let me cum” his eyes are squeezed shut while he fucks his cock so deep into you, you can barely think straight yourself. You nod your head too weak to speak. He throws his head back whimpering a sighing thanking you for being his good baby. When he cums he gets louder. He grunts and whimpering trembling as his cock dips in and out of you while his cum drips down the side. He slips his cock out of you gasping at the sudden release from your hole. He kneels down licking a long strip of the cum that drools down between your folds. 

“Let me help clean you up baby, promise I’ll do a good job”

Gojo, Megumi, Yuta, Atsumu, Suna, Iwaizumi, Sugawara, Oikawa, Connie, Armin, Jean

[unholyeverything]

I just realised tomorrow marks the 7ths week of me being sick and feeling like garbage lol It's some ups and downs but generally it's been a while since I've been healthy and none knows whats up which is nice.

[bmpmp3]

LISTEN to this cover of an old MTV mashup of Toxic and Faint sung by utaite fuku_wa NOW

[babydarkstar]

there was something so relieving and enlightening about discovering stone sexuality for the first time, and knowing that theres a woman who fits your desires like a lock to a key……..stone lesbians were made in the holy continuum of giving and receiving……….there’s divinity in love and sex and i believe that it is found in the interlocking dynamic of stone lesbians