May 10

Xavier Cruzes: My First Blog!

Hi Everyone! Xavier here, just doing some work on my profile for the first time ever! I have a lovely cup of green tea, my cat sitting with me and some ambient music playing “those who know me from my cam time know that at least with ambient on I won’t be breaking into song randomly at any given moment!” I’ve just started getting more into the world of camming so I thought it was time to spruce up my page a little as I have really enjoyed getting to know you all so I’d love to give you a bit more of an insight into my life. It’s totally not what I expected and everyone has been so nice and supportive of me and my cam performances. I had some cam time scheduled for tomorrow but I am afraid I won’t be able to make it online tomorrow! I am sorry. I need to get a couple of my horses shod and this will take up most of my day! My next time online will be Sunday evening 8PM EST so be sure to jump online, say hi and introduce yourself! Ciao! Xavier

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Mar 01

Cales: Encyclopedua

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

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Feb 28

Cales: Encyclopedua

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

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Feb 27

Cales: Encyclopedua

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

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Feb 26

Cales: Encyclopedua

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

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Visit Lube Your Tube

Click Here To Watch The Full Video At LubeYourTube.

Nutting Him Off