AN EROTIC VANTAGE POINT…is something to have!


Three lesbian strangers, Peta, Feema, and Cynthia meet in Key West and spend the most erotic day of their lesbian lives.



Peta has flown down from Toronto to Key West in search of rest, relaxation, warm beaches, and sex. Not necessarily in that order.

When Peta arrives at the beach, it isn’t long before she meets up with Feema, a Hispanic school teacher from Miami. Feema’s interests mirror those of Peta and the two woman try to find as many places to get naked together as they can.

The day moves to evening and the two new friends decide to go clubbing. They select the Bare Assets Club, a place where lesbians go to party, dance, and hook up. The two new friends soon find another woman Cynthia that seems to be interested in them. She joins them on the dance floor and find they have quite a bit more in common that just sexual preferences.

Cynthia is also from Canada, Montreal actually and looks to be an identical twin to Peta. The sexually charged atmosphere of the club, and the tension between the to twins, turns into a competitive situation, with poor Feema forced to watch from the sidelines.

Peta and Cynthia challenge each other to several contests: Muscle posing, leg wrestling and finally a sex-fight. Leaving the club, the three head to a secluded beach to find the top Canadienne.

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Young queer women don’t like Lesbian as a name…here’s why.

I know, this is in fact a dated repost, but with the way the craziness of 2020 has spun out of control, it’s time to look at relevant issues that sometimes get pushed aside during times like this. 

This is a piece from Slate which is actually a reprint of an older OUTWARD article. I have posted several pieces from OUTWARD and they are all top-notch.


For Many Young Queer Women, Lesbian Offers a Fraught Inheritance



Some years ago, a close friend and I developed a not-so-subtle code for queer women too basic for our tastes: We’d make an “L” with our thumbs and forefingers against our foreheads, like the loser sign that was popular when we were in middle school. In this case, the “L” stood for lesbian.

We, too, were lesbians—generally speaking. But the women my friend and I mocked (and trust, I am duly shamed by this memory) were what we’d call “capital-L lesbians.” We were urban-dwelling and queer-identified and in our 20s; the other women came from the suburbs, skewed older, and were, we presumed, unversed in queer politics. We traveled in circles of dapper butches and subversive femmes; the other women either easily passed as straight or dressed generically sporty in cargo shorts and flip-flops. A woman in this category was clearly down with the assimilationist, trans-exclusive politics of the likes of the Human Rights Campaign. She was the kind of dyke for whom the laughable niche Cosmopolitan lesbian-sex tip “tug on her ponytail” might actually apply.

In other words, we shared a common sexual orientation, but little, if any, cultural affiliation. In the space between “lesbian” and “queer,” my friend and I located a world of difference in politics, gender presentation, and cosmopolitanism. Some of our resistance to the term lesbian arose, no doubt, from internalized homophobic notions of lesbians as unfashionable, uncultured homebodies. We were convinced that our cool clothes and enlightened, radical paradigm made us something other than lesbians, a label chosen by progenitors who lived in a simpler time with stricter gender boundaries. But with a time-honored label comes history and meaning; by leaving lesbian behind, we were rejecting, in part, a strong identity and legacy that we might have claimed as our own. While all identities are a product of their respective historical moments, starting from scratch is a daunting prospect. And so we’re left in a gray area of nomenclature, searching for threads of unity in our pluralism, wondering what, if any, role lesbian can play in a future that’s looking queerer by the day.

Cultural connotations aside, the main reason my friend and I felt (and still feel) more comfortable with queer than lesbian was practical: The word lesbian, insofar as it means a woman who is primarily attracted to women, does not correctly describe our reality. My personal queer community comprises cisgender and transgender women; transgender men and transmasculine people; and people who identify as non-binary or genderqueer. One friend told me queer works better for her and her female spouse because lesbian implies a kind of sameness she doesn’t see in her relationship or those of her peers. In her circles, as in mine, most romantic partnerships lean butch-femme or involve at least one trans or genderqueer person. Many of us have had or are currently enmeshed in sexual or romantic relationships with people who aren’t women. Using lesbian to refer to my queer sphere (e.g. “She’s hosting a lesbian potluck!”) excludes many people I consider my peers. In most young, urban queer communities, at least, lesbian, in its implication of a cisgender woman to cisgender woman arrangement, is both inaccurate and gauche.

But then, it’s hard to organize around a community without a name. I co-host monthly queer tea-dance parties in the warmer months, and my partners and I have struggled to promote our event to our desired audience. We called it a “ladies’ tea dance” for the first few years; one of my fellow co-hosts was a well-known trans guy in the community, and we thought his leadership would be enough to make it clear that anyone with social connections to queer women would be welcome, too. When some transgender attendees told us that the “ladies” terminology felt exclusive, we agreed, and started using the word queer on its own. But in D.C., as in most places, queer parties that get labeled without a gender often default to gay men, who crowd the rest of us off the dance floor. And while we’d never turn away cis gay men (one of our favorite guest DJs is one), I believe it’s important to carve out spaces that explicitly focus on women, especially as lesbian bars and publications shutter en masse. Basically, we wanted to promote our party to women—plus all queer or trans people who aren’t cisgender men.

Unfortunately, there’s no word for that. So my peers and I have found ourselves using the phrase not cis men to describe the makeup of our friend groups, political identity groups, and the people we want to come to our dance parties. It’s functional, but a bit hollow: There’s a feeling of being uprooted from time, place, and meaning that comes with defining ourselves by what we are not. Lesbian has a rich political and social history; not cis men establishes our identities quite literally on someone else’s terms. It gives cis men power and presence, assets they already disproportionately control, in conversations that have nothing to do with them. And it reaffirms cis male identity as the norm from which all others deviate. Not cis men is the non-white people to people of color.

That said, non-specificity is part of the appeal. Not cis men and queer are broad enough to include not only transgender and genderqueer people (and those who date them) but bi- and pansexual women who are often sidelined in lesbian society. Still, an increasing number of young people who are more or less straight are identifying as queer as a statement of political worldview rather than sexual orientationLesbian leaves no doubt that a woman’s sexual and romantic affinities run toward other women. In a world that preferences heterosexual pairings, lesbians face a very different reality than queers-in-name-only, giving the term the power of a blunt, plainspoken, unapologetic declaration. Sex and the City, funnily enough, neatly captured this debate way back in 1999. In one episode, a few art-world lesbians reject Charlotte’s attempts to insert herself into their cabal, telling her, “if you’re not going to eat pussy, you’re not a dyke.”

That seductively simple definition of dyke or lesbian would never fly in most circles of queer women today, attuned as we are to multiplicities of gender and genitals. But the male variation—“if you’re not going to suck cock, you’re not a faggot”—is less likely to raise hackles in the average clique of gay men. Where spaces that cater to lesbians and queer women are very likely to accommodate transgender and non-binary people, too, social gatherings of gay men are typically far less diverse, gender-wise. And our femininity-devaluing society leaves far more room for women than men to claim a fluid sexual orientation, meaning queer women are more likely to have current or former partners who aren’t women. That’s why it’s both easy and usually accurate to label circles of gay men as “gay men”—and why gay men are relatively free from the perpetual infighting over labels and politics that seems common among segments of queer women.


Licorice Root and Intromittent…SAY WHAT?


Cazzy and Wylla have been sent out in early spring to find foodstuffs for the inhabitants of their starving hamlet.



A long harsh winter has ended, and the poor inhabitants of a small hamlet have sent two teenage girls, Wylla and Cazzy out to scavenge food for them. The two lovers are returning home with their packs full of nuts, apples, and licorice root when they meet a beautiful stranger, Ikaz.

They learn from her the countryside is overrun with once slumbering satyrs and other dangerous beings. The most dangerous of which is the Intromittent. Undeterred, the girls realize they are now close to home and will surely avoid any dangers.

Fate is a fickle mistress as the two, run right into the seemingly bewitching danger, but the danger is hardly what they dreamed. Eventually, Cazzy is left twitching and unconscious due to her run-in with the Intromittent and Wylla does her best to lick her friend into shape before a search party finds them.

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Chely Wright’s Second Act: Out, Proud, and Living Her Truth

Since coming out, much has changed for the country singer. What hasn’t changed is her way with words.



There is perhaps no word Chely Wright loathes more than “tolerance,” especially when it’s used in relation to acceptance of the LGBTQ community.

“I hear the word ‘tolerance’ — that some people are trying to teach people to be tolerant of gays,” she writes in her 2010 autobiography Like Me: Confessions of a Heartland Country Singer. “I’m not satisfied with that word. I am gay, and I am not seeking to be ‘tolerated.’ One tolerates a toothache, rush-hour traffic, an annoying neighbor with a cluttered yard. I am not a negative to be tolerated.”

She has a great point.

“In terms of the faith communities, I run into a lot of people who are straight and say, ‘You can come to our church, we’re tolerant,’” says Wright over the phone from her home in Manhattan. “I don’t want to come to your church if you’re just going to tolerate gays and lesbians — you’re not the house of worship for me. I want a life in which the essence of who I am is celebrated, not just allowed in. I think the word tolerance is a gross, half-assed way of understanding one another. What an insult — ‘I’m gonna tolerate you like a toothache.’ That’s awful.”

Like Me was the launching pad for Wright’s second — and arguably richer, more emotionally fulfilling — act in life, an act that was not impeded by secrets and lies. She had been one of the contemporary queens of modern country, with several major chart-topping hits — including “Shut Up and Drive” and the rousing “Single White Female” — but her inability to lead an out and open existence took its toll emotionally. Wright was at the point of suicide — gun in mouth, ready to pull the trigger — when she had a revelation and took control of her narrative. She decided to make her sexuality public, damn it all to hell.

Not long after coming out amid a ton of media buzz, Wright commandeered the stage of that summer’s Capital Pride, playing to a massive audience that was more than ready to welcome her into the fold, to unconditionally love her, forever and ever, amen. It was a life-changing moment for the 48-year-old, who to this day exults, “Capital Pride was a highlight of my career and one of the highlights of my life.”

Since coming out, Wright has used her celebrity to help others find their own way into the LGBTQ community.

“One of the reasons I came out was in hopes that someone would find comfort in my story, to know that there’s at least one person out there who knows what it’s like,” she says. “In the past eight years since I came out, I’ve had the privilege of speaking at churches and schools and corporations and I have a lot of dialogue with people privately on direct message and Facebook and email. It is astonishing to learn how many people have had the gun in their mouth or a rope hanging from a ceiling who have said that reading my story or seeing my clip on Ellen or seeing me on Oprah or something gave them pause and hope.”

Wright looks at her life today and marvels at how much fuller it is. She’s married to Lauren Blitzer, an executive at Sony Music Entertainment, and the pair are doting parents to identical twin five-year-old boys.

“We’re raising them Jewish,” concedes Wright, who was raised in a devout Christian family in the tiny burg of Wellsville, Kansas. “But there will be an observance of the Christian holidays as well. My wife isn’t terribly religious, but her Judaism is a big part of our family. There’s a lot about the Jewish faith that just really speaks to me. And the boys are getting both.”

The twins — along with the rest of the world — are also getting a Christmas album from their singer-songwriter mom. Wright recently issued Santa Will Find You, an EP of five glorious, country-infused originals — one of which, the thunderous “Christmas Isn’t Christmas Time,” co-written and performed with her friend, the legendary Richard Marx, is a deeply satisfying tribute to Phil Spector, evoking the wall-of-sound strains of “Be My Baby.”

“I love holiday music,” says Wright, who appears at City Winery DC next Thursday, Dec. 20. “I love Nat King Cole, The Carpenters. There are a lot of country Christmas records that I do like — Vince’s, Trisha’s, couple of tracks on the Alan Jackson Christmas record. I wanted to record something with an emotional breath that feels like it wouldn’t embarrass me, honestly. I don’t want my musical legacy to be [covers of] ‘Frosty the Snowman’ and ‘Jingle Bells.’ My goal was to write and record…five songs I cared about.”

A scheduled 45 minutes on the phone quickly turns into two hours. Her conversation is energized, familiar, and broad, often veering into the political and ideological. She recounts stories with the cadence of a skilled country lyricist, her catchy, homespun turns of phrase illuminating a greater point. Take, for instance, her thoughts on those who eschew science, particularly when it comes to topics of urgent importance, like climate change.

“My wife and I had a pretty pissy discussion the other day about mass shootings, and the hopes and prayers from the GOP,” she says. “She said, ‘What if all the firefighters in California had just gotten on their knees and prayed? What would that look like to anybody? Not much.’ How did firefighters fight that fire? I guaran-damn-tee you they used a lot of math and science. There’s no other way to fight a big fire like that without math and science. I don’t understand why anybody could deny the math and science of why our oceans are rising, why it’s hotter and it’s colder than it’s ever been, why the glaciers are falling into the ocean — glaciers that have never ever cracked off before are breaking off into the ocean. I don’t understand. Why can’t they be people of faith and science? I am.”

Chely Wright updates.

The country star said she went to the ER with a migraine, but doctors confirmed a stroke

By Andrea Billups

November 01, 2019 04:40 PM
Mar 05, 2020 · Country singer Chely Wright tweeted that most of her neighbors let her know they were OK. Aww, my beloved Eash Nashville neighbors got walloped by a tornado. I’m lucky to have heard from most of them that they’re okay.
Chely Wright

Virtual Reality can play tricks on your mind…


Abby and Bethany meet just outside a night club as Bethany is leaving alone. Abby offers her a ride home. A ride the would change Bethany forever.



Bethany had been clubbing all evening and was preparing to leave, alone, when she meets an attractive young woman just outside the door of the club. A brief conversation and the woman, Abby, invites her to her place for drinks.

Abby is the perfect host and fixes the two of them a couple potent drinks made with her special recipe, she says, and the effects start to cloud Bethany’s judgment almost immediately. Urgently wanting leave, Abby convinces her to wait and she will take her back to her place after she finishes her drink. Bethany is out cold before she ever finishes it.

A nude Bethany awakes in a cellar, bound, and chained, and confused. Next Abby shows up also nude and proceeds to reveal the reason for her captivity. Over the next several days, under the influence of a special concoction of Ketamine and LSD, she calls Kacid, Bethany experiences things that defy possibility. She is unable to distinguish between reality and imagination.

Abby is so confident that Bethany has been subdued by the drug and won’t escape, gives Bethany free reign of the house. That is when the captured girl stumbles across the diabolical plans Abby has put together, stalking her victims, experimenting on them with mind-altering drugs, and using them as their own personal sex toy.

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All of the Lesbian Easter Eggs Taylor Swift Left Us in folklore

On Thursday morning, the Internet went crazy when Taylor Swift announced that she would be releasing her eighth studio album, folklore, at midnight. When the album debuted, queer women across the world went crazy over the track “betty,” which some have interpreted as “queer canon.” Even though I’m not totally convinced that Swift is actually queer, as so many have surmised, here are all of the lesbian Easter eggs from the new album.

1. “We were something, don’t you think so? Rosé flowing with your chosen family.” 

From: “the 1”

When talking about a past relationship that could have been, Swift mentions “drinking “rosé . . . with your chosen family.” The phrase “chosen family” is so often a clear signifier of queer culture. Swift could have just said “rosé flowing with your family,” but it’s likely she used the word “chosen” to indicate dating someone in the queer community.


2. “Chase two girls, lose the one.”

From: “cardigan”

Did Swift really get herself involved in a lesbian love triangle with two other girls? It’s possible, according to this song. She follows this line with the lyric “When you are young, they assume you know nothing,” which could definitely refer to how straight adults often assume that kids don’t know and shouldn’t know about being queer.


3. “I think I’ve seen this film before. And I didn’t like the ending.”  

From: “exile”

Swift’s fourth track, a duet with Bon Iver, repeats the lyric: “I think I’ve seen this film before. And I didn’t like the ending.” This might possibly be Swift’s reaction to lesbian movies and the “bury your gays” trope, in which LGBTQ+ characters are more likely to die than their heterosexual counterparts.


4. “And you’re the hero flying around, saving face”

From: “my tears ricochet”

Could this be a nod to the classic lesbian rom-com Saving Face? Who knows? It’s telling, however, that Swift follows this lyric with the line “And if I’m dead to you, why are you at the wake?” Is she referencing the casually queer Netflix television series Dead to Me? Someone will have to check her streaming history.


5. “You’ll find me on my tallest tiptoes. Spinning in my highest heels, love. Shining just for you.”

From: “mirrorball”  

There has been lots of speculation that Swift and Karlie Kloss are secretly dating, and this song could confirm it? For Swift to be kissing Kloss, she would have to be on her “tallest tiptoes” because Kloss is 6′ 2,” while Swift is 5′ 10″. And for those doubting this theory because Swift’s current boyfriend, Joe Alwyn, is 6′ 1″, according to these lyrics, Swift is also wearing high heels, which would put her right at Kloss’s height or higher.


6. “I think you should come live with me. And we can be pirates. Then you won’t have to cry. Or hide in the closet.”

From: “seven”

How is this song anything but a gay love story? Swift wants to save her gal pal from crying and hiding in the closet. And she mentions some seriously queer imagery including braids, the moon, Saturn, folk songs, and dolls. Come on, could it get any queerer?


7. “Back when we were still changin’ for the better. Wanting was enough. For me, it was enough.”

From: “august”

As this theory goes, in her journey to accepting a queer identity, Swift realized that “wanting was enough.” Just recognizing that she desired to be with women was proof enough that she likes women as more than friends.


8. “Make sure nobody sees you leave. Hood over your head, keep your eyes down.”

From: “illicit affairs”

Basically this whole song is about hiding a forbidden relationship, and it is likely about a romance between two women. With the lyric “leave the perfume on the shelf that you picked out just for him,” the character in Swift’s song could very well be dating a woman who was in a relationship with a man at the time.


9. “Time, curious time. Gave me no compasses, gave me no signs. Were there clues I didn’t see?”

From: “invisible string”

Here, Swift thinks about the signs and clues that could have made her realize a queer identity earlier in life. But as she sings, that invisible string “pulled me out of all the wrong arms, right into that dive bar,” by which she could likely mean out of the arms of men and into a lesbian bar.


10. Literally every single lyric of this song.


From the image of someone riding on a skateboard past Betty’s house, and feeling like they couldn’t breathe to lyrics about being led “to the garden” and “kiss[ing] . . . in front of all your stupid friends,” this is probably the gayest song Swift has ever written. And for those who are skeptical that it’s written from the perspective of a woman since there is a reference to “James,” it could still be Swift since she was named after James Taylor. Also, Blake Lively and Ryan Reynolds have two daughters named James and Inez, and both names are mentioned in the song.

Maybe Swift is gay as she appears to telegraph, and maybe she’s not. All I know is that I’m a lot gayer than I was before listening to this album and writing this article.

When East Meets West is it…Depravity or Detente?


An Uber driver picks a fare up at the airport. After the pickup, the ride to their destination becomes sexually charged with some very intimate conversation.



Maddy drives an Uber, and she gets a call for a pick up at the Cincinnati Airport. It’s a strangely familiar person, Maddy can’t quite put her finger on who she is.

Kamiila is Maddy’s frustrated pickup. In a foul mood for having to take such a late flight and the disappointment of having such a crappy time on her last night in Detroit. Miraculously the ill-tempered passenger warms to Maddy quite quickly.

The ride to Kamiila’s destination is filled with conversation and the tone on the talk turns to more personal nature. By now Maddy has a good idea who her fair is, and when Kamiila asks her in for a drink Maddy readily accepts.

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11 Types Of Lesbians

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11 Types Of Lesbians

You’re Most Likely To Meet IRL

A handy guide to common lesbian (stereo)types.




Even if you aren’t a lesbian you’ve probably heard people use descriptors like “power lesbian” or “baby dyke”. Sure, you might have an inkling of what each word means, but when taken as a whole you have no clue what those in question are talking about. Plus, as a straight person, it keep feel really disrespectful to start using words like this at all, let alone with no understanding of what we’re actually saying.

Prepare to be illuminated. 

Consider this the scene in the high school movie where the new student gets a tour of the cafeteria and learns the who’s who of their new environment. Let me act as the school’s veteran pupil, as I guide you through the trenches, introducing you to the 11 types of lesbians you’re the most likely to meet, and if you’re lucky, possibly someday have sex with.

Remember, this list is a broad generalization. Every person is different, we can’t (and shouldn’t) put everyone in an easy-to-understand box. This is more of a fun and sort of silly way in which lesbians refer to one another, than some actual, real-life categorization system.

If you don’t know how to identify a person, talk to that person and find out what THEY are the most comfortable with. And know that every person is more than just a label.



Leigh, an eighteen-year-old lesbian is home from college for summer break, inadvertently overhears her mother’s intimate conversation with another woman.




Leigh, a young college girl home for summer break, by accident overhears a conversation her mother has with another woman. The conversation is obviously intimate in nature and the effect it leaves on Leigh motivates her to investigate it further.

The investigation leads to the penthouse apartment of a high priced call girl, Kelsey. Impulsively, Leigh barges into the prostitute’s place and confronts her. Leigh had hoped to catch her mother with the hooker but her mother was gone. A spat breaks out between hooker and daughter and in the end, one woman is on the floor spent and panting and the other is about relates her startling tale.

Kelsey is speechless after Leigh’s revelation, and the young girl presses her advantage over the shocked woman by extorting her to perform the same service she believes her mother paid for earlier in the evening. Kelsey initially balks at the request, but Leigh makes it clear she will not take ‘no’ for an answer.

Realizing she is over a barrel; Kelsey gives in to the girl’s demands and applies her expertise to the young girl. When the girl wants further attention, Kelsey pushes back. Leigh feigns disappointment, but then catches Kelsey off guard and begins to apply her expertise on the hooker.

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ALIEN WANTS! And the wants are extreme.


A young earth woman is abducted by a lesbian alien, named Gash who plans to take her to her planet Arko. That trip to Arko alone proves life-changing to both females.


A twenty something earth girl is riding her bicycle along the road when she encounters a huge object overhead accompanied by blinding bright lights. Those are the last things she remembers until she awakens on a space craft headed to a planet is some distant galaxy.

Once awake, the girl finds she is nude and has been shaved in an intimate place. Next, an extremely tall and powerfully built blue female comes into her jail cell. The blue alien, speaks amazingly good English and tells her she has been kidnapped. And is in for a long trip to the alien’s planet.

The girl learns her abductor’s name is Gash, and onboard the craft the earth girl will be assigned the name Face-303. She also learns on their way to Gash’s home planet; the girl will be loaned out as a sex slave. It is Gash’s responsibility to make sure the captive is aware of what all is entailed in being a sex slave.

The young-earth girl is poked and prodded in every opening on her body, by Gash. Her examination by Gash is meant to be a ‘road-test’ of sorts to see if she is up to the rigors of life on Arko. Gash finds the girl is more than up to the challenge and in some ways is in awe of her sexual stamina.

Things take a strange twist when the earth girl wakens from a long coma-like sleep and finds herself in some type of medical examination room. She also sees a transformed Gash and also Gash’s superior. The superior makes it clear that the earth girl, as a captive of Arko,  is an insignificant waste of creative matter. Worse than gum on the bottom of a shoe. The earth girl is in a panic, and the only living being she can turn to is the big blue alien that captured her.


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