Bondage del Cuerpo Curso Online:
Explora el Arte del Bondage con 6 Técnicas Eróticas

Welcome. My name is Lola Jean. I am a sex educator and occasional pro dom, fetish wrestler and the world record holder for volume squirting. I’m joined by my co teacher, L.T., who you may recognize if you haven't already purchased for watch our guide to Erotic Choking for pleasure and play fighting for lovers, our wrestling series. But I'll let them introduce themselves. I mean, yeah, I did it. Yeah, you did it. Well, yeah. But I'm happy everyone's here and it's great to be able to spend some time with you. And. Yeah, I'm L.T.. My pronouns are they them? So. Yeah. Happy you’re here. And we’re going to have fun. Yeah. We're going to talk a bit about safety and motivation first and then have a pretty big focus on the feelings, the feelings that we're going for in bondage and genitals. You can kind of keep in mind what are the things that you like about bondage or as you experience these different things of what it is that you may like. And that's going to influence the type of movements that you do or that you enjoy or how you engage in those movements. Because some of them can be very variable where you can use a move for compression or resistance or or both. If that's something that you feel like you like, we'll go over to grips that will be utilized during a lot of the moves and then we'll go over, I think, let's see, we got like eight, at least eight moves or things like that. Well, at the end we'll also discuss two for if we get a lot of questions, usually for body variation. So especially for people that are a lot larger or taller or heavier than their partner for different things that they can do, especially when we're talking about, you know, utilizing your weight. They're solutions for everyone and not how to, no matter how big or small, heavy, like whatever it is that you are, there's different ways that we can adjust our body. So body bondage, I don't know. I mean, I don't know if we made up the term or not, but I feel like you really hear about bondage and you just think of rope or cuffs or restraints and things like that. Yeah, and I'm too lazy for rope. I say this all the time. I would rather use like a cop or something like that, but even more so using the body, I'm always going to have my body on me. I'm not necessarily going to have rope. I know one time that's kind of it. And reps also for me it feels a lot more dangerous, especially for cutting off certain circulations or nerve damage or things like that. And while there is certainly danger in utilizing the body, it's an area that I feel more comfortable with and there's more intimacy to me. Some people can find rope having that intimacy, but having a lot more of that skin on skin can be really fine with body bondage. The first thing we're going to hammer through in your brains, is that body bondage is not about squeezing as hard as possible. It's not about applying as much weight as possible. It's not about like, eliciting a tap or a certain reaction, this is going to be completely dependent on the feelings that it is that you're going for. So it's going to require a lot of communication with your person. And we can do this communication verbally or non verbally. A lot of times you can ask your person like how will I know when you're enjoying something? How will I know when you're not enjoying something to read those reactions, or we can use our some of our favorite, nonverbal safe words, which is just tapping multiple times on our person's body, or multiple times on the ground or wherever it is something that wouldn't happen accidentally. So I'm not going to say one tap on your shoulder is going to be what our safe word is. And the thing that I love about nonverbal safe words IN wrestling and body bondage and these things is that you use them often. when we think of safer in BDSM I think we think of those are like our ripcord of use in case of emergency. But within this space, you're going to use it very frequently. And that's going to be helpful, like, oh, is this the time because you want to be able to release, and then start again, or release and go to a different hold. So I want you to whether that's tapping, whether that's saying uncle, whether that's whatever, you know, verbal or nonverbal cue that you want, that's something you're going to be doing pretty frequently. So don't feel like it's the same as you know, saying "red" in or using, like, our red stop safe word in a BDSM. sense. L.T. Hawk: Yeah, perfect. That's, that's it. Yeah, no squeezing as hard as you can, we won't be moving his round as much. So it's not as a vigorous practice with with this bondage course, where we're using our physical body. And like Lola said, so because we're not going to be as vigorous as we would be in more of like a playfighting class or in our erotic or kink wrestling structure. You can also like clap, you may, you may have your hands free, you might not have hands free, in other ways, when you're off what kinda like scrambling around. But here because it'd be like static positions, you may decide maybe like, if you're clapping your hands three times, if you can't necessarily reach to do that. So there's a lot of different ways you you can, you can keep communicating, right? The idea is like, we're in a constant communication through this practice. So that way we can, like Lola said, perfectly is like, we can prolong the amount of play that we have. While another bondage is positions, like their main, like Lola, just describe, we're not maybe communicating as often because there's a lot of time in between setting up the scene, right, as the scene progresses, right, there may be a lot to actually get someone into a restraint, whether that's rope or that straps, or that's, you know, tape, or if it's mummification, right. I mean, of course, you're gonna be like asking me, how's it feel, how's it feel, but a lot of it is, you know, just that process going through it. But here, because we're using using our body, we're getting into these positions fairly quickly, right, but quickly is relative, right, because of our different levels of ability, and different on what tools and space we have available to us. But you'll be getting enough positions pretty fairly quickly. So we have a lot of opportunities to continue to communicate in these positions. Lola Jean: Yeah. So how can you utilize all the things that we're going to show you, you can do them all on their own, and they can be pretty fun and pretty playful that way. However, once you learned these, then there are things that you can incorporate of maybe when you're play fighting and you find yourself in a position that oh, you could easily go into this or into a bear hug or something like that. Or maybe while you're having sex, this would be a way to like open this person's legs in a way that you learned from us, instead of like forcing them open with your hands or something. Or maybe your persons having a panic attack. And they could really use a human weighted blanket at that point. So there are plenty of different ways that you can use it or you can just use it as we're showing you to have fun, but there's there's no limit to it. So think of these as tools within your tool belt. So other things regarding safety, just talk to your person. Also, if there are any, you know, sensitivities, places on their body that they don't want to be touched. It's also a good idea to ask for their ticklish. Um, a lot of people don't like being tickled. I'm one of those people. And some people really like different places on their body where they are ticklish. So that could be a good time to ask those things as well. Or yeah, just different parts of their body where you need to be careful of I think we sent an email beforehand, to make sure that you don't have any sharp objects on your person that can scratch your person jewelry, watches, things in your space, just being wary of where you're moving, because you don't want each other to get hurt. That is not the goal of this. I think in a lot of things in BDSM why people are often hesitant is they think BDSM equals pain. So really assuring of if you want to move on to something that involves pain, go for it, but that's not a good place to start. If that is something you want, or you enjoy, you'll realize that and then you can move from that place but for the purpose of what we're doing the goal here is never pain or discomfort if if there is pain or discomfort that would result an attack to to remove that. And in this instance to even though we're moving to things towards resistance, I would say be wary on like trying to resist something for as long as possible for your ego or competitiveness. There can be time for that later. But that's not the point in here now so don't don't try to be a hero if something is getting to the point of discomfort to get to things like body scissors where Like, you're only going to be tapping because of discomfort and or pain. There's no award for how long you can have someone's legs around your waist or something like that. L.T. Hawk: Yeah, yeah, talk tolerance, right? So you don't want to be in a situation where you're trying to unintentionally build up tolerance, I think, I think what Lola is touching on really well is that when we talk about pain, and discomfort, discomfort is a real, like, you, we should be experiencing pain within BDSM. That's not discomfort, right? Because it should be intentional. So pain should be something that we're working towards doing in a very deliberate way, as opposed to accidental pain, or incidental pain, right. So with these movements, when wherever you're moving our body around, we can pinch nerves, we can sprain muscles, we can strain a muscle, not really not being focused on how we're moving and not being focused on our technique. So like, attributing or like, making a correlation between BDSM and kink directly to pain, it what happens in that situation is that where we can be engaged in activities that are not well thought out, we can be engaging with people who are not well trained, people who don't really know have a good scope of how to mitigate risk, or to be aware of where the Harm can occur, are and who are or who are not trauma informed in the way that they work with people. And you if you just associated it with pain, you might just be feeling pain out of just someone just doing like, wacky bad shit., like, well, it's painful. So we must be doing, we must be doing BDSM cause it hurts? So I, as opposed okay, this, I want to feel this very particular pressure here, right? very local, very directed, is the same as like if someone said, hey, I want you to massage my genitals. Right? But and they just like, hitting you everywhere, right? And you're like, Wow, no, I guess it's in the general area, right? Like, well, give me my back, I kind of felt that in my genitals, it was so hard. So it's really about focusing what we're doing and not getting, not getting trapped. You know, what I mean, is at the end, there's people that really want to do things, and, and I'm one of them, I like want to do stuff, right. But I also don't want to do things I don't feel competent in in that I can meet the needs of the people that I'm engaged with. Where I can keep people as safe as possible, right, there's no completely safe activity. Whether that's shoveling your snow, playing your VR headset, or engaging in any of the wildness away, there's just really is no completely say what we want to do is make safer practices. Lola Jean: So there are five feelings, or motivations or things that we're trying to work for that will fall within body bondage. And we'll talk about them now. But we're remind you again, have them later, especially if you're not sure which one of these sounds intriguing to you. So the first one is compression, which is what it sounds like. So compressing the body in different ways. So another person having that compression, so this is an inward force. And that's going to be the opposite of resistance, which is going to be your outward force. So if you're attracted to resistance, this is more of an attraction to the struggle. So in one way LT could be giving me a bear hug and I'm just sitting there, that's compression. And then while LT is giving me a bear hug, I could be trying to you know, fight back. Resistance is different than overpowering. We are not focusing on overpowering at all today. That's something has to do with wrestling with does not have to do with bondage in general. So the resistance is just having that struggle, but not necessarily trying to overpower. Compression or resistance can happen together. Or they can also happen separately as well. Another so those are two different feelings. The third one is going to be envelopment. So wrapping so when I think about this, I think of you know people that do like our aerialist have to silks and they have to wrap their legs around with a rope or around the silks or whatever that is. And that's what we're going to be doing a lot with the body is kind of wrapping around in that way. And that can is something that can create a place for resistance as well. That's something that can create some of the other feelings. But this envelopment feeling a lot of times that's what rope can feel like around us too is we're feeling enveloped, we're not feeling compressed. There's no inward force, maybe we don't have any outward force, but we're feeling wrapped up in someone or something. Um, another motivation could just be weighted blanket, which is what it sounds like. It's like someone just feeling their body weight on top of you. I can feel really soothing, um, that can like it can feel very comforting and nice. It can just be a lot of body to body contact, um, or there's different ways that we can distribute our weight so it's gonna be different if like, you know, you're having sex with your person, and then they're on top of you versus they're intending to distribute their weight so that you feel more on top of yourself in certain places. So things like on the chests or on the back where those kinds of weight tends to feel really good. And again, this can be involved in a bunch of other types of feelings. But this is one in particular, I would say, in terms of body bondage. This is probably on like, the lighter end of feeling because there isn't as much, there isn't any force, as well, because you want to have that weighted feeling without crushing someone, or without causing unintentional pain. So there's going to be ways where we can be able to utilize our body and maybe take some of that pressure off if we weigh like two times more than our person. Or if we're in an area that's way more sensitive on a person like, say, their stomach or something like that, we'll learn about the different parts of the body that can take more weight to put to put that weight on. And then the final one is contortion. So when we hear contortion, we think of maybe a contortionist, not the same thing we don't want to do to bend each other, like a pretzel, if that's something you're not capable of. But this is like manipulation. So sometimes it can be fun to feel like someone's just like manipulating our body in a certain way. And they're moving us sometimes when people are being tied in rope bondage. They're just sort of like the dummy. And that person's moving their arm here in their head here. And we're just kind of at will to it. And what feels really nice about this a lot is like the intention of someone is moving our arm where we want them to move it or where or where they want to move it. And having that intention. intentionality can can feel really nice, or it can be if you are gotten into weird funky shapes. L.T. Hawk: Yeah, maybe yeah, maybe you might be into, but you know, your shapes. And it's the thing, right? It's about adjustment, and talking about where your where your comfort levels are, and where your range of motion may be. So you may feel a desire to have pressure in positions that other people don't, right. So it's not our right or wrong, it's just different. So it's communicating. So we like we may show something where like, Oh, you, here's where you would put pressure in this position, or here is a place where you could put someone's arm for you that may not feel comfortable at all, or just not be the actual desired position. So it's not wrong, right? It's just like, okay, that person is applying the technique properly, and doing it properly. But you might want that in a different space. So it's really again, not to like about communication, I mean, not about it is about communication. So really just stay in communication with people don't be, don't be shy about advocating for what you want to experience. Because you want we want to have positive outcomes. We don't want to create, when I say 'we', I mean us when we're engaging in this fun, we don't want to have negative outcomes. We don't want to be frustrated, like I did, it's a big thing, right? It's like, oh, you're doing it wrong. Because I'm you're not feeling in that space. so make some adjustments. So it's important, again, to make adjustments and not to not for this to be about any of our individual egos, where someone's like, Why No, I really want you. It's not like, you know, sometimes people teach small children, something athletic, a sport, a skill or something. Right? Right. It's not actually being done well, but you want the kid to be encouraged. So you just like, Oh, that was great, right? But you know, the the ball still on the tee, right? It didn't hit the day, the ball can go anywhere, right? But it made a nice swing at it, right. And you want to encourage them to keep swinging, and you don't want to give up. So that's, I know that that can be fine, right? But we here we are as an adult, and we don't want and we want to encourage each other in a very genuine way. And we want to achieve the types of fun that we want to we set out to do. So I think what we can say is like tourism be like, oh, yeah, that, that that's good, right? Oh, you're in the right, you're, you're doing it right, or you're going in the right direction. But we need to adjust to because I'm not actually feeling it in my hips, or I'm not actually feeling it around my chest, or I'm not actually feeling compressed. So this is about working together to make that adjustment as opposed to say, oh, you know, that was great. And then like, you know, you know, you're kikiing with your friends are like 'that was terrible, this perosn doesn't know what they're doing, right? Um, so I think it's important to have that feedback, honest feedback, you know, and if the person is not... here the thing: we have to be comfortable. We have to make ourselves easy to be given adjustments to like, so when we're hearing feedback, we need to be working on our own shit, right? So if you were feeling some type of way about feedback, pause, right. Don't just knee jerk respond and be defensive about it. Don't blame me well, LT showed us that way. don't send me a hate message on on. Don't send me a message on Instagram. And don't invite me to your NF T group on Instagram. Those two things those are my boundaries, ah, and all crypto whatever. No, no, no, Um, so yeah, but you know, Think about it, if someone says something, oh, this is not feeling this way or, you know, tap in to say, okay, is this my defensiveness? And you know, make yourself easy to be given feedback. Lola Jean: And with a lot of this, like, a lot of us probably have a fear that we're gonna hurt our person. And we don't want to do that. So maybe we're doing things lighter when a person gives us encouragement of like, oh, no, that didn't hurt. That's, that felt really nice. Maybe you could do it a little bit more. That's, that's a lot of that's gonna come in as well, too. L.T. Hawk: Yeah. And yeah, the incremental increases of pressure or tightness, or intensity, it should always start low and build its way up, like what was mentioned, like, it should not start at the most extreme edge of level. And, again, it's not about proven, we may have, I might personally have a lot of ability to experience a lot of like intensity or pressure, or pain in one type of modality in kink, and then another not at all, you know, so it's not that, okay, again, this person is going to heart is just different, it's a different experience, my body's in different place, mentally, I may be in a different place. So, it's not comparable. So it's not always comparing it to things, someone may be able to experience in impact, they may not be able to experience in compression, being like wrapped up for being squeezed, staying if you're being in rope, if you may have a lot of experience in bondage, whether that's rope or any other physical constraints, you may not have the same amount of range of motion, you may not have the same amount of desire for in this particular style of bondage. So, you know, be aware of that is like, come in with open mind and say, Okay, this is a new thing that I'm going to be stepping into what the things that we can bring in from our other practices are is risk awareness, knowing how to communicate our boundaries, where our triggers may be, being able to advocate for ourselves negotiating scenes, you know, vetting a particular partner, whether or not this is good, I know people are here with their trusted partners, most likely. But if you're someone who has more of an expensive group of people that they they enjoy kink and BDSM with. Again, I may be amazing partner for this particular thing, and I may not be the best person for another event. So it's really about getting an understanding of like, what what we expect from from, from this experience. Lola Jean: So before we get to moves, we need to show you a couple of grips, because this is all about working smarter, and not harder, we may be two very muscley people but we do not rely on our muscles for any of these things at all. L.T. Hawk: You're very muscley. this is all this is a filter. Lola Jean: Just on this half, very high tech filter. Um, but with with these grips, too, I always like to say we do them, I use them when I'm like holding boxes, or a lot of groceries or something like that, if I know I'm like I don't. my finger strength sucks. Every a lot of things about me are strong, my finger strength is horrible. So these grips have been a lifesaver. And if you can't like get fully around your persons or in ways you might not be able to get some of these, as well, we have a couple of adjustments there too. So the first one is an S grip. And this one I will say is a bit harder if you have longer nails or acrylics or something like that, because then you're going to be digging into yourself. But if you don't, kind of just looks similar to like an S hook and like a hardware store, so curling one hand curling the other. And then like you're gonna sing something nice to somebody at choir L.T. Hawk: and no thumb so your thumbs are clenched tight to your to your other four fingers, right, so your thumb is going to be in so we're not our thumb is not out. It's not a cup, we're not holding a teacup, we're here, in this particular grip, four fingers there. And then we are making and you can just go it's really good to just keep switching like releasing and switching, releasing and switching and feeling like were just feeling a grip getting used to it. A lot of this is about sensitivity on our own bodies and how the grips feel. Lola Jean: Yeah, and for any of these when we're like you know making a closed circuit, whether it's with our legs or with our arms, the ways that we would make this tighter. So whether you're holding a thing or a person with either one the ways that we can do that, or we can bring our hands in because that makes a smaller shape of this closed circuit that we have. And we can also bring our arms towards each other as well. So and we already can do both of those we go towards and in and all These are just making tighter shapes in different ways. So if I'm holding a big thing of groceries, then I'll just pull in towards myself or I'll pull my elbows in there as well. So that way, I'm not holding things with my hands, it's holding things with the shape of my arms around it. L.T. Hawk: Yeah. And you're and you're incorporating other parts of your, you know, you're incorporating more muscles. So instead of me just like having this big ring, shape, right, like I'm grabbing a box or grabbing a bag or laundry, whatever I'm carrying, or a person, right, instead of me having here where I'm just kind of using all my arms when I'm making the grip, and I'm able to close the shape, whether that's elbows in or pulling toward my back, I'm incorporating either my chest muscles, or my back muscles, Lola Jean: and even your hips if you're able to kind of establish that leverage there instead of just your arms. Okay, so the next one is a gable grip. And this one is good if you do have acrylics, or long nails, so you're not pokng yourself or sharp nails in that case. So for this one, we'll have one hand, and again too with everything, our thumbs are just going to be in because those tend to open like hinges, so we don't want to involve them as much. But we'll have one hand that's facedown, the other hand will go on top of it, and that top hand, we will rotate it 90 degrees, so it wraps over that thumb. And then the other fingers that are left over, will wrap over the side of the hand, do you see this shape that we have made. And you can even pull outward to see like, that's a lot stronger than if I was just like, hold my hands like this or hold my hands like this, they can just fall open. And if you're here, you can feel how strong that is. And same kind of a thing. If you want to make it tighter, we can put that shape towards ourselves, we can bring our elbows in, you can do both of those things together, as well. You can try it again, you can shift that on both hands. So one hand the fingers always be wrapping over the thumb. And then there will always be one thumb exposed. And that one will just be tucked not wrapped. And why why do we not? Why do we tuck our thumbs? Why do we not wrap them? L.T. Hawk: Oh, yeah, well, again, thumbs. You have opposable thumbs, right, they open up like doors. One also is I don't want to have my thumb kind of like hanging out in the world, something to get snagged on something to land on something. So you know, we're protecting our thumbs by just closing over. And this just really just cinches the grip, you know, what I am basically doing is creating a hinge and I'm closing it up. But as opposed to my thumb, that just kind of here, this is just really not a strong grip. If something starts moving away from me, my hands are going to slip open. So just just like your back, so I'm just here, like I'm used, I'm doing it wrong, my my thumb's are gonna be out, I'm here in this position. So a lot of these walks away from me, my hands are gonna slip open. So I'm gonna hold it really tight, and literally gonna walk away. And my thumb's gonna eventually open up, as opposed to like gable grip here is suppose I go over the thumb here and Lola starts walking way My arms are going to open up, my thumb's are not going to come on Lola Jean: I can even try to like resist and do this movement. L.T. Hawk: There are ways that obviously escaped us by getting the arms up, but what's not going to happen is my hands are not going to come apart. But if I have my thumbs here, or if I, if I do this, it's just going to slide open. Like, you know, this is great for cracking your knuckles. And I'm sure some, some physicians would be like "don't crack your knuckles." But yeah, but a lot of these walks away from my hand, my hands are just gonna, my fingers are gonna open. Your fingers are not good grips. In that situation, right? We're not holding something in our hand, right? I'm not holding something. There are other grips where you could use two hands on one part of someone's body. Like we call them like baseball grips, but I'm really never using my thumb very much. here is called a baseball bat grip, because I'm holding it. Like I would hold a baseball bat. Right one forward, one back, one for one back, right? I have this grip. So this is a strong grip. So like Lola tries to pull away. I mean, I can kind of hold the arm. If I again, if I bring my thumb in it, here. Yeah, it's gonna go through your thumb, right? It's just easier for someone to walk away a little bit, just lean forward, this hands gonna not be able to hold on to it. As opposed if I'm here and I'm wrapping around. Say I'm coming all the way around and I'm holding this arm. So here I go, like pulls away. I can kind of pull in right? I'm also able to close my arm. Think about opening. If you've been in this class before you've seen me do this a bazillion times. You open a screen door with your arm fully extended. It just does not move. I mean maybe if you're a huge human being right I don't know. Not even the rock could do it. Right. So if you're here the doors and you try to open a screen door it's impossible. But the closer you are your screen door with your elbow bent. You're able to slide it open You know, that's the idea. So here's the same thing I want to be able to hold on to the person. Maybe a grip is holding on to something. Not pulling something, right. So a grip is not about controlling. I mean, it may lead to a control. But a grip is really about me being able to secure myself to something. Right, if you are doing rock climbing, You've seen it, people go to gyms, they spend alot of money, they climb a rock, the grips that we you're making on the holds, is to hold you to it. Right, I'm not trying to pull the rock wall down, right? It's not like I'm holding the rock wall, I'm gonna yank it down towards me, right? The idea is a hold me to it. So this is what these grips are, the grips are not for me to be able to make sure this person can't move. The idea is that they can't move without me. So I'm stuck to them. Right. That's the idea. So anytime we make the grip brothers a gable grip here is my idea is I want to keep their arm towards me. So here I am, is holding on. So Lola can move around. But there's no moving around without me. You know, then if I want to sit back then yeah, now I'm holding them to me, but there's no way for them to go without me attached. So a grip is attaching ourselves. Lola Jean: And that will then make it harder for them to escape because they can't get away from you L.T. Hawk: Yes. And then people get tired, they wear themselves out. And then I'm able to kind of control in a way. Lola Jean: So we'll use that first. So understanding you can use either of those grips for whatever works for you. Or sometimes if you're not able, depending on if it's a larger part of the body you're going around, you might only be able to get to the S grip, because that's going to be a little bit more extended, because we don't have to go in further. But you can use either one of those for a lot of the different grips that involve the arms that we're going to do. Okay, so the first one that we will do is a bear hug that we can do in multiple directions and really on multiple parts of the body. But because the chest is a place, that tends to feel nice, when we're able to squeeze that. I can first do it around LT's arms and chest. So kind of coming in here, I'm going to do the gable grip. And in this case, because my fronts also on their back, I have this shape that I'm making, I can also make the shape not just by putting my arms inward and towards myself, but I can also push myself into my arms or into LT at the same time. So we talked about before, and you're not gonna see it that much. Because there's not as much space between my arms and Lt but I can squeeze in towards myself and squeeze my body towards them as well. And when you do this, you can just do it for a couple of seconds at a time. Again, it's not about squeezing as hard as you can, or as long as you can, there's a lot of things you can do to make this more intense that don't involve harder or longer. And just as the involvement of your person as well. Yeah, so I can do this around their arms. And that kind of gets this is getting a bit of the compression, it also can get the resistance if because lt can try to struggle within there, but they're not able to maybe move as much. Of course, they can escape by just lifting their arms up if they wanted. But if we're just having fun, and we want to just feel that resistance, we might not necessarily do that. Yeah, I could also do this even under their arms, say LT has got these giant biceps and I can't even get my arms around them here, I can always go without their arms and do the same thing. I like adding the arms because the ribcage is a sensitive area and I don't want to go too hard there. So by having the arms here and doing the bear hug, I'm automatically making a barrier where I don't have to worry about that as much. So when I'm here, I want to make sure to be higher above the floating ribs more on the chest area. And I'm probably just going to go a little bit lighter because I'm making a lot more contact with the body. before it was like compression on the arms that go into the chest. If I go under the arms. I'm just directly onto the chest. L.T. Hawk: And there's a concern that people will sometimes think about is like this, like the size of someone right? But we you see Lola is able to get around my arms and my chest and still make the make the gable grip, right. I'm not obviously flailing around, right, we keep again, keeping our hands inside to ride, my armsarenot flailing around? I'm not going going berserk. But also, the larger the person is, the more compression happens faster. Right? So you're like, oh, this person is really big. I gotta wrap my arms around it. But if I'm able to get my arms around them, their own size creates the compression faster, rather, as opposed to right, trying to like corral have a really small person, right? It's like they're wiggly, they're squiggly. There's a lot of space so you have a lot more space to need to close off. So you're going to have more actually More adjustment and more time learning since it's like learning body positions, when you have someone that actually is much smaller than you being able to get around their body and close off that space, so they can get that experience, and also be able to do it where you're measuring the amount of pressure, so you're also not pressing them. So you're gonna have much more of an adjustment with smaller people than you think you will with with larger. Lola Jean: whatif I'm unable to get my arms around you and they're just a lot smaller? What can I do them? L.T. Hawk: Yeah, so that's like a thing, if your hands only come this way, you can't do this S grip. So the s grip is just impossible to get, it's going to be really impossible to kind of do High. So what you can do when an arm is going to go down lower and find like this, this this elbow position. so Lolawill go down lower, lower, lower here and find the elbow position and my arm side, you see that kind of come together here. And then you're able to squeeze in that position. Yep. So you can find places on the arms where you're able to do this. Now that that is a difference with the body bondage is with rope, right, you're going to not want to be on like big, big parts of people's bodies, because it's going to slide down, right. So you want to you can start really high or start really low, just find that position where you feel in the compression. Another thing I would load can do is just also like, if my arms are really wide.. I'm not not participating, right, so there's a thing I'm not in like, It's not paralysis, I'm not sleep paralyzed. And not to make light of paralysis of course, but I'm not in a position where I can't participate. So if Lola goes around my arms, like really wide and Lola just can't make the grip, what I can do is I can cross my wrist over. So I'm going over here for us my wrist, and now Lola can go back higher, and then make their grip. Because I'm not making myself as wide as possible. So here, I'm as wide as possible, there's more area to cover. Here, I'm bringing my own arms across here. I can go across my wrist, I can go here or I can just touch my hips. And I make myself nice and tight. So now Lola can go higher or lower, wherever. And now I've made it a lot, I made it easier for my partner to make the grip. And I've also created a compression where I can feel what I want to feel I can also grab my elbows, if I want to do it from that position. You can go arms behind your back, as well. So I'm just crossing my arms, it feels comfortable, I'm gonna be able to cross my arm behind my back. And then same thing was able to get here in that position and squeezing. Lola Jean: I and can make my body higher or lower with what I need to do instead of just like stretching my arms everywhere as well, too. But before when LT was saying it's not about pulling someone, it's about staying attached to them. And thinking about especially with like rough body play and things like that. Or even just thinking about if you're in like a sexual scenario, sometimes you want to stay attached to your person, so it's less awkward or so you don't like lose that separation of like, we want to move over there together. So I'm gonna monkey onto your back, and then we'll do so. Or just even like, I actually did this earlier today, because I was trying to give my partner a behind hug. But they were kind of curled up and I didn't want to slide off their back. So I was like, I'm just gonna attach on to you, basically with this bear hug onto your back. And that way I don't have to like focus on my leg muscles. L.T. Hawk: And we're showing you the, the really like how to get into this position. And what we need to do is now think about adjusting. What's great about bodies are they're all just weird shapes. They're all different shapes, everything all of us are uniquely shaped. And how our bodies connect fit with other people's bodies are where more of the play comes in line is not a Lego block. It's not literally like just two and afour. So we did the two arms, right? I showed you ways where you get over two arms, but I can do two in one. So Lola could go under one arm and over another and and do this. Yeah, so you can do two and one and make that squeeze right. So Lola can just kind of reach up a little higher, and like lean this arm down. And now and then pull in you can pull it yeah, now I've got this position here. I'll show you so Lola is here above the rib. Now my ribs are going to are kind of for lack of a better word calloused in a sense, like because of like wrestling for a long time is I'm used to people like grinding against my ribs. So I don't it doesn't feel as painful for me. And you may be much more sensitive or maybe not. You may have some sensitivity there but you want to keep someone off. I don't really care if it's here like Lola can squeeze and pull in. I don't feel that it's not it's not painful for me for someone to be on my ribs. It doesn't mean I can't get injured in my ribs. So that's where you got to be conscious, right? I'm not going to feel the the shock or the sensitivity, but I know like if my speech is really hard, they can still damage my ribs, but you can go higher and Lola can pull in. And now we go. So you can go two on one, you can go one on two, you can go over under, you know, this is it doesn't have to look exactly like over two under two, you can go one and one. Lola Jean: One thing I didn't mention too, so right now my chin is on LT's shoulder neck area. And this is if I was a little bit removed, then we run the risk of bonkin heads and different things as we're talking. Also it creates it does create a smaller shape as well creates more intimacy. But this is also a safety thing too. I don't want to be behind directly behind their head. L.T. Hawk: Yeah, you don't want the person's head to go back. Accidentally, right? Yeah, obviously, you don't want to bang faces and heads, what you can do is do a, you can go ear to ear. So Lola's here, ear to ear. And again, this is like, I can actually feel like to echo my voice. So if your ear to ear is the same thing, so if my head moves, their head moves, right? There's not space, like if I, if I even tried to make space, Lola can just follow my follow my head and keep closing that space off. Right? As opposed, Lola just stays there and I move my head, right? Why, but why? Why would you do that. So the idea is, remember, you're gluing yourself. So if you go ear to ear, you're fine. Like my head goes back, it's not gonna hit Lola's head, my head goes forward, right now we made some some distance but Lola can just now just keep turning their head into me. Right? So head control is important. In order to not like Lola said create space where you're not paying Lola Jean: you can take a lot of these, if you have that mentality of like, okay, here's a way that I can create compression. And if they want to create resistance, they can do that. Now I can take that same kind of grip, here, we were getting more of that chest compression, but I can use that same grip, if I want to go around the waist and do something similar whether I want to just hold on or whether I want to squeeze it can really be either one of the two. And that's also going to be like based on that feeling. So maybe, do you want compression? Do you want resistance? Or do you want just more of that control as well, because if it's the control, and you're not gonna necessarily be squeezing, you might just be kind of moving, manipulation, a little bit of that contortion, depending on how you are manipulating them. But you can utilize this on all different parts of the body, maybe we're kind of playing around, and then I kind of want to get on both LT's legs, and just be able to take that take that away from them, or something. So you can still be able to utilize this arm grip by getting a large chunk of the body. L.T. Hawk: like where that my head is placed. So like around the front, you saw Lola's head was placed on the front, this also could be around the back. So if I was here, if I turn this way, and Lola just did this around my back, see Lola's head is now in that space close to my body not back away from me. One, the more space between their arms and my body, there's no compression, you know, so we don't want to leave like a whole bit of space. So lola's head can be here. Yeah, around the back, it can be high on the chest, and their head, it can be like right on the back. If you can't go ear to ear just because of height difference. All Lola has to do is like pin. Yeah, pin her ear to my back. So here again, I'm still not able to like bang my head back, you know, let's just, I don't know, there's a good beat going on. I don't know why you'd be doing that. But let's just say your head goes back, you're not gonna be able to create as much. That's true, some people move their head around, but I won't be banging my head like I would have to purposefully like drive my head all the way down and slam it all the way back, right. Um, but I don't know why you do that. Don't do that to partners it's not nice. Lola Jean: So you'll notice in this scenario too, for right now for the purposes of it, it's a lot of my upper body and chest that's really compressed, but you'll see that like, I have my hips away from here. And that's really just for movement so that if LT moves, it's easier for me to move with them versus if I was like flush against their body, if they move in, I will still go with them. But I'm not going to have as much control. So both of those are still good and valid depending on what it is that you want to do. And remember it's going back to these different feelings do we want to feel more controlled? Do we want to feel compressed, do we want to feel enveloped. If you want to feel enveloped, I'm not gonna have more of that control. And I'm just gonna wrap my body as much around you as possible. So that's why those feelings are really important. Let's talk about if if you want to, if you're really loving the compression and you want to add even more to this, you can use the person who is being compressed to assist with their breathing. And this gets a little bit into this is breath play, which we talked about a lot in our choking course but this is compression. So any kind of breath play is when you are limiting the amount of airflow into the lungs and the While that can be by, you know, closing different air passageways, it can also be by compressing that space. So we are compressing that a bit when we, you know, hug and bear hug on this area. But the other way we can assist in that is if our person also adjusts their breathing. L.T. Hawk: So as a person as I go to squeeze, right, again, if I have less oxygen in my body, it closes the space off, right. So this also is going to allow the person to get tighter. So as Lola begins to squeeze, Lola says, I'm going to squeeze, I'm going to exhale. So Lola may say exhale, Lola Jean: inhale together. Yeah. And as they exhale, I'll squeeze a bit more. And that's just going to deepen that compression. L.T. Hawk: Yeah. And I may hold my breath for a count, I mean, count, hold my breath for two seconds. And then inhale out in. Now I need more space to breathe, my partner's going to create, allow me to have space to breathe right? And not going to compress so much that way, I don't feel like I get air in my lungs, you'll still get air in your body, right. But it may feel labored, or it may feel like a, it may feel like you need to do a work a little harder to do that. If that is not something I want to feel, of course, I want to be able to tell my friend Oh, I need more space to breathe, or can you loosen up a little bit so that I can breathe better. So yeah, just exhaling out is a good way of taking away space. From myself, I like exhale out, bring myself low, bring myself in a little bit more than that person is able to wrap around. Same thing, like when I'm creating a squeeze, I will even if the person is not breathing, exhaling or inhaling, I may inhale or exhale. And what that looks like if I'm around someone's back here. And I'm here, and I'm just go over, we'll go, double under here. So if I'm here, and I have my chest here, and I want to like not pull my arms in because maybe when I pull my arms in, it creates too much pressure downward or forward on their chest, right. So I don't want to compress on the person's chest because it may hurt. so I squeeze and they're like, 'Oh, that's too much squeezing' but I want to take air out. So what I will do is use my chest by inhaling deep, I'm going to use my chest to create less space. So I'm here and I'm just gonna inhale it. And just you see my chest pushes into the person and it creates more of a tension, as opposed to here, watch my elbows like pull back and pull the person towards me. But instead of being able to pull back, sometimes I can't pull back, you know, maybe my arms are pretty much I mean, the person is resisting, or maybe I just can't get enough a tight enough grip. Or, again, I don't want to use my arms because they'll burn out. A big way of doing that is I don't have to worry about my forearms getting tired, because I'm constantly like in a real tight grip. So I'm here, I want to take some space away, I'm just going to inhale and drive my chest in as I drive my chest into their back, it pushes into their grip. So it makes the grip tighter, low space here. Lola Jean: And all of these things, we're doing them back to front. Um, but you can also do them face to face. Or if I don't know if I do this all the time, or like if someone's feeling like stress or anxiety, and I'm like, can you just squeeze me or give me a hug, and then we'll like go into a hug position. But what I'll do is I'll have a gable grip around their back, and then I'll pull in. So it's, it's kind of like a more intense hug. L.T. Hawk: Yeah, it's a given goal. Yeah, you can bear hug from from the back, you can bear from the front. You know, sometimes face to face, belly to belly, you can also do the same compressions. And that can be the same like over the two arms. So you can go front here, facing the person, I can go over the front of them and do the same grip here. I'm driving my shoulder down that way my shoulders not like smooshing them in the face. So I'm in here I go here and I pull in. So again, I can inhale, bring my chest forward, or I can walk my hips forward into that person, as opposed to like yanking them towards me. Again, using my arms, I'm walking my hips in. I'm trying, I'm also avoiding sorry, pull the shirt off. I'm avoiding this lower back, right, I don't want to be cracking people's back. So I'm avoiding the lower back. Your ribs are still here, which if you compress too much, it's going to affect their breathing and their lungs. So I'm not here squeezing. I'm coming up kind of right in this middle spot that if it was like a backpack would kind of be like now Lolas feel like you're going to go sleep. It will kind of be like something you would do. And in like you see a chiropractic adjustment. So I'm just kind of here in this position. There's also the curvature of the spine. there's space so that I'm not squeezing into their back. My thumb is not going into their back. So you won't miss this line is that when I go here and I have this gable grip, there's a space here. So I'm just kind of pulling here, my heads tight, we're still kind of doing ear to ear, but I'm bringing my head down, and I'm able to kind of hold, if I want to, like, breathe, I can breathe in and then release. So I can do intermittent pressure where I [breaths]. And then I'm releasing, or I can hold pressure, like a five count 5..4...3...2... and release. Lola Jean: Alright, so that's, that's plenty of things. And you can really apply that all around the body any which way too, and that's a great one, that's a little bit of like weighted blanket in a certain way, especially if you were laying on top of your person, but it can provide that nice pressure, it can be more that compression or resistance. Okay, so the next thing that we're going to do is called, um, it's called a school person pin. And this is one that's going to be it can be a combination of like body manipulation, a little bit of wrapping, this isn't one that's kind of an all around the grip, sort of a hold. But what this is doing is it's like a pin, it's pinning someone's body into the ground so that they can have that resistance, where they can't move so in this posiiton what I'll do is the classic, school person pin is their hands over their head, so my knees are going to pin on to their biceps, and I can be on their biceps by putting weight on my hands. So there's a little bit less weight, especially if I'm a larger person, or I can put my knees so that my knee is overtop of their bicep. So that my knee is overtop of the bicep, and then my foot is here. So it's kind of like I'm putting a lock on each arm this way. So in this way, I'm not actually putting the weight on their bicep, if I wanted to, I put a little bit more weight on my hands, and lower my knees there. So that's one position. And if I wanted to kind of envelop them more, get things closer, I can always walk my knees in to their head. And the same thing, if I wanted to be more on their body, by putting more weight onto my hands, I put less weight onto their body, if I want to put more weight onto their body, like walk my hips up, then I can just use my body like a lever that way. But while you're here, put your weight into your hands. And even just squeeze your knees, I like to just walk my knees in. And that's just going a little by little, just kind of create less space between my knees and their body, giving kind of that same compression that we did with our hands and this kind of knee walk move. I do that a lot on a lot of different parts of the body when I want to kind of squeeze somebody a little bit more wherever that may be. So even if I'm on the hips, or the waist, I'll just walk my knees in, basically to get them even closer. And so here, if I wanted to do something similar to the bear hug where we had, this one version doesn't have their arms pinned, but if I wanted to have their arms pinned as well, I can do the same thing where my knees will then be on the outside of their arms, pinning their arms into their body, as well here too, and I can do this facing each direction. And this can be I find this to be really nice to feel kind of pinned down by someone's body, I want to be higher on their body, because if I'm lower, my weight is going to be on their stomach, which is a sensitive area that cannot hold weight, especially if it's not clenched, as well. So that's asking a lot of a person, but I want to be higher on their body because also if I fall, I can then fall this way and I don't just fall onto their face or their nose or something like that. This is also a fun one if you want to do body bondage with some kind of sexual play because I have a lot of movement this way. And that way. I particularly like using this move for like the person on the bottom giving oral and the person on the top doing hand stuff. I find it to be really fun because it's a it's a type of body bondage where I still have more control and it's not as as doesn't feel as forced too. But that's that's one of the favorite of mine, particularly because it has a little bit more range of motion for each person. . L.T. Hawk: And of course, like, you know, we have the support of whatever surface I'm laying on, right. So the person is laying on a surface. There is some support there, right so you can kind of just relax into this spot. What's also really good is that the positions that Lola is in is not putting a lot of pressure downward on my body. Right? Lola is using movement for, by like pinching their thighs and knees together to create that compression, as opposed to just every all the weight coming straight down on me and pinning me in that sense, which would be different. Lola Jean: I'm like, they're pinned there, just because my body's on top, and they can't... to push me off of them, That would take a lot. L.T. Hawk: I'm pinned, not nailed, right. So I'm not drilled into the ground, by like, a bunch of force on being pinned in the ground by Lola'sposition. Lola Jean: And kind of in a similar if if, especially if things like force oral or things like that aren't fun for you, I could also switch my positioning and be facing the opposite way. But I'd probably do here is I'd want LT to have their hands free. So if I was pinning them, same thing, and then I could be doing hand stuff, or whatever. And I like this, because then there's a little bit more intimacy. So LT wanted to like touch my back, or my butt, while I'm doing different things as well. This can just feel kind of nice for again, feeling if you want the feeling of feeling pinned by your person, or feeling that envelopment or even feeling resistance, because that's an area where my whole body and my lower body is stronger than your upper body. Yeah, so you're not going to be able to easily move off of me. L.T. Hawk: And yeah, and then you have, you're kind of you have a space where you can kind of move your legs, you can play with the concept of squirming without making like big, Herky jerky movement movements, or tossing the person off of me, right? I can kind of move my legs around. It also gets my legs free in case like Lola was saying, if you're doing a position where your face is engaged or touching someone's like genital area, or butt area, and you know, or they're like sitting down or putting some like or smothering like you've seen, you've seen this, like the person is in a smothering position, I have my feet where I can still tap, right? It's not only my arms, I have my arms, so I can still get their attention if I need to. And they can, you know, stop if they need to, or we can take pressure off. So it's a really fun position, you can do a lot of things that's not so focused on constricting or restrict, you can restrict the movement without putting a lot of pressure. And of course, it leads into a lot of other plays, types of play, rather sensual with touch. Or if you describe the sexual, Lola Jean: if you think of resistance, I think of it almost as like, the damsel is tied to the railroad tracks, like tell me I can't get out of these ropes. And like, they probably could, they probably could get out. It's not tight. It's usually just wrapped around like that. But it's really kind of having this fun of the feeling of resistance as well. And it's just feeling something against you like, yeah, LT bumped and moved their legs and stuff, they could probably throw me off. But that's not the game that we're playing here. So you talk about resistance. It's just that that feeling of like, "I could get out, but I'd have to try a lot harder than this." Yes. Okay, let's see. Um, okay, so now I want to talk about scissors, and leg hold. So we talked about different ways we can use our arms to compress around the body, and our legs are another thing that can compress around the body as well. And we were kind of talking before about how you know, instead of rope, you can go around larger parts of the body. But because our arms and our legs are so fleshy as well, we don't have to worry as much as we do with rope about nerve damage, because it's these, like large parts that are going around different parts of L.T. Hawk: Yeah, it's not it's not localized, right? You know, it's not, it's not really like laying directly across someone's nerve, as opposed to obviously write a very thin piece of rope, or a belt, or anything else where you write necessarily, right on the right, is the right spot, but also the wrong spot, when we have something happen, so yeah, your legs are pretty powerful. That's the other thing, though, right? You have really, you may have really powerful legs, and your legs are generally going to be stronger than your arms. Lola Jean: Um, so that's the benefit of our legs. The disadvantage when it comes to arm holds versus leg holds is that we have this really nice closed circuit with our arms. And while we can make somewhat of a closed circuit with our legs, you know, we have feet and toes, we don't have as dexterous of fingers to make that completely closed off. So it's not going to be necessarily as secure or able to envelop as much around something that's larger. So these leg holds are things that we can use around all of the different parts that we did our arms. I could do it around all LT's front, I could do it around a single leg. I could do it around a single arm, just as I could do with my arms as well. So similarly with when we did, our different grips with our arm holds bringing in or in this way, it's going to be very similar with our legs as well. But instead of our hands being the thing that's closing the circuit, it's going to be our ankles. So what that will look like without a body or person is crossing our ankles, we see this. Now the space that something can go, whether it is a leg, whether it is a head, whether it is a waist, or a body, and then what I can do to make this shape, smaller, as you'll see, I'm kind of crossing my ankles, and hooking them as much as I can. so you can even do this. And similarly, when I was pulling this way, I can pull outwards and feel how strong that is. Now, to make this shape smaller, what I can do is I could bring my knees in, or I could push my legs out, and that makes the shape here. So you can put your hand in between your legs, and feel that difference. So I can feel if I bring my knees in, and then I feel if I extend my legs outward, I can feel that on my arm, what that is able to do L.T. Hawk: Yeah, and if you have like a really, if you have really thin arms, and for some reason, you just not able to make that decision, make a fist. and put a fist between your legs or two fists between your legs, in order to do the squeeze position, you know, and you can do is on your back Lola Jean: you don't can do it on your side, you can do it anywhere. L.T. Hawk: Yeah, you can do a side, just put two fists between your legs, and get used to squeezing like, if I extend my, if I extend my legs away like a little cricket, right, I can feel my fist squeezing together. So I know I'm able to create a tighter tighter hole by doing that. So you can use two fifths if your arms are really thin or small. Lola Jean: And sometimes to being on the side can kind of help if we're unable to get our legs around these different places. So we can do this, I can start by even trying to just get one of those legs, within my legs. So I'm on my side now. And then across my legs here, I can bring them inwards even towards me to make that smaller, I can try to bring my knees together, that's probably going to take a bit more of strength on my part. So I'd rather just bring my ankles towards my butt, or push my ankles farther away from my butt. Or I can just kind of cross it even higher on my legs to just hold their leg here. And this can be a bit of that not as much compression because that's gonna be different parts of the body. But this is just more of that like envelopment more of that control, just finding ways where we can kind of koala onto our person's body in different ways. L.T. Hawk: you saw like Lola has its position. And sometimes it's called like a figure four position on a leg if it was able to do it, and have control. And also like, if I was, if Lola was able to also tuck their foot behind my light here. Lola Jean: We're getting more that wrapping. L.T. Hawk: Yeah. So now now Lola is like really attached to my leg. As you see if I move my leg around. Lola is moving around this, this makes me look like Godzilla for some reason. I if I move my leg and a whole person come with it. But that's because Lola is attached to it. I'm not dragging a bag, a sandbag, that's way down there, right. So it's not like something changed in my leg and it's weights down there. This is completely attached to my leg in this spot. So what Lola could also do is by having this grip, Lola could extend this foot out and stretch my leg out. So now I can get stretched. And if Lola wants to come back Lola would just pull it back in this spot, you know, and again, if I'm not making a huge ridiculous movements, in order to not I don't want to say you want to put too much pressure on on my partners knee and my friend partner doesn't put too much pressure on my knee. So here we are and then Lola has or can not have the foot behind and can just be in this position. Lola Jean: if you think if you think about think of like the closure of a necklace where it has like the one long stick that you have to put through the circle and then make it like perpendicular to it. So it catches, that's what's happening here as well. So if you flex your foot and put underneath of that knee and put this down, if I pull my knee that way, it's kind of it's a stopper, essentially. And that's a lot of what this wrapping will do is it's a lot of flexed feet and just acting as a stopper so it can't move. If I point my foot, then I could just go like that. But if I flex my foot, not as much. L.T. Hawk: Yeah, and you can do like you said, one leg. If the legs are, if you're able to get around two legs, you could do both legs you could do around someone's waist. You can do both. So like around his leg here. I mean, the leg in, go around the leg and I'm in this position where I'm pulling here. So watch what I do my finger, I'm going to stick this foot behind this knee, like in that figure four position and my legs out, then I pull in, so now I'm able to pull my partner closer. If we're around this way, like, Well, Lola was the first time here, and I'm around the leg, because my legs are longer, I'm going to want to tuck under, because my legs are longer there's more space, so I'm not as tight. So if you're, if you're the taller person, or you have wider legs, you might want to tuck under, or I may need to get higher on the person, in order to do this position, now, if Lola starts moving away, I'm going to also use that grip again. So I'm going to come under their waist and go this direction, just so you see. And here I am, I'm gonna make this gable grip. So now I'm on this person, and I'm holding them tight. So if Lola starts roll away, it's kind of not really going to happen. Or if I wanted to follow, I might be able to come in here. Lola Jean: And take that also the manipulation as well, because the more parts of my body, that LT has the grip on where I can't go away, the more they can also control where I go. So I couldn't really roll without them. But what they did is like they kind of move their body to make more space. So I could go on to my stomach. Yeah, and those are be things that you kind of begin to feel or even the manipulation, where LT knew that they had to be higher on my body so they can kind of move me to get where they need to go. L.T. Hawk: Yeah, and we obviously do this a lot together. If it was something that we weren't doing, I'm going to use, I'm going to if I you know, I can speak so I'm going to ask, I'm gonna say hey, and he does like slide up a little higher, because it's a little loose. Or maybe I don't know that I'm too loose. So my partner can say, hey, this doesn't, it feels a little loosely, kind of adjust a little higher, or Lola can scoot a little lower, you know, so it's really just about getting into really getting into those spots where they feels most comfortable. And it feels like you're getting the pressure you want to feel now and not too much pressure. Lola Jean: And a lot of it like when I was doing kind of like the rolling with my legs to get tighter, that might be even similar what you do with your hips to kind of make the shape a little bit tighter as well too. So don't be afraid of having that little bit of movement, it doesn't need to be big, but just kind of rolling the hips around can kind of help move both people into place. More wrapping is... I love the grapevine a lot, cuz I like both doing that and receiving it. Grape vine, we kind of did a little bit of it, but it's like a wrapping around the leg, but it's being able to go out. And then in... so that way, you can be able to push that because what it's doing is it's enveloping the leg, but staying inwards. I'm the shorter person, mind you, this will be easier if you're longer. But I'm going to put my legs in. And then underneath of the calves, so inside the thigh underneath the calves, and then what I'll do from here, I'll probably want to be on my person. So I can be on them this way. Because what's going to happen is, when I scoot my legs, their body that's gonna come back a little bit. So I want to, from earlier, kind of be close to them maybe around in a certain way, I'm going to do a seatbelt grip. But I'm going to basically extend my legs out and my body back. You're so much taller than me. L.T. Hawk: I'm growing. Lola Jean: This would be easier, we're a little bit closer in height. But what this will do is kind of like extend their legs out to and which will feel like a nice stretch. But also be wary of your person if their bodies is really, really tight. You don't want to do this super quick. Yeah, you want to do this very slowly, as well. L.T. Hawk: So yeah, so there's like there's a thing, right, we're now we're in that spot of adjusting for height. So Lola, can grapevine the one leg that feels closer, it may be this side, because you're leaning to this side, it might actually be easier to do the side. It may not or may not I don't know, whichever. So like you have the seat belt grip. And you're off to one side. Yeah, now those off the one side. So it's just going to be just too hard to do this inside. So what Lola can do is take their foot, toes out in and what lola's going to do now is actually grapevine one leg and push down on a hip to extend that way. So just do the same. And push forward push. Yeah, so now it's just it's a one leg grapevine. Right. If my leg comes up, well, we can just kind of kick and kick it up or just keep pressure here. There you go. So now we have like this one leg grapevine position, if I can't seem to get high, or the person can just squeeze and yeah, it's just a pinch. So I'm still feeling kind of the pressure. I want to feel and the person's able to extend out If I'm just too long you can get your legs around Lola Jean: we can do this front to back, we can also do it from the front. So that's going to look very similarly. What I would go here, my legs would already be outside. So now what I have to do is basically I'm going to put my ankles inside of their ankles, and then I'm gonna slowly stretch out. kind of flatten like a pancake. So again, it's going to look a little bit different if our legs were closer in size. Yeah, but even still aware, this is their legs might not be straight out, but I still have their ankles locked here so that I'm able to move them out. L.T. Hawk: Yeah, I can't bridge in this position. So that's kind of what what the grapevine does is take away this bridging motion that I can't do. So sometimes it looks really dramatic, and you're able to extend people's legs completely out kind of like a starfish, yeah. Which you'll get like a starfish kind of shape here. Because because of the height difference, it's not really possible to get my legs completely out, because Lola's legs completely straight does not straighten my legs completely. Well, what does does do is I can't bridge here, like I really, really can't drive my hips off the ground very far, because they're driving their hips down. Now what Lola could do is walk their hips back, a little further here, and now grapevine and drive the hips down. Yep. As you see, like my breath kind of changes, go do it again, and extend. Yeah, so now I can't bridge at all, before I when Lola was a little higher, and doing a grapevine, I could still kind of bridge, it's not going to get them off. But I can kind of bridge it. So just drive your hips down further. So now it's hip to hip. And then as lola grapevines, there's no bridge at all, I cannot get my. Lola Jean: kind of the chest shoulder area. And as well as on the hip bones. These are two areas that where we can put the most amount of pressure and weight. But still, in that case, I'm going to be conscious of putting my weight onto my hands so that it's not entirely on my body. So if it was the other way around, or I was a lot heavier or larger than LT, I probably putting even more weight onto my hands there too. But this can also be kind of a bit of that weighted blanket. So if we were similar sizes, and I was able to fully extend, I can also be able to put more of my weight onto them L.T. Hawk: So I think what what could be helpful is you see it in reverse, right. So like you saw, you can see this person who's slightly smaller, or much smaller size than I am on top. And it's easy to keep that weight off, right? Because it's like, alright, they're smaller. But if I'm on top, here in this it's still envelopment because there isn't a compression, but position, it's similar, like Lola said, my weight is in my hands, my head is not like directly over their head, right. So my forehead goes above their forehead, and I lose my balance, like, their legs are wrapped around mine, which is my head will hit the ground and not hit their face. Okay, so you know, I want to be back here. Again, my weights back sitting my way back towards their thighs and towards their hips. I'm not, if I open my knees, then I'm driving my way down. So this is the difference. Weight is back, kind of like this a child's pose that you see in a physical yoga practice, or my weight is forward here. Okay, and I can bring my way down towards the chest, I bring my head to off to the side. So I'm not collapsing all my weight down. I'm here and I'm bringing my weight to this direction, and keeping my arms out. And if I want to bring my weight down, I will just open my knees slightly. And I'm in this position. We talk about grapevine and I'm in this spot, and I extend my legs out. Yeah, it's kind of like the starfish comforting. but not extended to too far. And it's really just my bony feet Yeah, um, so I still have control, I can cross my ankles. into the Shin. So it's really my feet into the Lola's shin, that creates that sound. So I can kind of just take some of the pressure off. Because I have longer feet, I can go towards the ankle in extending my weight around, see how my weight stays distributed in my hands. And I'm not again, collapsing my chest. Now, if for some reason, this just gets tiring. You can't really hold yourself up because it's kind of like a push up position. I don't need to be in this position the whole time. What I'm going to do is bring my weight off to one side. Okay, so for one way, I'm going to bring my arm, right arm to the opposite side of the body, and I can bring my chest down that way my chest is not laying on their chest, and I'm not compressing on their stomach. I'm still able to stay and keep keep pressing here. And I don't have to be in this push up position. And I'm not laying on the chest. I bring my weight off to the side, one side or the other side opposite you won't see my face and I'm down. Creating pressure here, I don't need the grapevine as much especially just bringing their legs. But I can pinch, I will say like we're all walking by walking my knees in and pinching here, bringing my chest down, creating pressure, I can just cross I can also cross my ankles here. I can push down on feet and squeeze and squeeze my hips, squeeze my knees together on their hips, and I can move the person around just with my knees, as opposed to, like slapping them around. So I'm not wasting a lot of time and or not time and not waste a lot of effort, like yanking or pulling them around, or flipping them around. Okay, if they want to help me out, Lola can just put their feet to the ground. Oh, yeah. And Lola is gonna like do like the Homer Simpson Twinkletoes thing as I move to the side Lola is gonna walk. Yeah, so I'm gonna be able to get into different positions, because I may be like, oh, let's get away from this. Because I, I left the I left a diffuser on or whatever. Or it is one of those candles lit that we got to get away from them. We walk away. So that way we don't, we all burn the house down. So yeah, you can work with your partner. So that way you don't have to like, be like a superhero. You can walk around with your partner and work together. Because you see I'm on top of not putting a lot of weight down on lola's body, right? Same thing with like going over the arms. So I don't want to my knees are like going to be too sharp. So I don't drive my knee down into someone's arm. So I'm going to do the one that goes over here. And what's happening is like their arm. Their arm is here, right in this little space. That's how I'm trapping the arm. in that spot. I don't need to do both if for some reason, if I just did both, and it was way too much pressure. So now I'm sitting all those hips. But my really what I'm doing is my feet are flat, and I don't need to really be hurting someone, or creating too much pressure. For this to be uncomfortable. I may put my body in a position where if I know that I'm not putting a lot of weight on them. I'm not injuring them. Or I'm doing quote unquote, everything right? The person, you know, the people we were the people we care about. Remember, this is all from a place of care, right? I don't do BDSM with people I hate. Oh, sorry. Thanks. So yeah, as Lola said, just adjusting because I have like a bony bony tailbone. I was like, instead off to the side. So I don't need to be again on the person. People feel uncomfortable, right, you just may feel claustrophobic, you just may feel uncomfortable, this may be kind of triggering in a position. So as soon as someone's like, oh, okay, you know, remove, get off, whatever, let's stop or whatever, then we need to stop immediately. Okay, the best part about this is, again, I don't need to like undo a bunch of stuff, right, I can just move my body off. So be aware that like, it's okay, if you're not feeling any pain, or you're not feeling any, any pressure or discomfort Lola Jean: the point of this is it will notice that the five feelings we're going for not one of them was pain, L.T. Hawk: yes, not not wanting this change, but you may want to stop just because you just feel claustrophobic, you know, and that's fine. So always make the adjustments so that you're not, you know, making a person too uncomfortable. So it just might be one arm off to the side, right, I may try one arm off to the side and keep my weight up high, there might be fine enough, right, I can kind of create that same kind of pressure by just again making that thumb grip over they are and that might be enough just to kind of feel like they're pinned down to spot Lola Jean: I think we got time for one more, which is gonna we're kind of getting there a little bit with with side control. So this is kind of getting a little bit both to that weighted blanket feeling. But also it can be that, you know, manipulation control as well. So, in this position, we're going to combine a lot of the things that we have done previously. So when we did that arm grip, the best one to do here is a seatbelt grip or we don't have to do one at all. So this is a great way to kind of play around with your body control and pinning someone's. remembering we want to keep our head tucked towards our person, but we're going to use our chest to put that weight onto our person onto their chest. And how this is going to kind of stay with that manipulation is I'm going to again, like walk my knees as close to their body as I can. And that way I can move how much of my chest that I'm going to put on to them. So for people that are very small or a lot smaller than their person, I think this is a fun one to learn of how to kind of redistribute your body weight of thinking that I'm so small, I can't possibly hold this person down. But if I put in all of my body weight into my chest onto my person, or even just flattening out a little bit more, you can play around to see what is the max amount or not even the maximum, what's the, you know, comfortable amount that feels good to your person of putting your body weight onto theirs, if I'm a lot bigger than maybe I'll put more of my weight into my legs, into my heels into my butt, but I can walk in my body close, and just play around, even walking in my knees towards their hip area, as well. Maybe a little bit towards their face, keeping my head tucked just so we don't bonk around as well too. But playing around with this way. And I could also even just like, kind of walk around their body if I wanted to play this way and kind of corralling them within. So this is another way of manipulation, but how we can pin their body down with our body. L.T. Hawk: Yeah, that's great. It's good. stretching my hips. Lola Jean: Um, and it can just feel kind of nice where it's like, like, it reminds me of like, dogs or seals, when they have to kind of move the ball around with their head. And I'm just like doing that kind of to your body sort of moving that around. And we did Baby Bear play that reminded me of that a little bit as well. L.T. Hawk: And a good person on the on the bottom. And you are concerned about the person on the bottom and you're concerned about like maybe having too much weight you want to like have like a frame. So what you want to do is is create a frame, you can create a frame in multiple ways. One is just having your arms out here, kind of still in that that kind of cocked position, I can just have it across my chest, I could cover my chest. Sometimes you could call this like a vampire grip. I'm not sure why. But I can just kind of well, I guess because a vampire sleep like this, right? Yeah. So I can go here and here and cover here. That way a person's weight is on my forearms, and it kind of feels like it's protecting my chest. Because some of us have more sensitive chest, some feels uncomfortable, have someone directly on it. So I can cover here, I can also this was This is always my favorite, cuz I feel like I have a lot of movement, um, is whenever I want to make a frame is I would just kind of like, kind of just bring my fingers up. And like I want to like pull my hair, I'm gonna bring my hand over my head in this position here. And I'm kind of here that way the person's on top. I'll show you what these different ways to vocalize with Lola on my chest here. So one, your frame is here. So those are gonna go down. There we go. And I feel like okay, maybe I just feel a little bit more comfortable. I don't feel like maybe I can control the weight a little bit here. But just yeah, in this spot. Now you can do what you can make an X with your arm. So just just like I can kind of cross my wrists here. If it's comfortable, and they laid out good. Now I feel like okay, I'm alright. And Lola can put maybe some pressure downwards, I feel like a little bit better. I can also like tap on them. Because my hands are available. I can create a little bit more space so if Lola goes down and too much weight. I can kind of just say up, I can give a little push and say oh, hey, I just need a little bit less space, right? Or I can adjust them away. The other way was crossing my chest. So like in this vampire grip. So when I keep my elbows down, so my elbows aren't poking out. So don't do this. Right. I'm not trying Yeah, don't don't hold people in the neck. So I'm here and here. I'm bringing my elbows down. I'm crossing my chest. So Lolola can puts a way down and I may be able to like take more weight here. Okay, again, I have like really sharp forearms. So Lola can just move around like go sideways. Ah, yeah, great. Aha, I move all around. Yeah, putting more weight on me. I may feel more comfortable and more at ease. That's not my favorite. Obviously. I'm gonna bring my hands across my face like this. And Lola can go ahead. Yeah, I feel like I'm allright here. Right? As Lola goes and mounts me. Okay, I have control of my face feel like Right, like a little bit a hug. Alright, not necessary. But if you just feel like you need to have a bit of a frame, you can do that, you know? Lola Jean: So hopefully like not even just for body bondage or movement. But hopefully this gives you also more body awareness of both. What are the parts of my partner's body that I can put a little bit more weight on or I can feel comfortable with my weight on and what are ways that I can alleviate any weight on my partner by putting it into my hands, or by making one of these frames? Honestly, I think with all of these courses on Wrestling, it's the thing that gives me most is body awareness. And it makes you more comfortable handling someone's body or someone handling yours and being able to keep yourself safer advocate for yourself as well. L.T. Hawk: Yeah, and we did a lot of things around the upper part of the body. We did mention, obviously, those grips work around lower parts of people's bodies as well. So it's, it's while it's very upper body focus todayIt's the same grip, right? I may come under here. And I may make the same Lola Jean: Yeah, and we said it in the beginning but we'll grip here. And I might be able to pull person over, right, so pull them on top of my knee, yeah, across my knee across my thought I can be pulled in this way I can pull their knees toward their face in this position I can go opposite, right. So they may be here, I can go under here and make the same grip here. And same thing, pulling their legs up, kind of like a like a merperson type of deal. Right? By sewing their legs together. I can step off here and pull their legs in. So there's a lot of things I can do with someone's lower body. And Lola is on top in this position.. Same thing, right when like Lola sitting back, I may want to sit up, so maybe I'll make an S grip and pull her leg up. Right. So now you have this position that I can pull by arm in and I can keep this grip, I can make one iron grip. Doing that little claw position again, pulling here and then I can reach towards her body. Yeah, I can spank a person I can get spanked in that position. So there's a lot of things you can do here, one legs, one leg, two leg, right? Maybe you want to like turn them to the side. Same deal. So the thing is these positions work. Well, these grips work well. I'm pulling my leg body around their legs. This is like kind of like a little fancy, right? So I might pull. I may use this grip. I pulled up. and now I'm in this figure four position again. And maybe I'll like, I'll figure four my legs. I don't need to maybe I'll push a leg out. And I hold his grip. Not open their legs. Like let's talk about opening someone's legs without prying them open with my hands. Okay, so I have this grip where I'm wrapping, enveloping your leg again. And I might just push this push out my fine behind the knee, I might be able to lift a leg up. So there's a lot of fun little ways you can play around. But all these grips were Yeah, on different parts of the body right around the hips, around the thighs around the ankles, around lower around the waist. reiterate it again. It's not about squeezing as hard as possible a lot of these grips. Yes, compression is a little bit about squeezing but it's really just about keeping things in place and having that control and when you have the control you're able to manipulate it a little bit more but hopefully all of these things are different tools and then freestyle it you know figure, put all these different puzzle pieces together that's literally what wrestling & jujitsu is is taking all these different tools and figuring out how to make them work for you. Alright, well I don't know if there any questions I love seeing people playing along with us it's really fun to do so we will send out this recording with the closed captioning as well so in case you forgot or you're in the middle of doing it is this correct you can always look back and watch that our play fighting for lovers or wrestling for lovers should be out sometime this month. That's almost completely done. So be on the lookout for that if you want to use I'm kind of expand on your body bondage and you want to you know do a little bit more play fighting more kinds of movements Lola Jean: So there are five feelings, or motivations or things that we're trying to work for that will fall within body bondage. And we'll talk about them now. But we're remind you again, have them later, especially if you're not sure which one of these sounds intriguing to you. So the first one is compression, which is what it sounds like. So compressing the body in different ways. So another person having that compression, so this is an inward force. And that's going to be the opposite of resistance, which is going to be your outward force. So if you're attracted to resistance, this is more of an attraction to the struggle. So in one way LT could be giving me a bear hug and I'm just sitting there, that's compression. And then while LT is giving me a bear hug, I could be trying to you know, fight back. Resistance is different than overpowering. We are not focusing on overpowering at all today. That's something has to do with wrestling with does not have to do with bondage in general. So the resistance is just having that struggle, but not necessarily trying to overpower. Compression or resistance can happen together. Or they can also happen separately as well. Another so those are two different feelings. The third one is going to be envelopment. So wrapping so when I think about this, I think of you know people that do like our aerialist have to silks and they have to wrap their legs around with a rope or around the silks or whatever that is. And that's what we're going to be doing a lot with the body is kind of wrapping around in that way. And that can is something that can create a place for resistance as well. That's something that can create some of the other feelings. But this envelopment feeling a lot of times that's what rope can feel like around us too is we're feeling enveloped, we're not feeling compressed. There's no inward force, maybe we don't have any outward force, but we're feeling wrapped up in someone or something. Um, another motivation could just be weighted blanket, which is what it sounds like. It's like someone just feeling their body weight on top of you. I can feel really soothing, um, that can like it can feel very comforting and nice. It can just be a lot of body to body contact, um, or there's different ways that we can distribute our weight so it's gonna be different if like, you know, you're having sex with your person, and then they're on top of you versus they're intending to distribute their weight so that you feel more on top of yourself in certain places. So things like on the chests or on the back where those kinds of weight tends to feel really good. And again, this can be involved in a bunch of other types of feelings. But this is one in particular, I would say, in terms of body bondage. This is probably on like, the lighter end of feeling because there isn't as much, there isn't any force, as well, because you want to have that weighted feeling without crushing someone, or without causing unintentional pain. So there's going to be ways where we can be able to utilize our body and maybe take some of that pressure off if we weigh like two times more than our person. Or if we're in an area that's way more sensitive on a person like, say, their stomach or something like that, we'll learn about the different parts of the body that can take more weight to put to put that weight on. And then the final one is contortion. So when we hear contortion, we think of maybe a contortionist, not the same thing we don't want to do to bend each other, like a pretzel, if that's something you're not capable of. But this is like manipulation. So sometimes it can be fun to feel like someone's just like manipulating our body in a certain way. And they're moving us sometimes when people are being tied in rope bondage. They're just sort of like the dummy. And that person's moving their arm here in their head here. And we're just kind of at will to it. And what feels really nice about this a lot is like the intention of someone is moving our arm where we want them to move it or where or where they want to move it. And having that intention. intentionality can can feel really nice, or it can be if you are gotten into weird funky shapes. L.T. Hawk: Yeah, maybe yeah, maybe you might be into, but you know, your shapes. And it's the thing, right? It's about adjustment, and talking about where your where your comfort levels are, and where your range of motion may be. So you may feel a desire to have pressure in positions that other people don't, right. So it's not our right or wrong, it's just different. So it's communicating. So we like we may show something where like, Oh, you, here's where you would put pressure in this position, or here is a place where you could put someone's arm for you that may not feel comfortable at all, or just not be the actual desired position. So it's not wrong, right? It's just like, okay, that person is applying the technique properly, and doing it properly. But you might want that in a different space. So it's really again, not to like about communication, I mean, not about it is about communication. So really just stay in communication with people don't be, don't be shy about advocating for what you want to experience. Because you want we want to have positive outcomes. We don't want to create, when I say 'we', I mean us when we're engaging in this fun, we don't want to have negative outcomes. We don't want to be frustrated, like I did, it's a big thing, right? It's like, oh, you're doing it wrong. Because I'm you're not feeling in that space. so make some adjustments. So it's important, again, to make adjustments and not to not for this to be about any of our individual egos, where someone's like, Why No, I really want you. It's not like, you know, sometimes people teach small children, something athletic, a sport, a skill or something. Right? Right. It's not actually being done well, but you want the kid to be encouraged. So you just like, Oh, that was great, right? But you know, the the ball still on the tee, right? It didn't hit the day, the ball can go anywhere, right? But it made a nice swing at it, right. And you want to encourage them to keep swinging, and you don't want to give up. So that's, I know that that can be fine, right? But we here we are as an adult, and we don't want and we want to encourage each other in a very genuine way. And we want to achieve the types of fun that we want to we set out to do. So I think what we can say is like tourism be like, oh, yeah, that, that that's good, right? Oh, you're in the right, you're, you're doing it right, or you're going in the right direction. But we need to adjust to because I'm not actually feeling it in my hips, or I'm not actually feeling it around my chest, or I'm not actually feeling compressed. So this is about working together to make that adjustment as opposed to say, oh, you know, that was great. And then like, you know, you know, you're kikiing with your friends are like 'that was terrible, this perosn doesn't know what they're doing, right? Um, so I think it's important to have that feedback, honest feedback, you know, and if the person is not... here the thing: we have to be comfortable. We have to make ourselves easy to be given adjustments to like, so when we're hearing feedback, we need to be working on our own shit, right? So if you were feeling some type of way about feedback, pause, right. Don't just knee jerk respond and be defensive about it. Don't blame me well, LT showed us that way. don't send me a hate message on on. Don't send me a message on Instagram. And don't invite me to your NF T group on Instagram. Those two things those are my boundaries, ah, and all crypto whatever. No, no, no, Um, so yeah, but you know, Think about it, if someone says something, oh, this is not feeling this way or, you know, tap in to say, okay, is this my defensiveness? And you know, make yourself easy to be given feedback. Lola Jean: And with a lot of this, like, a lot of us probably have a fear that we're gonna hurt our person. And we don't want to do that. So maybe we're doing things lighter when a person gives us encouragement of like, oh, no, that didn't hurt. That's, that felt really nice. Maybe you could do it a little bit more. That's, that's a lot of that's gonna come in as well, too. L.T. Hawk: Yeah. And yeah, the incremental increases of pressure or tightness, or intensity, it should always start low and build its way up, like what was mentioned, like, it should not start at the most extreme edge of level. And, again, it's not about proven, we may have, I might personally have a lot of ability to experience a lot of like intensity or pressure, or pain in one type of modality in kink, and then another not at all, you know, so it's not that, okay, again, this person is going to heart is just different, it's a different experience, my body's in different place, mentally, I may be in a different place. So, it's not comparable. So it's not always comparing it to things, someone may be able to experience in impact, they may not be able to experience in compression, being like wrapped up for being squeezed, staying if you're being in rope, if you may have a lot of experience in bondage, whether that's rope or any other physical constraints, you may not have the same amount of range of motion, you may not have the same amount of desire for in this particular style of bondage. So, you know, be aware of that is like, come in with open mind and say, Okay, this is a new thing that I'm going to be stepping into what the things that we can bring in from our other practices are is risk awareness, knowing how to communicate our boundaries, where our triggers may be, being able to advocate for ourselves negotiating scenes, you know, vetting a particular partner, whether or not this is good, I know people are here with their trusted partners, most likely. But if you're someone who has more of an expensive group of people that they they enjoy kink and BDSM with. Again, I may be amazing partner for this particular thing, and I may not be the best person for another event. So it's really about getting an understanding of like, what what we expect from from, from this experience. Lola Jean: So before we get to moves, we need to show you a couple of grips, because this is all about working smarter, and not harder, we may be two very muscley people but we do not rely on our muscles for any of these things at all. L.T. Hawk: You're very muscley. this is all this is a filter. Lola Jean: Just on this half, very high tech filter. Um, but with with these grips, too, I always like to say we do them, I use them when I'm like holding boxes, or a lot of groceries or something like that, if I know I'm like I don't. my finger strength sucks. Every a lot of things about me are strong, my finger strength is horrible. So these grips have been a lifesaver. And if you can't like get fully around your persons or in ways you might not be able to get some of these, as well, we have a couple of adjustments there too. So the first one is an S grip. And this one I will say is a bit harder if you have longer nails or acrylics or something like that, because then you're going to be digging into yourself. But if you don't, kind of just looks similar to like an S hook and like a hardware store, so curling one hand curling the other. And then like you're gonna sing something nice to somebody at choir L.T. Hawk: and no thumb so your thumbs are clenched tight to your to your other four fingers, right, so your thumb is going to be in so we're not our thumb is not out. It's not a cup, we're not holding a teacup, we're here, in this particular grip, four fingers there. And then we are making and you can just go it's really good to just keep switching like releasing and switching, releasing and switching and feeling like were just feeling a grip getting used to it. A lot of this is about sensitivity on our own bodies and how the grips feel. Lola Jean: Yeah, and for any of these when we're like you know making a closed circuit, whether it's with our legs or with our arms, the ways that we would make this tighter. So whether you're holding a thing or a person with either one the ways that we can do that, or we can bring our hands in because that makes a smaller shape of this closed circuit that we have. And we can also bring our arms towards each other as well. So and we already can do both of those we go towards and in and all These are just making tighter shapes in different ways. So if I'm holding a big thing of groceries, then I'll just pull in towards myself or I'll pull my elbows in there as well. So that way, I'm not holding things with my hands, it's holding things with the shape of my arms around it. L.T. Hawk: Yeah. And you're and you're incorporating other parts of your, you know, you're incorporating more muscles. So instead of me just like having this big ring, shape, right, like I'm grabbing a box or grabbing a bag or laundry, whatever I'm carrying, or a person, right, instead of me having here where I'm just kind of using all my arms when I'm making the grip, and I'm able to close the shape, whether that's elbows in or pulling toward my back, I'm incorporating either my chest muscles, or my back muscles, Lola Jean: and even your hips if you're able to kind of establish that leverage there instead of just your arms. Okay, so the next one is a gable grip. And this one is good if you do have acrylics, or long nails, so you're not pokng yourself or sharp nails in that case. So for this one, we'll have one hand, and again too with everything, our thumbs are just going to be in because those tend to open like hinges, so we don't want to involve them as much. But we'll have one hand that's facedown, the other hand will go on top of it, and that top hand, we will rotate it 90 degrees, so it wraps over that thumb. And then the other fingers that are left over, will wrap over the side of the hand, do you see this shape that we have made. And you can even pull outward to see like, that's a lot stronger than if I was just like, hold my hands like this or hold my hands like this, they can just fall open. And if you're here, you can feel how strong that is. And same kind of a thing. If you want to make it tighter, we can put that shape towards ourselves, we can bring our elbows in, you can do both of those things together, as well. You can try it again, you can shift that on both hands. So one hand the fingers always be wrapping over the thumb. And then there will always be one thumb exposed. And that one will just be tucked not wrapped. And why why do we not? Why do we tuck our thumbs? Why do we not wrap them? L.T. Hawk: Oh, yeah, well, again, thumbs. You have opposable thumbs, right, they open up like doors. One also is I don't want to have my thumb kind of like hanging out in the world, something to get snagged on something to land on something. So you know, we're protecting our thumbs by just closing over. And this just really just cinches the grip, you know, what I am basically doing is creating a hinge and I'm closing it up. But as opposed to my thumb, that just kind of here, this is just really not a strong grip. If something starts moving away from me, my hands are going to slip open. So just just like your back, so I'm just here, like I'm used, I'm doing it wrong, my my thumb's are gonna be out, I'm here in this position. So a lot of these walks away from me, my hands are gonna slip open. So I'm gonna hold it really tight, and literally gonna walk away. And my thumb's gonna eventually open up, as opposed to like gable grip here is suppose I go over the thumb here and Lola starts walking way My arms are going to open up, my thumb's are not going to come on Lola Jean: I can even try to like resist and do this movement. L.T. Hawk: There are ways that obviously escaped us by getting the arms up, but what's not going to happen is my hands are not going to come apart. But if I have my thumbs here, or if I, if I do this, it's just going to slide open. Like, you know, this is great for cracking your knuckles. And I'm sure some, some physicians would be like "don't crack your knuckles." But yeah, but a lot of these walks away from my hand, my hands are just gonna, my fingers are gonna open. Your fingers are not good grips. In that situation, right? We're not holding something in our hand, right? I'm not holding something. There are other grips where you could use two hands on one part of someone's body. Like we call them like baseball grips, but I'm really never using my thumb very much. here is called a baseball bat grip, because I'm holding it. Like I would hold a baseball bat. Right one forward, one back, one for one back, right? I have this grip. So this is a strong grip. So like Lola tries to pull away. I mean, I can kind of hold the arm. If I again, if I bring my thumb in it, here. Yeah, it's gonna go through your thumb, right? It's just easier for someone to walk away a little bit, just lean forward, this hands gonna not be able to hold on to it. As opposed if I'm here and I'm wrapping around. Say I'm coming all the way around and I'm holding this arm. So here I go, like pulls away. I can kind of pull in right? I'm also able to close my arm. Think about opening. If you've been in this class before you've seen me do this a bazillion times. You open a screen door with your arm fully extended. It just does not move. I mean maybe if you're a huge human being right I don't know. Not even the rock could do it. Right. So if you're here the doors and you try to open a screen door it's impossible. But the closer you are your screen door with your elbow bent. You're able to slide it open You know, that's the idea. So here's the same thing I want to be able to hold on to the person. Maybe a grip is holding on to something. Not pulling something, right. So a grip is not about controlling. I mean, it may lead to a control. But a grip is really about me being able to secure myself to something. Right, if you are doing rock climbing, You've seen it, people go to gyms, they spend alot of money, they climb a rock, the grips that we you're making on the holds, is to hold you to it. Right, I'm not trying to pull the rock wall down, right? It's not like I'm holding the rock wall, I'm gonna yank it down towards me, right? The idea is a hold me to it. So this is what these grips are, the grips are not for me to be able to make sure this person can't move. The idea is that they can't move without me. So I'm stuck to them. Right. That's the idea. So anytime we make the grip brothers a gable grip here is my idea is I want to keep their arm towards me. So here I am, is holding on. So Lola can move around. But there's no moving around without me. You know, then if I want to sit back then yeah, now I'm holding them to me, but there's no way for them to go without me attached. So a grip is attaching ourselves. Lola Jean: And that will then make it harder for them to escape because they can't get away from you L.T. Hawk: Yes. And then people get tired, they wear themselves out. And then I'm able to kind of control in a way. Lola Jean: So we'll use that first. So understanding you can use either of those grips for whatever works for you. Or sometimes if you're not able, depending on if it's a larger part of the body you're going around, you might only be able to get to the S grip, because that's going to be a little bit more extended, because we don't have to go in further. But you can use either one of those for a lot of the different grips that involve the arms that we're going to do. Okay, so the first one that we will do is a bear hug that we can do in multiple directions and really on multiple parts of the body. But because the chest is a place, that tends to feel nice, when we're able to squeeze that. I can first do it around LT's arms and chest. So kind of coming in here, I'm going to do the gable grip. And in this case, because my fronts also on their back, I have this shape that I'm making, I can also make the shape not just by putting my arms inward and towards myself, but I can also push myself into my arms or into LT at the same time. So we talked about before, and you're not gonna see it that much. Because there's not as much space between my arms and Lt but I can squeeze in towards myself and squeeze my body towards them as well. And when you do this, you can just do it for a couple of seconds at a time. Again, it's not about squeezing as hard as you can, or as long as you can, there's a lot of things you can do to make this more intense that don't involve harder or longer. And just as the involvement of your person as well. Yeah, so I can do this around their arms. And that kind of gets this is getting a bit of the compression, it also can get the resistance if because lt can try to struggle within there, but they're not able to maybe move as much. Of course, they can escape by just lifting their arms up if they wanted. But if we're just having fun, and we want to just feel that resistance, we might not necessarily do that. Yeah, I could also do this even under their arms, say LT has got these giant biceps and I can't even get my arms around them here, I can always go without their arms and do the same thing. I like adding the arms because the ribcage is a sensitive area and I don't want to go too hard there. So by having the arms here and doing the bear hug, I'm automatically making a barrier where I don't have to worry about that as much. So when I'm here, I want to make sure to be higher above the floating ribs more on the chest area. And I'm probably just going to go a little bit lighter because I'm making a lot more contact with the body. before it was like compression on the arms that go into the chest. If I go under the arms. I'm just directly onto the chest. L.T. Hawk: And there's a concern that people will sometimes think about is like this, like the size of someone right? But we you see Lola is able to get around my arms and my chest and still make the make the gable grip, right. I'm not obviously flailing around, right, we keep again, keeping our hands inside to ride, my armsarenot flailing around? I'm not going going berserk. But also, the larger the person is, the more compression happens faster. Right? So you're like, oh, this person is really big. I gotta wrap my arms around it. But if I'm able to get my arms around them, their own size creates the compression faster, rather, as opposed to right, trying to like corral have a really small person, right? It's like they're wiggly, they're squiggly. There's a lot of space so you have a lot more space to need to close off. So you're going to have more actually More adjustment and more time learning since it's like learning body positions, when you have someone that actually is much smaller than you being able to get around their body and close off that space, so they can get that experience, and also be able to do it where you're measuring the amount of pressure, so you're also not pressing them. So you're gonna have much more of an adjustment with smaller people than you think you will with with larger. Lola Jean: whatif I'm unable to get my arms around you and they're just a lot smaller? What can I do them? L.T. Hawk: Yeah, so that's like a thing, if your hands only come this way, you can't do this S grip. So the s grip is just impossible to get, it's going to be really impossible to kind of do High. So what you can do when an arm is going to go down lower and find like this, this this elbow position. so Lolawill go down lower, lower, lower here and find the elbow position and my arm side, you see that kind of come together here. And then you're able to squeeze in that position. Yep. So you can find places on the arms where you're able to do this. Now that that is a difference with the body bondage is with rope, right, you're going to not want to be on like big, big parts of people's bodies, because it's going to slide down, right. So you want to you can start really high or start really low, just find that position where you feel in the compression. Another thing I would load can do is just also like, if my arms are really wide.. I'm not not participating, right, so there's a thing I'm not in like, It's not paralysis, I'm not sleep paralyzed. And not to make light of paralysis of course, but I'm not in a position where I can't participate. So if Lola goes around my arms, like really wide and Lola just can't make the grip, what I can do is I can cross my wrist over. So I'm going over here for us my wrist, and now Lola can go back higher, and then make their grip. Because I'm not making myself as wide as possible. So here, I'm as wide as possible, there's more area to cover. Here, I'm bringing my own arms across here. I can go across my wrist, I can go here or I can just touch my hips. And I make myself nice and tight. So now Lola can go higher or lower, wherever. And now I've made it a lot, I made it easier for my partner to make the grip. And I've also created a compression where I can feel what I want to feel I can also grab my elbows, if I want to do it from that position. You can go arms behind your back, as well. So I'm just crossing my arms, it feels comfortable, I'm gonna be able to cross my arm behind my back. And then same thing was able to get here in that position and squeezing. Lola Jean: I and can make my body higher or lower with what I need to do instead of just like stretching my arms everywhere as well, too. But before when LT was saying it's not about pulling someone, it's about staying attached to them. And thinking about especially with like rough body play and things like that. Or even just thinking about if you're in like a sexual scenario, sometimes you want to stay attached to your person, so it's less awkward or so you don't like lose that separation of like, we want to move over there together. So I'm gonna monkey onto your back, and then we'll do so. Or just even like, I actually did this earlier today, because I was trying to give my partner a behind hug. But they were kind of curled up and I didn't want to slide off their back. So I was like, I'm just gonna attach on to you, basically with this bear hug onto your back. And that way I don't have to like focus on my leg muscles. L.T. Hawk: And we're showing you the, the really like how to get into this position. And what we need to do is now think about adjusting. What's great about bodies are they're all just weird shapes. They're all different shapes, everything all of us are uniquely shaped. And how our bodies connect fit with other people's bodies are where more of the play comes in line is not a Lego block. It's not literally like just two and afour. So we did the two arms, right? I showed you ways where you get over two arms, but I can do two in one. So Lola could go under one arm and over another and and do this. Yeah, so you can do two and one and make that squeeze right. So Lola can just kind of reach up a little higher, and like lean this arm down. And now and then pull in you can pull it yeah, now I've got this position here. I'll show you so Lola is here above the rib. Now my ribs are going to are kind of for lack of a better word calloused in a sense, like because of like wrestling for a long time is I'm used to people like grinding against my ribs. So I don't it doesn't feel as painful for me. And you may be much more sensitive or maybe not. You may have some sensitivity there but you want to keep someone off. I don't really care if it's here like Lola can squeeze and pull in. I don't feel that it's not it's not painful for me for someone to be on my ribs. It doesn't mean I can't get injured in my ribs. So that's where you got to be conscious, right? I'm not going to feel the the shock or the sensitivity, but I know like if my speech is really hard, they can still damage my ribs, but you can go higher and Lola can pull in. And now we go. So you can go two on one, you can go one on two, you can go over under, you know, this is it doesn't have to look exactly like over two under two, you can go one and one. Lola Jean: One thing I didn't mention too, so right now my chin is on LT's shoulder neck area. And this is if I was a little bit removed, then we run the risk of bonkin heads and different things as we're talking. Also it creates it does create a smaller shape as well creates more intimacy. But this is also a safety thing too. I don't want to be behind directly behind their head. L.T. Hawk: Yeah, you don't want the person's head to go back. Accidentally, right? Yeah, obviously, you don't want to bang faces and heads, what you can do is do a, you can go ear to ear. So Lola's here, ear to ear. And again, this is like, I can actually feel like to echo my voice. So if your ear to ear is the same thing, so if my head moves, their head moves, right? There's not space, like if I, if I even tried to make space, Lola can just follow my follow my head and keep closing that space off. Right? As opposed, Lola just stays there and I move my head, right? Why, but why? Why would you do that. So the idea is, remember, you're gluing yourself. So if you go ear to ear, you're fine. Like my head goes back, it's not gonna hit Lola's head, my head goes forward, right now we made some some distance but Lola can just now just keep turning their head into me. Right? So head control is important. In order to not like Lola said create space where you're not paying Lola Jean: you can take a lot of these, if you have that mentality of like, okay, here's a way that I can create compression. And if they want to create resistance, they can do that. Now I can take that same kind of grip, here, we were getting more of that chest compression, but I can use that same grip, if I want to go around the waist and do something similar whether I want to just hold on or whether I want to squeeze it can really be either one of the two. And that's also going to be like based on that feeling. So maybe, do you want compression? Do you want resistance? Or do you want just more of that control as well, because if it's the control, and you're not gonna necessarily be squeezing, you might just be kind of moving, manipulation, a little bit of that contortion, depending on how you are manipulating them. But you can utilize this on all different parts of the body, maybe we're kind of playing around, and then I kind of want to get on both LT's legs, and just be able to take that take that away from them, or something. So you can still be able to utilize this arm grip by getting a large chunk of the body. L.T. Hawk: like where that my head is placed. So like around the front, you saw Lola's head was placed on the front, this also could be around the back. So if I was here, if I turn this way, and Lola just did this around my back, see Lola's head is now in that space close to my body not back away from me. One, the more space between their arms and my body, there's no compression, you know, so we don't want to leave like a whole bit of space. So lola's head can be here. Yeah, around the back, it can be high on the chest, and their head, it can be like right on the back. If you can't go ear to ear just because of height difference. All Lola has to do is like pin. Yeah, pin her ear to my back. So here again, I'm still not able to like bang my head back, you know, let's just, I don't know, there's a good beat going on. I don't know why you'd be doing that. But let's just say your head goes back, you're not gonna be able to create as much. That's true, some people move their head around, but I won't be banging my head like I would have to purposefully like drive my head all the way down and slam it all the way back, right. Um, but I don't know why you do that. Don't do that to partners it's not nice. Lola Jean: So you'll notice in this scenario too, for right now for the purposes of it, it's a lot of my upper body and chest that's really compressed, but you'll see that like, I have my hips away from here. And that's really just for movement so that if LT moves, it's easier for me to move with them versus if I was like flush against their body, if they move in, I will still go with them. But I'm not going to have as much control. So both of those are still good and valid depending on what it is that you want to do. And remember it's going back to these different feelings do we want to feel more controlled? Do we want to feel compressed, do we want to feel enveloped. If you want to feel enveloped, I'm not gonna have more of that control. And I'm just gonna wrap my body as much around you as possible. So that's why those feelings are really important. Let's talk about if if you want to, if you're really loving the compression and you want to add even more to this, you can use the person who is being compressed to assist with their breathing. And this gets a little bit into this is breath play, which we talked about a lot in our choking course but this is compression. So any kind of breath play is when you are limiting the amount of airflow into the lungs and the While that can be by, you know, closing different air passageways, it can also be by compressing that space. So we are compressing that a bit when we, you know, hug and bear hug on this area. But the other way we can assist in that is if our person also adjusts their breathing. L.T. Hawk: So as a person as I go to squeeze, right, again, if I have less oxygen in my body, it closes the space off, right. So this also is going to allow the person to get tighter. So as Lola begins to squeeze, Lola says, I'm going to squeeze, I'm going to exhale. So Lola may say exhale, Lola Jean: inhale together. Yeah. And as they exhale, I'll squeeze a bit more. And that's just going to deepen that compression. L.T. Hawk: Yeah. And I may hold my breath for a count, I mean, count, hold my breath for two seconds. And then inhale out in. Now I need more space to breathe, my partner's going to create, allow me to have space to breathe right? And not going to compress so much that way, I don't feel like I get air in my lungs, you'll still get air in your body, right. But it may feel labored, or it may feel like a, it may feel like you need to do a work a little harder to do that. If that is not something I want to feel, of course, I want to be able to tell my friend Oh, I need more space to breathe, or can you loosen up a little bit so that I can breathe better. So yeah, just exhaling out is a good way of taking away space. From myself, I like exhale out, bring myself low, bring myself in a little bit more than that person is able to wrap around. Same thing, like when I'm creating a squeeze, I will even if the person is not breathing, exhaling or inhaling, I may inhale or exhale. And what that looks like if I'm around someone's back here. And I'm here, and I'm just go over, we'll go, double under here. So if I'm here, and I have my chest here, and I want to like not pull my arms in because maybe when I pull my arms in, it creates too much pressure downward or forward on their chest, right. So I don't want to compress on the person's chest because it may hurt. so I squeeze and they're like, 'Oh, that's too much squeezing' but I want to take air out. So what I will do is use my chest by inhaling deep, I'm going to use my chest to create less space. So I'm here and I'm just gonna inhale it. And just you see my chest pushes into the person and it creates more of a tension, as opposed to here, watch my elbows like pull back and pull the person towards me. But instead of being able to pull back, sometimes I can't pull back, you know, maybe my arms are pretty much I mean, the person is resisting, or maybe I just can't get enough a tight enough grip. Or, again, I don't want to use my arms because they'll burn out. A big way of doing that is I don't have to worry about my forearms getting tired, because I'm constantly like in a real tight grip. So I'm here, I want to take some space away, I'm just going to inhale and drive my chest in as I drive my chest into their back, it pushes into their grip. So it makes the grip tighter, low space here. Lola Jean: And all of these things, we're doing them back to front. Um, but you can also do them face to face. Or if I don't know if I do this all the time, or like if someone's feeling like stress or anxiety, and I'm like, can you just squeeze me or give me a hug, and then we'll like go into a hug position. But what I'll do is I'll have a gable grip around their back, and then I'll pull in. So it's, it's kind of like a more intense hug. L.T. Hawk: Yeah, it's a given goal. Yeah, you can bear hug from from the back, you can bear from the front. You know, sometimes face to face, belly to belly, you can also do the same compressions. And that can be the same like over the two arms. So you can go front here, facing the person, I can go over the front of them and do the same grip here. I'm driving my shoulder down that way my shoulders not like smooshing them in the face. So I'm in here I go here and I pull in. So again, I can inhale, bring my chest forward, or I can walk my hips forward into that person, as opposed to like yanking them towards me. Again, using my arms, I'm walking my hips in. I'm trying, I'm also avoiding sorry, pull the shirt off. I'm avoiding this lower back, right, I don't want to be cracking people's back. So I'm avoiding the lower back. Your ribs are still here, which if you compress too much, it's going to affect their breathing and their lungs. So I'm not here squeezing. I'm coming up kind of right in this middle spot that if it was like a backpack would kind of be like now Lolas feel like you're going to go sleep. It will kind of be like something you would do. And in like you see a chiropractic adjustment. So I'm just kind of here in this position. There's also the curvature of the spine. there's space so that I'm not squeezing into their back. My thumb is not going into their back. So you won't miss this line is that when I go here and I have this gable grip, there's a space here. So I'm just kind of pulling here, my heads tight, we're still kind of doing ear to ear, but I'm bringing my head down, and I'm able to kind of hold, if I want to, like, breathe, I can breathe in and then release. So I can do intermittent pressure where I [breaths]. And then I'm releasing, or I can hold pressure, like a five count 5..4...3...2... and release. Lola Jean: Alright, so that's, that's plenty of things. And you can really apply that all around the body any which way too, and that's a great one, that's a little bit of like weighted blanket in a certain way, especially if you were laying on top of your person, but it can provide that nice pressure, it can be more that compression or resistance. Okay, so the next thing that we're going to do is called, um, it's called a school person pin. And this is one that's going to be it can be a combination of like body manipulation, a little bit of wrapping, this isn't one that's kind of an all around the grip, sort of a hold. But what this is doing is it's like a pin, it's pinning someone's body into the ground so that they can have that resistance, where they can't move so in this posiiton what I'll do is the classic, school person pin is their hands over their head, so my knees are going to pin on to their biceps, and I can be on their biceps by putting weight on my hands. So there's a little bit less weight, especially if I'm a larger person, or I can put my knees so that my knee is overtop of their bicep. So that my knee is overtop of the bicep, and then my foot is here. So it's kind of like I'm putting a lock on each arm this way. So in this way, I'm not actually putting the weight on their bicep, if I wanted to, I put a little bit more weight on my hands, and lower my knees there. So that's one position. And if I wanted to kind of envelop them more, get things closer, I can always walk my knees in to their head. And the same thing, if I wanted to be more on their body, by putting more weight onto my hands, I put less weight onto their body, if I want to put more weight onto their body, like walk my hips up, then I can just use my body like a lever that way. But while you're here, put your weight into your hands. And even just squeeze your knees, I like to just walk my knees in. And that's just going a little by little, just kind of create less space between my knees and their body, giving kind of that same compression that we did with our hands and this kind of knee walk move. I do that a lot on a lot of different parts of the body when I want to kind of squeeze somebody a little bit more wherever that may be. So even if I'm on the hips, or the waist, I'll just walk my knees in, basically to get them even closer. And so here, if I wanted to do something similar to the bear hug where we had, this one version doesn't have their arms pinned, but if I wanted to have their arms pinned as well, I can do the same thing where my knees will then be on the outside of their arms, pinning their arms into their body, as well here too, and I can do this facing each direction. And this can be I find this to be really nice to feel kind of pinned down by someone's body, I want to be higher on their body, because if I'm lower, my weight is going to be on their stomach, which is a sensitive area that cannot hold weight, especially if it's not clenched, as well. So that's asking a lot of a person, but I want to be higher on their body because also if I fall, I can then fall this way and I don't just fall onto their face or their nose or something like that. This is also a fun one if you want to do body bondage with some kind of sexual play because I have a lot of movement this way. And that way. I particularly like using this move for like the person on the bottom giving oral and the person on the top doing hand stuff. I find it to be really fun because it's a it's a type of body bondage where I still have more control and it's not as as doesn't feel as forced too. But that's that's one of the favorite of mine, particularly because it has a little bit more range of motion for each person. . L.T. Hawk: And of course, like, you know, we have the support of whatever surface I'm laying on, right. So the person is laying on a surface. There is some support there, right so you can kind of just relax into this spot. What's also really good is that the positions that Lola is in is not putting a lot of pressure downward on my body. Right? Lola is using movement for, by like pinching their thighs and knees together to create that compression, as opposed to just every all the weight coming straight down on me and pinning me in that sense, which would be different. Lola Jean: I'm like, they're pinned there, just because my body's on top, and they can't... to push me off of them, That would take a lot. L.T. Hawk: I'm pinned, not nailed, right. So I'm not drilled into the ground, by like, a bunch of force on being pinned in the ground by Lola'sposition. Lola Jean: And kind of in a similar if if, especially if things like force oral or things like that aren't fun for you, I could also switch my positioning and be facing the opposite way. But I'd probably do here is I'd want LT to have their hands free. So if I was pinning them, same thing, and then I could be doing hand stuff, or whatever. And I like this, because then there's a little bit more intimacy. So LT wanted to like touch my back, or my butt, while I'm doing different things as well. This can just feel kind of nice for again, feeling if you want the feeling of feeling pinned by your person, or feeling that envelopment or even feeling resistance, because that's an area where my whole body and my lower body is stronger than your upper body. Yeah, so you're not going to be able to easily move off of me. L.T. Hawk: And yeah, and then you have, you're kind of you have a space where you can kind of move your legs, you can play with the concept of squirming without making like big, Herky jerky movement movements, or tossing the person off of me, right? I can kind of move my legs around. It also gets my legs free in case like Lola was saying, if you're doing a position where your face is engaged or touching someone's like genital area, or butt area, and you know, or they're like sitting down or putting some like or smothering like you've seen, you've seen this, like the person is in a smothering position, I have my feet where I can still tap, right? It's not only my arms, I have my arms, so I can still get their attention if I need to. And they can, you know, stop if they need to, or we can take pressure off. So it's a really fun position, you can do a lot of things that's not so focused on constricting or restrict, you can restrict the movement without putting a lot of pressure. And of course, it leads into a lot of other plays, types of play, rather sensual with touch. Or if you describe the sexual, Lola Jean: if you think of resistance, I think of it almost as like, the damsel is tied to the railroad tracks, like tell me I can't get out of these ropes. And like, they probably could, they probably could get out. It's not tight. It's usually just wrapped around like that. But it's really kind of having this fun of the feeling of resistance as well. And it's just feeling something against you like, yeah, LT bumped and moved their legs and stuff, they could probably throw me off. But that's not the game that we're playing here. So you talk about resistance. It's just that that feeling of like, "I could get out, but I'd have to try a lot harder than this." Yes. Okay, let's see. Um, okay, so now I want to talk about scissors, and leg hold. So we talked about different ways we can use our arms to compress around the body, and our legs are another thing that can compress around the body as well. And we were kind of talking before about how you know, instead of rope, you can go around larger parts of the body. But because our arms and our legs are so fleshy as well, we don't have to worry as much as we do with rope about nerve damage, because it's these, like large parts that are going around different parts of L.T. Hawk: Yeah, it's not it's not localized, right? You know, it's not, it's not really like laying directly across someone's nerve, as opposed to obviously write a very thin piece of rope, or a belt, or anything else where you write necessarily, right on the right, is the right spot, but also the wrong spot, when we have something happen, so yeah, your legs are pretty powerful. That's the other thing, though, right? You have really, you may have really powerful legs, and your legs are generally going to be stronger than your arms. Lola Jean: Um, so that's the benefit of our legs. The disadvantage when it comes to arm holds versus leg holds is that we have this really nice closed circuit with our arms. And while we can make somewhat of a closed circuit with our legs, you know, we have feet and toes, we don't have as dexterous of fingers to make that completely closed off. So it's not going to be necessarily as secure or able to envelop as much around something that's larger. So these leg holds are things that we can use around all of the different parts that we did our arms. I could do it around all LT's front, I could do it around a single leg. I could do it around a single arm, just as I could do with my arms as well. So similarly with when we did, our different grips with our arm holds bringing in or in this way, it's going to be very similar with our legs as well. But instead of our hands being the thing that's closing the circuit, it's going to be our ankles. So what that will look like without a body or person is crossing our ankles, we see this. Now the space that something can go, whether it is a leg, whether it is a head, whether it is a waist, or a body, and then what I can do to make this shape, smaller, as you'll see, I'm kind of crossing my ankles, and hooking them as much as I can. so you can even do this. And similarly, when I was pulling this way, I can pull outwards and feel how strong that is. Now, to make this shape smaller, what I can do is I could bring my knees in, or I could push my legs out, and that makes the shape here. So you can put your hand in between your legs, and feel that difference. So I can feel if I bring my knees in, and then I feel if I extend my legs outward, I can feel that on my arm, what that is able to do L.T. Hawk: Yeah, and if you have like a really, if you have really thin arms, and for some reason, you just not able to make that decision, make a fist. and put a fist between your legs or two fists between your legs, in order to do the squeeze position, you know, and you can do is on your back Lola Jean: you don't can do it on your side, you can do it anywhere. L.T. Hawk: Yeah, you can do a side, just put two fists between your legs, and get used to squeezing like, if I extend my, if I extend my legs away like a little cricket, right, I can feel my fist squeezing together. So I know I'm able to create a tighter tighter hole by doing that. So you can use two fifths if your arms are really thin or small. Lola Jean: And sometimes to being on the side can kind of help if we're unable to get our legs around these different places. So we can do this, I can start by even trying to just get one of those legs, within my legs. So I'm on my side now. And then across my legs here, I can bring them inwards even towards me to make that smaller, I can try to bring my knees together, that's probably going to take a bit more of strength on my part. So I'd rather just bring my ankles towards my butt, or push my ankles farther away from my butt. Or I can just kind of cross it even higher on my legs to just hold their leg here. And this can be a bit of that not as much compression because that's gonna be different parts of the body. But this is just more of that like envelopment more of that control, just finding ways where we can kind of koala onto our person's body in different ways. L.T. Hawk: you saw like Lola has its position. And sometimes it's called like a figure four position on a leg if it was able to do it, and have control. And also like, if I was, if Lola was able to also tuck their foot behind my light here. Lola Jean: We're getting more that wrapping. L.T. Hawk: Yeah. So now now Lola is like really attached to my leg. As you see if I move my leg around. Lola is moving around this, this makes me look like Godzilla for some reason. I if I move my leg and a whole person come with it. But that's because Lola is attached to it. I'm not dragging a bag, a sandbag, that's way down there, right. So it's not like something changed in my leg and it's weights down there. This is completely attached to my leg in this spot. So what Lola could also do is by having this grip, Lola could extend this foot out and stretch my leg out. So now I can get stretched. And if Lola wants to come back Lola would just pull it back in this spot, you know, and again, if I'm not making a huge ridiculous movements, in order to not I don't want to say you want to put too much pressure on on my partners knee and my friend partner doesn't put too much pressure on my knee. So here we are and then Lola has or can not have the foot behind and can just be in this position. Lola Jean: if you think if you think about think of like the closure of a necklace where it has like the one long stick that you have to put through the circle and then make it like perpendicular to it. So it catches, that's what's happening here as well. So if you flex your foot and put underneath of that knee and put this down, if I pull my knee that way, it's kind of it's a stopper, essentially. And that's a lot of what this wrapping will do is it's a lot of flexed feet and just acting as a stopper so it can't move. If I point my foot, then I could just go like that. But if I flex my foot, not as much. L.T. Hawk: Yeah, and you can do like you said, one leg. If the legs are, if you're able to get around two legs, you could do both legs you could do around someone's waist. You can do both. So like around his leg here. I mean, the leg in, go around the leg and I'm in this position where I'm pulling here. So watch what I do my finger, I'm going to stick this foot behind this knee, like in that figure four position and my legs out, then I pull in, so now I'm able to pull my partner closer. If we're around this way, like, Well, Lola was the first time here, and I'm around the leg, because my legs are longer, I'm going to want to tuck under, because my legs are longer there's more space, so I'm not as tight. So if you're, if you're the taller person, or you have wider legs, you might want to tuck under, or I may need to get higher on the person, in order to do this position, now, if Lola starts moving away, I'm going to also use that grip again. So I'm going to come under their waist and go this direction, just so you see. And here I am, I'm gonna make this gable grip. So now I'm on this person, and I'm holding them tight. So if Lola starts roll away, it's kind of not really going to happen. Or if I wanted to follow, I might be able to come in here. Lola Jean: And take that also the manipulation as well, because the more parts of my body, that LT has the grip on where I can't go away, the more they can also control where I go. So I couldn't really roll without them. But what they did is like they kind of move their body to make more space. So I could go on to my stomach. Yeah, and those are be things that you kind of begin to feel or even the manipulation, where LT knew that they had to be higher on my body so they can kind of move me to get where they need to go. L.T. Hawk: Yeah, and we obviously do this a lot together. If it was something that we weren't doing, I'm going to use, I'm going to if I you know, I can speak so I'm going to ask, I'm gonna say hey, and he does like slide up a little higher, because it's a little loose. Or maybe I don't know that I'm too loose. So my partner can say, hey, this doesn't, it feels a little loosely, kind of adjust a little higher, or Lola can scoot a little lower, you know, so it's really just about getting into really getting into those spots where they feels most comfortable. And it feels like you're getting the pressure you want to feel now and not too much pressure. Lola Jean: And a lot of it like when I was doing kind of like the rolling with my legs to get tighter, that might be even similar what you do with your hips to kind of make the shape a little bit tighter as well too. So don't be afraid of having that little bit of movement, it doesn't need to be big, but just kind of rolling the hips around can kind of help move both people into place. More wrapping is... I love the grapevine a lot, cuz I like both doing that and receiving it. Grape vine, we kind of did a little bit of it, but it's like a wrapping around the leg, but it's being able to go out. And then in... so that way, you can be able to push that because what it's doing is it's enveloping the leg, but staying inwards. I'm the shorter person, mind you, this will be easier if you're longer. But I'm going to put my legs in. And then underneath of the calves, so inside the thigh underneath the calves, and then what I'll do from here, I'll probably want to be on my person. So I can be on them this way. Because what's going to happen is, when I scoot my legs, their body that's gonna come back a little bit. So I want to, from earlier, kind of be close to them maybe around in a certain way, I'm going to do a seatbelt grip. But I'm going to basically extend my legs out and my body back. You're so much taller than me. L.T. Hawk: I'm growing. Lola Jean: This would be easier, we're a little bit closer in height. But what this will do is kind of like extend their legs out to and which will feel like a nice stretch. But also be wary of your person if their bodies is really, really tight. You don't want to do this super quick. Yeah, you want to do this very slowly, as well. L.T. Hawk: So yeah, so there's like there's a thing, right, we're now we're in that spot of adjusting for height. So Lola, can grapevine the one leg that feels closer, it may be this side, because you're leaning to this side, it might actually be easier to do the side. It may not or may not I don't know, whichever. So like you have the seat belt grip. And you're off to one side. Yeah, now those off the one side. So it's just going to be just too hard to do this inside. So what Lola can do is take their foot, toes out in and what lola's going to do now is actually grapevine one leg and push down on a hip to extend that way. So just do the same. And push forward push. Yeah, so now it's just it's a one leg grapevine. Right. If my leg comes up, well, we can just kind of kick and kick it up or just keep pressure here. There you go. So now we have like this one leg grapevine position, if I can't seem to get high, or the person can just squeeze and yeah, it's just a pinch. So I'm still feeling kind of the pressure. I want to feel and the person's able to extend out If I'm just too long you can get your legs around Lola Jean: we can do this front to back, we can also do it from the front. So that's going to look very similarly. What I would go here, my legs would already be outside. So now what I have to do is basically I'm going to put my ankles inside of their ankles, and then I'm gonna slowly stretch out. kind of flatten like a pancake. So again, it's going to look a little bit different if our legs were closer in size. Yeah, but even still aware, this is their legs might not be straight out, but I still have their ankles locked here so that I'm able to move them out. L.T. Hawk: Yeah, I can't bridge in this position. So that's kind of what what the grapevine does is take away this bridging motion that I can't do. So sometimes it looks really dramatic, and you're able to extend people's legs completely out kind of like a starfish, yeah. Which you'll get like a starfish kind of shape here. Because because of the height difference, it's not really possible to get my legs completely out, because Lola's legs completely straight does not straighten my legs completely. Well, what does does do is I can't bridge here, like I really, really can't drive my hips off the ground very far, because they're driving their hips down. Now what Lola could do is walk their hips back, a little further here, and now grapevine and drive the hips down. Yep. As you see, like my breath kind of changes, go do it again, and extend. Yeah, so now I can't bridge at all, before I when Lola was a little higher, and doing a grapevine, I could still kind of bridge, it's not going to get them off. But I can kind of bridge it. So just drive your hips down further. So now it's hip to hip. And then as lola grapevines, there's no bridge at all, I cannot get my. Lola Jean: kind of the chest shoulder area. And as well as on the hip bones. These are two areas that where we can put the most amount of pressure and weight. But still, in that case, I'm going to be conscious of putting my weight onto my hands so that it's not entirely on my body. So if it was the other way around, or I was a lot heavier or larger than LT, I probably putting even more weight onto my hands there too. But this can also be kind of a bit of that weighted blanket. So if we were similar sizes, and I was able to fully extend, I can also be able to put more of my weight onto them L.T. Hawk: So I think what what could be helpful is you see it in reverse, right. So like you saw, you can see this person who's slightly smaller, or much smaller size than I am on top. And it's easy to keep that weight off, right? Because it's like, alright, they're smaller. But if I'm on top, here in this it's still envelopment because there isn't a compression, but position, it's similar, like Lola said, my weight is in my hands, my head is not like directly over their head, right. So my forehead goes above their forehead, and I lose my balance, like, their legs are wrapped around mine, which is my head will hit the ground and not hit their face. Okay, so you know, I want to be back here. Again, my weights back sitting my way back towards their thighs and towards their hips. I'm not, if I open my knees, then I'm driving my way down. So this is the difference. Weight is back, kind of like this a child's pose that you see in a physical yoga practice, or my weight is forward here. Okay, and I can bring my way down towards the chest, I bring my head to off to the side. So I'm not collapsing all my weight down. I'm here and I'm bringing my weight to this direction, and keeping my arms out. And if I want to bring my weight down, I will just open my knees slightly. And I'm in this position. We talk about grapevine and I'm in this spot, and I extend my legs out. Yeah, it's kind of like the starfish comforting. but not extended to too far. And it's really just my bony feet Yeah, um, so I still have control, I can cross my ankles. into the Shin. So it's really my feet into the Lola's shin, that creates that sound. So I can kind of just take some of the pressure off. Because I have longer feet, I can go towards the ankle in extending my weight around, see how my weight stays distributed in my hands. And I'm not again, collapsing my chest. Now, if for some reason, this just gets tiring. You can't really hold yourself up because it's kind of like a push up position. I don't need to be in this position the whole time. What I'm going to do is bring my weight off to one side. Okay, so for one way, I'm going to bring my arm, right arm to the opposite side of the body, and I can bring my chest down that way my chest is not laying on their chest, and I'm not compressing on their stomach. I'm still able to stay and keep keep pressing here. And I don't have to be in this push up position. And I'm not laying on the chest. I bring my weight off to the side, one side or the other side opposite you won't see my face and I'm down. Creating pressure here, I don't need the grapevine as much especially just bringing their legs. But I can pinch, I will say like we're all walking by walking my knees in and pinching here, bringing my chest down, creating pressure, I can just cross I can also cross my ankles here. I can push down on feet and squeeze and squeeze my hips, squeeze my knees together on their hips, and I can move the person around just with my knees, as opposed to, like slapping them around. So I'm not wasting a lot of time and or not time and not waste a lot of effort, like yanking or pulling them around, or flipping them around. Okay, if they want to help me out, Lola can just put their feet to the ground. Oh, yeah. And Lola is gonna like do like the Homer Simpson Twinkletoes thing as I move to the side Lola is gonna walk. Yeah, so I'm gonna be able to get into different positions, because I may be like, oh, let's get away from this. Because I, I left the I left a diffuser on or whatever. Or it is one of those candles lit that we got to get away from them. We walk away. So that way we don't, we all burn the house down. So yeah, you can work with your partner. So that way you don't have to like, be like a superhero. You can walk around with your partner and work together. Because you see I'm on top of not putting a lot of weight down on lola's body, right? Same thing with like going over the arms. So I don't want to my knees are like going to be too sharp. So I don't drive my knee down into someone's arm. So I'm going to do the one that goes over here. And what's happening is like their arm. Their arm is here, right in this little space. That's how I'm trapping the arm. in that spot. I don't need to do both if for some reason, if I just did both, and it was way too much pressure. So now I'm sitting all those hips. But my really what I'm doing is my feet are flat, and I don't need to really be hurting someone, or creating too much pressure. For this to be uncomfortable. I may put my body in a position where if I know that I'm not putting a lot of weight on them. I'm not injuring them. Or I'm doing quote unquote, everything right? The person, you know, the people we were the people we care about. Remember, this is all from a place of care, right? I don't do BDSM with people I hate. Oh, sorry. Thanks. So yeah, as Lola said, just adjusting because I have like a bony bony tailbone. I was like, instead off to the side. So I don't need to be again on the person. People feel uncomfortable, right, you just may feel claustrophobic, you just may feel uncomfortable, this may be kind of triggering in a position. So as soon as someone's like, oh, okay, you know, remove, get off, whatever, let's stop or whatever, then we need to stop immediately. Okay, the best part about this is, again, I don't need to like undo a bunch of stuff, right, I can just move my body off. So be aware that like, it's okay, if you're not feeling any pain, or you're not feeling any, any pressure or discomfort Lola Jean: the point of this is it will notice that the five feelings we're going for not one of them was pain, L.T. Hawk: yes, not not wanting this change, but you may want to stop just because you just feel claustrophobic, you know, and that's fine. So always make the adjustments so that you're not, you know, making a person too uncomfortable. So it just might be one arm off to the side, right, I may try one arm off to the side and keep my weight up high, there might be fine enough, right, I can kind of create that same kind of pressure by just again making that thumb grip over they are and that might be enough just to kind of feel like they're pinned down to spot Lola Jean: I think we got time for one more, which is gonna we're kind of getting there a little bit with with side control. So this is kind of getting a little bit both to that weighted blanket feeling. But also it can be that, you know, manipulation control as well. So, in this position, we're going to combine a lot of the things that we have done previously. So when we did that arm grip, the best one to do here is a seatbelt grip or we don't have to do one at all. So this is a great way to kind of play around with your body control and pinning someone's. remembering we want to keep our head tucked towards our person, but we're going to use our chest to put that weight onto our person onto their chest. And how this is going to kind of stay with that manipulation is I'm going to again, like walk my knees as close to their body as I can. And that way I can move how much of my chest that I'm going to put on to them. So for people that are very small or a lot smaller than their person, I think this is a fun one to learn of how to kind of redistribute your body weight of thinking that I'm so small, I can't possibly hold this person down. But if I put in all of my body weight into my chest onto my person, or even just flattening out a little bit more, you can play around to see what is the max amount or not even the maximum, what's the, you know, comfortable amount that feels good to your person of putting your body weight onto theirs, if I'm a lot bigger than maybe I'll put more of my weight into my legs, into my heels into my butt, but I can walk in my body close, and just play around, even walking in my knees towards their hip area, as well. Maybe a little bit towards their face, keeping my head tucked just so we don't bonk around as well too. But playing around with this way. And I could also even just like, kind of walk around their body if I wanted to play this way and kind of corralling them within. So this is another way of manipulation, but how we can pin their body down with our body. L.T. Hawk: Yeah, that's great. It's good. stretching my hips. Lola Jean: Um, and it can just feel kind of nice where it's like, like, it reminds me of like, dogs or seals, when they have to kind of move the ball around with their head. And I'm just like doing that kind of to your body sort of moving that around. And we did Baby Bear play that reminded me of that a little bit as well. L.T. Hawk: And a good person on the on the bottom. And you are concerned about the person on the bottom and you're concerned about like maybe having too much weight you want to like have like a frame. So what you want to do is is create a frame, you can create a frame in multiple ways. One is just having your arms out here, kind of still in that that kind of cocked position, I can just have it across my chest, I could cover my chest. Sometimes you could call this like a vampire grip. I'm not sure why. But I can just kind of well, I guess because a vampire sleep like this, right? Yeah. So I can go here and here and cover here. That way a person's weight is on my forearms, and it kind of feels like it's protecting my chest. Because some of us have more sensitive chest, some feels uncomfortable, have someone directly on it. So I can cover here, I can also this was This is always my favorite, cuz I feel like I have a lot of movement, um, is whenever I want to make a frame is I would just kind of like, kind of just bring my fingers up. And like I want to like pull my hair, I'm gonna bring my hand over my head in this position here. And I'm kind of here that way the person's on top. I'll show you what these different ways to vocalize with Lola on my chest here. So one, your frame is here. So those are gonna go down. There we go. And I feel like okay, maybe I just feel a little bit more comfortable. I don't feel like maybe I can control the weight a little bit here. But just yeah, in this spot. Now you can do what you can make an X with your arm. So just just like I can kind of cross my wrists here. If it's comfortable, and they laid out good. Now I feel like okay, I'm alright. And Lola can put maybe some pressure downwards, I feel like a little bit better. I can also like tap on them. Because my hands are available. I can create a little bit more space so if Lola goes down and too much weight. I can kind of just say up, I can give a little push and say oh, hey, I just need a little bit less space, right? Or I can adjust them away. The other way was crossing my chest. So like in this vampire grip. So when I keep my elbows down, so my elbows aren't poking out. So don't do this. Right. I'm not trying Yeah, don't don't hold people in the neck. So I'm here and here. I'm bringing my elbows down. I'm crossing my chest. So Lolola can puts a way down and I may be able to like take more weight here. Okay, again, I have like really sharp forearms. So Lola can just move around like go sideways. Ah, yeah, great. Aha, I move all around. Yeah, putting more weight on me. I may feel more comfortable and more at ease. That's not my favorite. Obviously. I'm gonna bring my hands across my face like this. And Lola can go ahead. Yeah, I feel like I'm allright here. Right? As Lola goes and mounts me. Okay, I have control of my face feel like Right, like a little bit a hug. Alright, not necessary. But if you just feel like you need to have a bit of a frame, you can do that, you know? Lola Jean: So hopefully like not even just for body bondage or movement. But hopefully this gives you also more body awareness of both. What are the parts of my partner's body that I can put a little bit more weight on or I can feel comfortable with my weight on and what are ways that I can alleviate any weight on my partner by putting it into my hands, or by making one of these frames? Honestly, I think with all of these courses on Wrestling, it's the thing that gives me most is body awareness. And it makes you more comfortable handling someone's body or someone handling yours and being able to keep yourself safer advocate for yourself as well. L.T. Hawk: Yeah, and we did a lot of things around the upper part of the body. We did mention, obviously, those grips work around lower parts of people's bodies as well. So it's, it's while it's very upper body focus todayIt's the same grip, right? I may come under here. And I may make the same Lola Jean: Yeah, and we said it in the beginning but we'll grip here. And I might be able to pull person over, right, so pull them on top of my knee, yeah, across my knee across my thought I can be pulled in this way I can pull their knees toward their face in this position I can go opposite, right. So they may be here, I can go under here and make the same grip here. And same thing, pulling their legs up, kind of like a like a merperson type of deal. Right? By sewing their legs together. I can step off here and pull their legs in. So there's a lot of things I can do with someone's lower body. And Lola is on top in this position.. Same thing, right when like Lola sitting back, I may want to sit up, so maybe I'll make an S grip and pull her leg up. Right. So now you have this position that I can pull by arm in and I can keep this grip, I can make one iron grip. Doing that little claw position again, pulling here and then I can reach towards her body. Yeah, I can spank a person I can get spanked in that position. So there's a lot of things you can do here, one legs, one leg, two leg, right? Maybe you want to like turn them to the side. Same deal. So the thing is these positions work. Well, these grips work well. I'm pulling my leg body around their legs. This is like kind of like a little fancy, right? So I might pull. I may use this grip. I pulled up. and now I'm in this figure four position again. And maybe I'll like, I'll figure four my legs. I don't need to maybe I'll push a leg out. And I hold his grip. Not open their legs. Like let's talk about opening someone's legs without prying them open with my hands. Okay, so I have this grip where I'm wrapping, enveloping your leg again. And I might just push this push out my fine behind the knee, I might be able to lift a leg up. So there's a lot of fun little ways you can play around. But all these grips were Yeah, on different parts of the body right around the hips, around the thighs around the ankles, around lower around the waist. reiterate it again. It's not about squeezing as hard as possible a lot of these grips. Yes, compression is a little bit about squeezing but it's really just about keeping things in place and having that control and when you have the control you're able to manipulate it a little bit more but hopefully all of these things are different tools and then freestyle it you know figure, put all these different puzzle pieces together that's literally what wrestling & jujitsu is is taking all these different tools and figuring out how to make them work for you. Alright, well I don't know if there any questions I love seeing people playing along with us it's really fun to do so we will send out this recording with the closed captioning as well so in case you forgot or you're in the middle of doing it is this correct you can always look back and watch that our play fighting for lovers or wrestling for lovers should be out sometime this month. That's almost completely done. So be on the lookout for that if you want to use I'm kind of expand on your body bondage and you want to you know do a little bit more play fighting more kinds of movements Lola Jean: So before we get to moves, we need to show you a couple of grips, because this is all about working smarter, and not harder, we may be two very muscley people but we do not rely on our muscles for any of these things at all. L.T. Hawk: You're very muscley. this is all this is a filter. Lola Jean: Just on this half, very high tech filter. Um, but with with these grips, too, I always like to say we do them, I use them when I'm like holding boxes, or a lot of groceries or something like that, if I know I'm like I don't. my finger strength sucks. Every a lot of things about me are strong, my finger strength is horrible. So these grips have been a lifesaver. And if you can't like get fully around your persons or in ways you might not be able to get some of these, as well, we have a couple of adjustments there too. So the first one is an S grip. And this one I will say is a bit harder if you have longer nails or acrylics or something like that, because then you're going to be digging into yourself. But if you don't, kind of just looks similar to like an S hook and like a hardware store, so curling one hand curling the other. And then like you're gonna sing something nice to somebody at choir L.T. Hawk: and no thumb so your thumbs are clenched tight to your to your other four fingers, right, so your thumb is going to be in so we're not our thumb is not out. It's not a cup, we're not holding a teacup, we're here, in this particular grip, four fingers there. And then we are making and you can just go it's really good to just keep switching like releasing and switching, releasing and switching and feeling like were just feeling a grip getting used to it. A lot of this is about sensitivity on our own bodies and how the grips feel. Lola Jean: Yeah, and for any of these when we're like you know making a closed circuit, whether it's with our legs or with our arms, the ways that we would make this tighter. So whether you're holding a thing or a person with either one the ways that we can do that, or we can bring our hands in because that makes a smaller shape of this closed circuit that we have. And we can also bring our arms towards each other as well. So and we already can do both of those we go towards and in and all These are just making tighter shapes in different ways. So if I'm holding a big thing of groceries, then I'll just pull in towards myself or I'll pull my elbows in there as well. So that way, I'm not holding things with my hands, it's holding things with the shape of my arms around it. L.T. Hawk: Yeah. And you're and you're incorporating other parts of your, you know, you're incorporating more muscles. So instead of me just like having this big ring, shape, right, like I'm grabbing a box or grabbing a bag or laundry, whatever I'm carrying, or a person, right, instead of me having here where I'm just kind of using all my arms when I'm making the grip, and I'm able to close the shape, whether that's elbows in or pulling toward my back, I'm incorporating either my chest muscles, or my back muscles, Lola Jean: and even your hips if you're able to kind of establish that leverage there instead of just your arms. Okay, so the next one is a gable grip. And this one is good if you do have acrylics, or long nails, so you're not pokng yourself or sharp nails in that case. So for this one, we'll have one hand, and again too with everything, our thumbs are just going to be in because those tend to open like hinges, so we don't want to involve them as much. But we'll have one hand that's facedown, the other hand will go on top of it, and that top hand, we will rotate it 90 degrees, so it wraps over that thumb. And then the other fingers that are left over, will wrap over the side of the hand, do you see this shape that we have made. And you can even pull outward to see like, that's a lot stronger than if I was just like, hold my hands like this or hold my hands like this, they can just fall open. And if you're here, you can feel how strong that is. And same kind of a thing. If you want to make it tighter, we can put that shape towards ourselves, we can bring our elbows in, you can do both of those things together, as well. You can try it again, you can shift that on both hands. So one hand the fingers always be wrapping over the thumb. And then there will always be one thumb exposed. And that one will just be tucked not wrapped. And why why do we not? Why do we tuck our thumbs? Why do we not wrap them? L.T. Hawk: Oh, yeah, well, again, thumbs. You have opposable thumbs, right, they open up like doors. One also is I don't want to have my thumb kind of like hanging out in the world, something to get snagged on something to land on something. So you know, we're protecting our thumbs by just closing over. And this just really just cinches the grip, you know, what I am basically doing is creating a hinge and I'm closing it up. But as opposed to my thumb, that just kind of here, this is just really not a strong grip. If something starts moving away from me, my hands are going to slip open. So just just like your back, so I'm just here, like I'm used, I'm doing it wrong, my my thumb's are gonna be out, I'm here in this position. So a lot of these walks away from me, my hands are gonna slip open. So I'm gonna hold it really tight, and literally gonna walk away. And my thumb's gonna eventually open up, as opposed to like gable grip here is suppose I go over the thumb here and Lola starts walking way My arms are going to open up, my thumb's are not going to come on Lola Jean: I can even try to like resist and do this movement. L.T. Hawk: There are ways that obviously escaped us by getting the arms up, but what's not going to happen is my hands are not going to come apart. But if I have my thumbs here, or if I, if I do this, it's just going to slide open. Like, you know, this is great for cracking your knuckles. And I'm sure some, some physicians would be like "don't crack your knuckles." But yeah, but a lot of these walks away from my hand, my hands are just gonna, my fingers are gonna open. Your fingers are not good grips. In that situation, right? We're not holding something in our hand, right? I'm not holding something. There are other grips where you could use two hands on one part of someone's body. Like we call them like baseball grips, but I'm really never using my thumb very much. here is called a baseball bat grip, because I'm holding it. Like I would hold a baseball bat. Right one forward, one back, one for one back, right? I have this grip. So this is a strong grip. So like Lola tries to pull away. I mean, I can kind of hold the arm. If I again, if I bring my thumb in it, here. Yeah, it's gonna go through your thumb, right? It's just easier for someone to walk away a little bit, just lean forward, this hands gonna not be able to hold on to it. As opposed if I'm here and I'm wrapping around. Say I'm coming all the way around and I'm holding this arm. So here I go, like pulls away. I can kind of pull in right? I'm also able to close my arm. Think about opening. If you've been in this class before you've seen me do this a bazillion times. You open a screen door with your arm fully extended. It just does not move. I mean maybe if you're a huge human being right I don't know. Not even the rock could do it. Right. So if you're here the doors and you try to open a screen door it's impossible. But the closer you are your screen door with your elbow bent. You're able to slide it open You know, that's the idea. So here's the same thing I want to be able to hold on to the person. Maybe a grip is holding on to something. Not pulling something, right. So a grip is not about controlling. I mean, it may lead to a control. But a grip is really about me being able to secure myself to something. Right, if you are doing rock climbing, You've seen it, people go to gyms, they spend alot of money, they climb a rock, the grips that we you're making on the holds, is to hold you to it. Right, I'm not trying to pull the rock wall down, right? It's not like I'm holding the rock wall, I'm gonna yank it down towards me, right? The idea is a hold me to it. So this is what these grips are, the grips are not for me to be able to make sure this person can't move. The idea is that they can't move without me. So I'm stuck to them. Right. That's the idea. So anytime we make the grip brothers a gable grip here is my idea is I want to keep their arm towards me. So here I am, is holding on. So Lola can move around. But there's no moving around without me. You know, then if I want to sit back then yeah, now I'm holding them to me, but there's no way for them to go without me attached. So a grip is attaching ourselves. Lola Jean: And that will then make it harder for them to escape because they can't get away from you L.T. Hawk: Yes. And then people get tired, they wear themselves out. And then I'm able to kind of control in a way. Lola Jean: So we'll use that first. So understanding you can use either of those grips for whatever works for you. Or sometimes if you're not able, depending on if it's a larger part of the body you're going around, you might only be able to get to the S grip, because that's going to be a little bit more extended, because we don't have to go in further. But you can use either one of those for a lot of the different grips that involve the arms that we're going to do. one that we will do is a bear hug that we can do in multiple directions and really on multiple parts of the body. But because the chest is a place, that tends to feel nice, when we're able to squeeze that. I can first do it around LT's arms and chest. So kind of coming in here, I'm going to do the gable grip. And in this case, because my fronts also on their back, I have this shape that I'm making, I can also make the shape not just by putting my arms inward and towards myself, but I can also push myself into my arms or into LT at the same time. So we talked about before, and you're not gonna see it that much. Because there's not as much space between my arms and Lt but I can squeeze in towards myself and squeeze my body towards them as well. And when you do this, you can just do it for a couple of seconds at a time. Again, it's not about squeezing as hard as you can, or as long as you can, there's a lot of things you can do to make this more intense that don't involve harder or longer. And just as the involvement of your person as well. Yeah, so I can do this around their arms. And that kind of gets this is getting a bit of the compression, it also can get the resistance if because lt can try to struggle within there, but they're not able to maybe move as much. Of course, they can escape by just lifting their arms up if they wanted. But if we're just having fun, and we want to just feel that resistance, we might not necessarily do that. Yeah, I could also do this even under their arms, say LT has got these giant biceps and I can't even get my arms around them here, I can always go without their arms and do the same thing. I like adding the arms because the ribcage is a sensitive area and I don't want to go too hard there. So by having the arms here and doing the bear hug, I'm automatically making a barrier where I don't have to worry about that as much. So when I'm here, I want to make sure to be higher above the floating ribs more on the chest area. And I'm probably just going to go a little bit lighter because I'm making a lot more contact with the body. before it was like compression on the arms that go into the chest. If I go under the arms. I'm just directly onto the chest. L.T. Hawk: And there's a concern that people will sometimes think about is like this, like the size of someone right? But we you see Lola is able to get around my arms and my chest and still make the make the gable grip, right. I'm not obviously flailing around, right, we keep again, keeping our hands inside to ride, my armsarenot flailing around? I'm not going going berserk. But also, the larger the person is, the more compression happens faster. Right? So you're like, oh, this person is really big. I gotta wrap my arms around it. But if I'm able to get my arms around them, their own size creates the compression faster, rather, as opposed to right, trying to like corral have a really small person, right? It's like they're wiggly, they're squiggly. There's a lot of space so you have a lot more space to need to close off. So you're going to have more actually More adjustment and more time learning since it's like learning body positions, when you have someone that actually is much smaller than you being able to get around their body and close off that space, so they can get that experience, and also be able to do it where you're measuring the amount of pressure, so you're also not pressing them. So you're gonna have much more of an adjustment with smaller people than you think you will with with larger. Lola Jean: whatif I'm unable to get my arms around you and they're just a lot smaller? What can I do them? L.T. Hawk: Yeah, so that's like a thing, if your hands only come this way, you can't do this S grip. So the s grip is just impossible to get, it's going to be really impossible to kind of do High. So what you can do when an arm is going to go down lower and find like this, this this elbow position. so Lolawill go down lower, lower, lower here and find the elbow position and my arm side, you see that kind of come together here. And then you're able to squeeze in that position. Yep. So you can find places on the arms where you're able to do this. Now that that is a difference with the body bondage is with rope, right, you're going to not want to be on like big, big parts of people's bodies, because it's going to slide down, right. So you want to you can start really high or start really low, just find that position where you feel in the compression. Another thing I would load can do is just also like, if my arms are really wide.. I'm not not participating, right, so there's a thing I'm not in like, It's not paralysis, I'm not sleep paralyzed. And not to make light of paralysis of course, but I'm not in a position where I can't participate. So if Lola goes around my arms, like really wide and Lola just can't make the grip, what I can do is I can cross my wrist over. So I'm going over here for us my wrist, and now Lola can go back higher, and then make their grip. Because I'm not making myself as wide as possible. So here, I'm as wide as possible, there's more area to cover. Here, I'm bringing my own arms across here. I can go across my wrist, I can go here or I can just touch my hips. And I make myself nice and tight. So now Lola can go higher or lower, wherever. And now I've made it a lot, I made it easier for my partner to make the grip. And I've also created a compression where I can feel what I want to feel I can also grab my elbows, if I want to do it from that position. You can go arms behind your back, as well. So I'm just crossing my arms, it feels comfortable, I'm gonna be able to cross my arm behind my back. And then same thing was able to get here in that position and squeezing. Lola Jean: I and can make my body higher or lower with what I need to do instead of just like stretching my arms everywhere as well, too. But before when LT was saying it's not about pulling someone, it's about staying attached to them. And thinking about especially with like rough body play and things like that. Or even just thinking about if you're in like a sexual scenario, sometimes you want to stay attached to your person, so it's less awkward or so you don't like lose that separation of like, we want to move over there together. So I'm gonna monkey onto your back, and then we'll do so. Or just even like, I actually did this earlier today, because I was trying to give my partner a behind hug. But they were kind of curled up and I didn't want to slide off their back. So I was like, I'm just gonna attach on to you, basically with this bear hug onto your back. And that way I don't have to like focus on my leg muscles. L.T. Hawk: And we're showing you the, the really like how to get into this position. And what we need to do is now think about adjusting. What's great about bodies are they're all just weird shapes. They're all different shapes, everything all of us are uniquely shaped. And how our bodies connect fit with other people's bodies are where more of the play comes in line is not a Lego block. It's not literally like just two and afour. So we did the two arms, right? I showed you ways where you get over two arms, but I can do two in one. So Lola could go under one arm and over another and and do this. Yeah, so you can do two and one and make that squeeze right. So Lola can just kind of reach up a little higher, and like lean this arm down. And now and then pull in you can pull it yeah, now I've got this position here. I'll show you so Lola is here above the rib. Now my ribs are going to are kind of for lack of a better word calloused in a sense, like because of like wrestling for a long time is I'm used to people like grinding against my ribs. So I don't it doesn't feel as painful for me. And you may be much more sensitive or maybe not. You may have some sensitivity there but you want to keep someone off. I don't really care if it's here like Lola can squeeze and pull in. I don't feel that it's not it's not painful for me for someone to be on my ribs. It doesn't mean I can't get injured in my ribs. So that's where you got to be conscious, right? I'm not going to feel the the shock or the sensitivity, but I know like if my speech is really hard, they can still damage my ribs, but you can go higher and Lola can pull in. And now we go. So you can go two on one, you can go one on two, you can go over under, you know, this is it doesn't have to look exactly like over two under two, you can go one and one. Lola Jean: One thing I didn't mention too, so right now my chin is on LT's shoulder neck area. And this is if I was a little bit removed, then we run the risk of bonkin heads and different things as we're talking. Also it creates it does create a smaller shape as well creates more intimacy. But this is also a safety thing too. I don't want to be behind directly behind their head. L.T. Hawk: Yeah, you don't want the person's head to go back. Accidentally, right? Yeah, obviously, you don't want to bang faces and heads, what you can do is do a, you can go ear to ear. So Lola's here, ear to ear. And again, this is like, I can actually feel like to echo my voice. So if your ear to ear is the same thing, so if my head moves, their head moves, right? There's not space, like if I, if I even tried to make space, Lola can just follow my follow my head and keep closing that space off. Right? As opposed, Lola just stays there and I move my head, right? Why, but why? Why would you do that. So the idea is, remember, you're gluing yourself. So if you go ear to ear, you're fine. Like my head goes back, it's not gonna hit Lola's head, my head goes forward, right now we made some some distance but Lola can just now just keep turning their head into me. Right? So head control is important. In order to not like Lola said create space where you're not paying Lola Jean: you can take a lot of these, if you have that mentality of like, okay, here's a way that I can create compression. And if they want to create resistance, they can do that. Now I can take that same kind of grip, here, we were getting more of that chest compression, but I can use that same grip, if I want to go around the waist and do something similar whether I want to just hold on or whether I want to squeeze it can really be either one of the two. And that's also going to be like based on that feeling. So maybe, do you want compression? Do you want resistance? Or do you want just more of that control as well, because if it's the control, and you're not gonna necessarily be squeezing, you might just be kind of moving, manipulation, a little bit of that contortion, depending on how you are manipulating them. But you can utilize this on all different parts of the body, maybe we're kind of playing around, and then I kind of want to get on both LT's legs, and just be able to take that take that away from them, or something. So you can still be able to utilize this arm grip by getting a large chunk of the body. L.T. Hawk: like where that my head is placed. So like around the front, you saw Lola's head was placed on the front, this also could be around the back. So if I was here, if I turn this way, and Lola just did this around my back, see Lola's head is now in that space close to my body not back away from me. One, the more space between their arms and my body, there's no compression, you know, so we don't want to leave like a whole bit of space. So lola's head can be here. Yeah, around the back, it can be high on the chest, and their head, it can be like right on the back. If you can't go ear to ear just because of height difference. All Lola has to do is like pin. Yeah, pin her ear to my back. So here again, I'm still not able to like bang my head back, you know, let's just, I don't know, there's a good beat going on. I don't know why you'd be doing that. But let's just say your head goes back, you're not gonna be able to create as much. That's true, some people move their head around, but I won't be banging my head like I would have to purposefully like drive my head all the way down and slam it all the way back, right. Um, but I don't know why you do that. Don't do that to partners it's not nice. Lola Jean: So you'll notice in this scenario too, for right now for the purposes of it, it's a lot of my upper body and chest that's really compressed, but you'll see that like, I have my hips away from here. And that's really just for movement so that if LT moves, it's easier for me to move with them versus if I was like flush against their body, if they move in, I will still go with them. But I'm not going to have as much control. So both of those are still good and valid depending on what it is that you want to do. And remember it's going back to these different feelings do we want to feel more controlled? Do we want to feel compressed, do we want to feel enveloped. If you want to feel enveloped, I'm not gonna have more of that control. And I'm just gonna wrap my body as much around you as possible. So that's why those feelings are really important. Let's talk about if if you want to, if you're really loving the compression and you want to add even more to this, you can use the person who is being compressed to assist with their breathing. And this gets a little bit into this is breath play, which we talked about a lot in our choking course but this is compression. So any kind of breath play is when you are limiting the amount of airflow into the lungs and the While that can be by, you know, closing different air passageways, it can also be by compressing that space. So we are compressing that a bit when we, you know, hug and bear hug on this area. But the other way we can assist in that is if our person also adjusts their breathing. L.T. Hawk: So as a person as I go to squeeze, right, again, if I have less oxygen in my body, it closes the space off, right. So this also is going to allow the person to get tighter. So as Lola begins to squeeze, Lola says, I'm going to squeeze, I'm going to exhale. So Lola may say exhale, Lola Jean: inhale together. Yeah. And as they exhale, I'll squeeze a bit more. And that's just going to deepen that compression. L.T. Hawk: Yeah. And I may hold my breath for a count, I mean, count, hold my breath for two seconds. And then inhale out in. Now I need more space to breathe, my partner's going to create, allow me to have space to breathe right? And not going to compress so much that way, I don't feel like I get air in my lungs, you'll still get air in your body, right. But it may feel labored, or it may feel like a, it may feel like you need to do a work a little harder to do that. If that is not something I want to feel, of course, I want to be able to tell my friend Oh, I need more space to breathe, or can you loosen up a little bit so that I can breathe better. So yeah, just exhaling out is a good way of taking away space. From myself, I like exhale out, bring myself low, bring myself in a little bit more than that person is able to wrap around. Same thing, like when I'm creating a squeeze, I will even if the person is not breathing, exhaling or inhaling, I may inhale or exhale. And what that looks like if I'm around someone's back here. And I'm here, and I'm just go over, we'll go, double under here. So if I'm here, and I have my chest here, and I want to like not pull my arms in because maybe when I pull my arms in, it creates too much pressure downward or forward on their chest, right. So I don't want to compress on the person's chest because it may hurt. so I squeeze and they're like, 'Oh, that's too much squeezing' but I want to take air out. So what I will do is use my chest by inhaling deep, I'm going to use my chest to create less space. So I'm here and I'm just gonna inhale it. And just you see my chest pushes into the person and it creates more of a tension, as opposed to here, watch my elbows like pull back and pull the person towards me. But instead of being able to pull back, sometimes I can't pull back, you know, maybe my arms are pretty much I mean, the person is resisting, or maybe I just can't get enough a tight enough grip. Or, again, I don't want to use my arms because they'll burn out. A big way of doing that is I don't have to worry about my forearms getting tired, because I'm constantly like in a real tight grip. So I'm here, I want to take some space away, I'm just going to inhale and drive my chest in as I drive my chest into their back, it pushes into their grip. So it makes the grip tighter, low space here. Lola Jean: And all of these things, we're doing them back to front. Um, but you can also do them face to face. Or if I don't know if I do this all the time, or like if someone's feeling like stress or anxiety, and I'm like, can you just squeeze me or give me a hug, and then we'll like go into a hug position. But what I'll do is I'll have a gable grip around their back, and then I'll pull in. So it's, it's kind of like a more intense hug. L.T. Hawk: Yeah, it's a given goal. Yeah, you can bear hug from from the back, you can bear from the front. You know, sometimes face to face, belly to belly, you can also do the same compressions. And that can be the same like over the two arms. So you can go front here, facing the person, I can go over the front of them and do the same grip here. I'm driving my shoulder down that way my shoulders not like smooshing them in the face. So I'm in here I go here and I pull in. So again, I can inhale, bring my chest forward, or I can walk my hips forward into that person, as opposed to like yanking them towards me. Again, using my arms, I'm walking my hips in. I'm trying, I'm also avoiding sorry, pull the shirt off. I'm avoiding this lower back, right, I don't want to be cracking people's back. So I'm avoiding the lower back. Your ribs are still here, which if you compress too much, it's going to affect their breathing and their lungs. So I'm not here squeezing. I'm coming up kind of right in this middle spot that if it was like a backpack would kind of be like now Lolas feel like you're going to go sleep. It will kind of be like something you would do. And in like you see a chiropractic adjustment. So I'm just kind of here in this position. There's also the curvature of the spine. there's space so that I'm not squeezing into their back. My thumb is not going into their back. So you won't miss this line is that when I go here and I have this gable grip, there's a space here. So I'm just kind of pulling here, my heads tight, we're still kind of doing ear to ear, but I'm bringing my head down, and I'm able to kind of hold, if I want to, like, breathe, I can breathe in and then release. So I can do intermittent pressure where I [breaths]. And then I'm releasing, or I can hold pressure, like a five count 5..4...3...2... and release. Lola Jean: Alright, so that's, that's plenty of things. And you can really apply that all around the body any which way too, and that's a great one, that's a little bit of like weighted blanket in a certain way, especially if you were laying on top of your person, but it can provide that nice pressure, it can be more that compression or resistance. Okay, so the next thing that we're going to do is called, um, it's called a school person pin. And this is one that's going to be it can be a combination of like body manipulation, a little bit of wrapping, this isn't one that's kind of an all around the grip, sort of a hold. But what this is doing is it's like a pin, it's pinning someone's body into the ground so that they can have that resistance, where they can't move so in this posiiton what I'll do is the classic, school person pin is their hands over their head, so my knees are going to pin on to their biceps, and I can be on their biceps by putting weight on my hands. So there's a little bit less weight, especially if I'm a larger person, or I can put my knees so that my knee is overtop of their bicep. So that my knee is overtop of the bicep, and then my foot is here. So it's kind of like I'm putting a lock on each arm this way. So in this way, I'm not actually putting the weight on their bicep, if I wanted to, I put a little bit more weight on my hands, and lower my knees there. So that's one position. And if I wanted to kind of envelop them more, get things closer, I can always walk my knees in to their head. And the same thing, if I wanted to be more on their body, by putting more weight onto my hands, I put less weight onto their body, if I want to put more weight onto their body, like walk my hips up, then I can just use my body like a lever that way. But while you're here, put your weight into your hands. And even just squeeze your knees, I like to just walk my knees in. And that's just going a little by little, just kind of create less space between my knees and their body, giving kind of that same compression that we did with our hands and this kind of knee walk move. I do that a lot on a lot of different parts of the body when I want to kind of squeeze somebody a little bit more wherever that may be. So even if I'm on the hips, or the waist, I'll just walk my knees in, basically to get them even closer. And so here, if I wanted to do something similar to the bear hug where we had, this one version doesn't have their arms pinned, but if I wanted to have their arms pinned as well, I can do the same thing where my knees will then be on the outside of their arms, pinning their arms into their body, as well here too, and I can do this facing each direction. And this can be I find this to be really nice to feel kind of pinned down by someone's body, I want to be higher on their body, because if I'm lower, my weight is going to be on their stomach, which is a sensitive area that cannot hold weight, especially if it's not clenched, as well. So that's asking a lot of a person, but I want to be higher on their body because also if I fall, I can then fall this way and I don't just fall onto their face or their nose or something like that. This is also a fun one if you want to do body bondage with some kind of sexual play because I have a lot of movement this way. And that way. I particularly like using this move for like the person on the bottom giving oral and the person on the top doing hand stuff. I find it to be really fun because it's a it's a type of body bondage where I still have more control and it's not as as doesn't feel as forced too. But that's that's one of the favorite of mine, particularly because it has a little bit more range of motion for each person. . L.T. Hawk: And of course, like, you know, we have the support of whatever surface I'm laying on, right. So the person is laying on a surface. There is some support there, right so you can kind of just relax into this spot. What's also really good is that the positions that Lola is in is not putting a lot of pressure downward on my body. Right? Lola is using movement for, by like pinching their thighs and knees together to create that compression, as opposed to just every all the weight coming straight down on me and pinning me in that sense, which would be different. Lola Jean: I'm like, they're pinned there, just because my body's on top, and they can't... to push me off of them, That would take a lot. L.T. Hawk: I'm pinned, not nailed, right. So I'm not drilled into the ground, by like, a bunch of force on being pinned in the ground by Lola'sposition. Lola Jean: And kind of in a similar if if, especially if things like force oral or things like that aren't fun for you, I could also switch my positioning and be facing the opposite way. But I'd probably do here is I'd want LT to have their hands free. So if I was pinning them, same thing, and then I could be doing hand stuff, or whatever. And I like this, because then there's a little bit more intimacy. So LT wanted to like touch my back, or my butt, while I'm doing different things as well. This can just feel kind of nice for again, feeling if you want the feeling of feeling pinned by your person, or feeling that envelopment or even feeling resistance, because that's an area where my whole body and my lower body is stronger than your upper body. Yeah, so you're not going to be able to easily move off of me. L.T. Hawk: And yeah, and then you have, you're kind of you have a space where you can kind of move your legs, you can play with the concept of squirming without making like big, Herky jerky movement movements, or tossing the person off of me, right? I can kind of move my legs around. It also gets my legs free in case like Lola was saying, if you're doing a position where your face is engaged or touching someone's like genital area, or butt area, and you know, or they're like sitting down or putting some like or smothering like you've seen, you've seen this, like the person is in a smothering position, I have my feet where I can still tap, right? It's not only my arms, I have my arms, so I can still get their attention if I need to. And they can, you know, stop if they need to, or we can take pressure off. So it's a really fun position, you can do a lot of things that's not so focused on constricting or restrict, you can restrict the movement without putting a lot of pressure. And of course, it leads into a lot of other plays, types of play, rather sensual with touch. Or if you describe the sexual, Lola Jean: if you think of resistance, I think of it almost as like, the damsel is tied to the railroad tracks, like tell me I can't get out of these ropes. And like, they probably could, they probably could get out. It's not tight. It's usually just wrapped around like that. But it's really kind of having this fun of the feeling of resistance as well. And it's just feeling something against you like, yeah, LT bumped and moved their legs and stuff, they could probably throw me off. But that's not the game that we're playing here. So you talk about resistance. It's just that that feeling of like, "I could get out, but I'd have to try a lot harder than this." Yes. Okay, let's see. Um, okay, so now I want to talk about scissors, and leg hold. So we talked about different ways we can use our arms to compress around the body, and our legs are another thing that can compress around the body as well. And we were kind of talking before about how you know, instead of rope, you can go around larger parts of the body. But because our arms and our legs are so fleshy as well, we don't have to worry as much as we do with rope about nerve damage, because it's these, like large parts that are going around different parts of L.T. Hawk: Yeah, it's not it's not localized, right? You know, it's not, it's not really like laying directly across someone's nerve, as opposed to obviously write a very thin piece of rope, or a belt, or anything else where you write necessarily, right on the right, is the right spot, but also the wrong spot, when we have something happen, so yeah, your legs are pretty powerful. That's the other thing, though, right? You have really, you may have really powerful legs, and your legs are generally going to be stronger than your arms. Lola Jean: Um, so that's the benefit of our legs. The disadvantage when it comes to arm holds versus leg holds is that we have this really nice closed circuit with our arms. And while we can make somewhat of a closed circuit with our legs, you know, we have feet and toes, we don't have as dexterous of fingers to make that completely closed off. So it's not going to be necessarily as secure or able to envelop as much around something that's larger. So these leg holds are things that we can use around all of the different parts that we did our arms. I could do it around all LT's front, I could do it around a single leg. I could do it around a single arm, just as I could do with my arms as well. So similarly with when we did, our different grips with our arm holds bringing in or in this way, it's going to be very similar with our legs as well. But instead of our hands being the thing that's closing the circuit, it's going to be our ankles. So what that will look like without a body or person is crossing our ankles, we see this. Now the space that something can go, whether it is a leg, whether it is a head, whether it is a waist, or a body, and then what I can do to make this shape, smaller, as you'll see, I'm kind of crossing my ankles, and hooking them as much as I can. so you can even do this. And similarly, when I was pulling this way, I can pull outwards and feel how strong that is. Now, to make this shape smaller, what I can do is I could bring my knees in, or I could push my legs out, and that makes the shape here. So you can put your hand in between your legs, and feel that difference. So I can feel if I bring my knees in, and then I feel if I extend my legs outward, I can feel that on my arm, what that is able to do L.T. Hawk: Yeah, and if you have like a really, if you have really thin arms, and for some reason, you just not able to make that decision, make a fist. and put a fist between your legs or two fists between your legs, in order to do the squeeze position, you know, and you can do is on your back Lola Jean: you don't can do it on your side, you can do it anywhere. L.T. Hawk: Yeah, you can do a side, just put two fists between your legs, and get used to squeezing like, if I extend my, if I extend my legs away like a little cricket, right, I can feel my fist squeezing together. So I know I'm able to create a tighter tighter hole by doing that. So you can use two fifths if your arms are really thin or small. Lola Jean: And sometimes to being on the side can kind of help if we're unable to get our legs around these different places. So we can do this, I can start by even trying to just get one of those legs, within my legs. So I'm on my side now. And then across my legs here, I can bring them inwards even towards me to make that smaller, I can try to bring my knees together, that's probably going to take a bit more of strength on my part. So I'd rather just bring my ankles towards my butt, or push my ankles farther away from my butt. Or I can just kind of cross it even higher on my legs to just hold their leg here. And this can be a bit of that not as much compression because that's gonna be different parts of the body. But this is just more of that like envelopment more of that control, just finding ways where we can kind of koala onto our person's body in different ways. L.T. Hawk: you saw like Lola has its position. And sometimes it's called like a figure four position on a leg if it was able to do it, and have control. And also like, if I was, if Lola was able to also tuck their foot behind my light here. Lola Jean: We're getting more that wrapping. L.T. Hawk: Yeah. So now now Lola is like really attached to my leg. As you see if I move my leg around. Lola is moving around this, this makes me look like Godzilla for some reason. I if I move my leg and a whole person come with it. But that's because Lola is attached to it. I'm not dragging a bag, a sandbag, that's way down there, right. So it's not like something changed in my leg and it's weights down there. This is completely attached to my leg in this spot. So what Lola could also do is by having this grip, Lola could extend this foot out and stretch my leg out. So now I can get stretched. And if Lola wants to come back Lola would just pull it back in this spot, you know, and again, if I'm not making a huge ridiculous movements, in order to not I don't want to say you want to put too much pressure on on my partners knee and my friend partner doesn't put too much pressure on my knee. So here we are and then Lola has or can not have the foot behind and can just be in this position. Lola Jean: if you think if you think about think of like the closure of a necklace where it has like the one long stick that you have to put through the circle and then make it like perpendicular to it. So it catches, that's what's happening here as well. So if you flex your foot and put underneath of that knee and put this down, if I pull my knee that way, it's kind of it's a stopper, essentially. And that's a lot of what this wrapping will do is it's a lot of flexed feet and just acting as a stopper so it can't move. If I point my foot, then I could just go like that. But if I flex my foot, not as much. L.T. Hawk: Yeah, and you can do like you said, one leg. If the legs are, if you're able to get around two legs, you could do both legs you could do around someone's waist. You can do both. So like around his leg here. I mean, the leg in, go around the leg and I'm in this position where I'm pulling here. So watch what I do my finger, I'm going to stick this foot behind this knee, like in that figure four position and my legs out, then I pull in, so now I'm able to pull my partner closer. If we're around this way, like, Well, Lola was the first time here, and I'm around the leg, because my legs are longer, I'm going to want to tuck under, because my legs are longer there's more space, so I'm not as tight. So if you're, if you're the taller person, or you have wider legs, you might want to tuck under, or I may need to get higher on the person, in order to do this position, now, if Lola starts moving away, I'm going to also use that grip again. So I'm going to come under their waist and go this direction, just so you see. And here I am, I'm gonna make this gable grip. So now I'm on this person, and I'm holding them tight. So if Lola starts roll away, it's kind of not really going to happen. Or if I wanted to follow, I might be able to come in here. Lola Jean: And take that also the manipulation as well, because the more parts of my body, that LT has the grip on where I can't go away, the more they can also control where I go. So I couldn't really roll without them. But what they did is like they kind of move their body to make more space. So I could go on to my stomach. Yeah, and those are be things that you kind of begin to feel or even the manipulation, where LT knew that they had to be higher on my body so they can kind of move me to get where they need to go. L.T. Hawk: Yeah, and we obviously do this a lot together. If it was something that we weren't doing, I'm going to use, I'm going to if I you know, I can speak so I'm going to ask, I'm gonna say hey, and he does like slide up a little higher, because it's a little loose. Or maybe I don't know that I'm too loose. So my partner can say, hey, this doesn't, it feels a little loosely, kind of adjust a little higher, or Lola can scoot a little lower, you know, so it's really just about getting into really getting into those spots where they feels most comfortable. And it feels like you're getting the pressure you want to feel now and not too much pressure. Lola Jean: And a lot of it like when I was doing kind of like the rolling with my legs to get tighter, that might be even similar what you do with your hips to kind of make the shape a little bit tighter as well too. So don't be afraid of having that little bit of movement, it doesn't need to be big, but just kind of rolling the hips around can kind of help move both people into place. More wrapping is... I love the grapevine a lot, cuz I like both doing that and receiving it. Grape vine, we kind of did a little bit of it, but it's like a wrapping around the leg, but it's being able to go out. And then in... so that way, you can be able to push that because what it's doing is it's enveloping the leg, but staying inwards. I'm the shorter person, mind you, this will be easier if you're longer. But I'm going to put my legs in. And then underneath of the calves, so inside the thigh underneath the calves, and then what I'll do from here, I'll probably want to be on my person. So I can be on them this way. Because what's going to happen is, when I scoot my legs, their body that's gonna come back a little bit. So I want to, from earlier, kind of be close to them maybe around in a certain way, I'm going to do a seatbelt grip. But I'm going to basically extend my legs out and my body back. You're so much taller than me. L.T. Hawk: I'm growing. Lola Jean: This would be easier, we're a little bit closer in height. But what this will do is kind of like extend their legs out to and which will feel like a nice stretch. But also be wary of your person if their bodies is really, really tight. You don't want to do this super quick. Yeah, you want to do this very slowly, as well. L.T. Hawk: So yeah, so there's like there's a thing, right, we're now we're in that spot of adjusting for height. So Lola, can grapevine the one leg that feels closer, it may be this side, because you're leaning to this side, it might actually be easier to do the side. It may not or may not I don't know, whichever. So like you have the seat belt grip. And you're off to one side. Yeah, now those off the one side. So it's just going to be just too hard to do this inside. So what Lola can do is take their foot, toes out in and what lola's going to do now is actually grapevine one leg and push down on a hip to extend that way. So just do the same. And push forward push. Yeah, so now it's just it's a one leg grapevine. Right. If my leg comes up, well, we can just kind of kick and kick it up or just keep pressure here. There you go. So now we have like this one leg grapevine position, if I can't seem to get high, or the person can just squeeze and yeah, it's just a pinch. So I'm still feeling kind of the pressure. I want to feel and the person's able to extend out If I'm just too long you can get your legs around Lola Jean: we can do this front to back, we can also do it from the front. So that's going to look very similarly. What I would go here, my legs would already be outside. So now what I have to do is basically I'm going to put my ankles inside of their ankles, and then I'm gonna slowly stretch out. kind of flatten like a pancake. So again, it's going to look a little bit different if our legs were closer in size. Yeah, but even still aware, this is their legs might not be straight out, but I still have their ankles locked here so that I'm able to move them out. L.T. Hawk: Yeah, I can't bridge in this position. So that's kind of what what the grapevine does is take away this bridging motion that I can't do. So sometimes it looks really dramatic, and you're able to extend people's legs completely out kind of like a starfish, yeah. Which you'll get like a starfish kind of shape here. Because because of the height difference, it's not really possible to get my legs completely out, because Lola's legs completely straight does not straighten my legs completely. Well, what does does do is I can't bridge here, like I really, really can't drive my hips off the ground very far, because they're driving their hips down. Now what Lola could do is walk their hips back, a little further here, and now grapevine and drive the hips down. Yep. As you see, like my breath kind of changes, go do it again, and extend. Yeah, so now I can't bridge at all, before I when Lola was a little higher, and doing a grapevine, I could still kind of bridge, it's not going to get them off. But I can kind of bridge it. So just drive your hips down further. So now it's hip to hip. And then as lola grapevines, there's no bridge at all, I cannot get my. Lola Jean: kind of the chest shoulder area. And as well as on the hip bones. These are two areas that where we can put the most amount of pressure and weight. But still, in that case, I'm going to be conscious of putting my weight onto my hands so that it's not entirely on my body. So if it was the other way around, or I was a lot heavier or larger than LT, I probably putting even more weight onto my hands there too. But this can also be kind of a bit of that weighted blanket. So if we were similar sizes, and I was able to fully extend, I can also be able to put more of my weight onto them L.T. Hawk: So I think what what could be helpful is you see it in reverse, right. So like you saw, you can see this person who's slightly smaller, or much smaller size than I am on top. And it's easy to keep that weight off, right? Because it's like, alright, they're smaller. But if I'm on top, here in this it's still envelopment because there isn't a compression, but position, it's similar, like Lola said, my weight is in my hands, my head is not like directly over their head, right. So my forehead goes above their forehead, and I lose my balance, like, their legs are wrapped around mine, which is my head will hit the ground and not hit their face. Okay, so you know, I want to be back here. Again, my weights back sitting my way back towards their thighs and towards their hips. I'm not, if I open my knees, then I'm driving my way down. So this is the difference. Weight is back, kind of like this a child's pose that you see in a physical yoga practice, or my weight is forward here. Okay, and I can bring my way down towards the chest, I bring my head to off to the side. So I'm not collapsing all my weight down. I'm here and I'm bringing my weight to this direction, and keeping my arms out. And if I want to bring my weight down, I will just open my knees slightly. And I'm in this position. We talk about grapevine and I'm in this spot, and I extend my legs out. Yeah, it's kind of like the starfish comforting. but not extended to too far. And it's really just my bony feet Yeah, um, so I still have control, I can cross my ankles. into the Shin. So it's really my feet into the Lola's shin, that creates that sound. So I can kind of just take some of the pressure off. Because I have longer feet, I can go towards the ankle in extending my weight around, see how my weight stays distributed in my hands. And I'm not again, collapsing my chest. Now, if for some reason, this just gets tiring. You can't really hold yourself up because it's kind of like a push up position. I don't need to be in this position the whole time. What I'm going to do is bring my weight off to one side. Okay, so for one way, I'm going to bring my arm, right arm to the opposite side of the body, and I can bring my chest down that way my chest is not laying on their chest, and I'm not compressing on their stomach. I'm still able to stay and keep keep pressing here. And I don't have to be in this push up position. And I'm not laying on the chest. I bring my weight off to the side, one side or the other side opposite you won't see my face and I'm down. Creating pressure here, I don't need the grapevine as much especially just bringing their legs. But I can pinch, I will say like we're all walking by walking my knees in and pinching here, bringing my chest down, creating pressure, I can just cross I can also cross my ankles here. I can push down on feet and squeeze and squeeze my hips, squeeze my knees together on their hips, and I can move the person around just with my knees, as opposed to, like slapping them around. So I'm not wasting a lot of time and or not time and not waste a lot of effort, like yanking or pulling them around, or flipping them around. Okay, if they want to help me out, Lola can just put their feet to the ground. Oh, yeah. And Lola is gonna like do like the Homer Simpson Twinkletoes thing as I move to the side Lola is gonna walk. Yeah, so I'm gonna be able to get into different positions, because I may be like, oh, let's get away from this. Because I, I left the I left a diffuser on or whatever. Or it is one of those candles lit that we got to get away from them. We walk away. So that way we don't, we all burn the house down. So yeah, you can work with your partner. So that way you don't have to like, be like a superhero. You can walk around with your partner and work together. Because you see I'm on top of not putting a lot of weight down on lola's body, right? Same thing with like going over the arms. So I don't want to my knees are like going to be too sharp. So I don't drive my knee down into someone's arm. So I'm going to do the one that goes over here. And what's happening is like their arm. Their arm is here, right in this little space. That's how I'm trapping the arm. in that spot. I don't need to do both if for some reason, if I just did both, and it was way too much pressure. So now I'm sitting all those hips. But my really what I'm doing is my feet are flat, and I don't need to really be hurting someone, or creating too much pressure. For this to be uncomfortable. I may put my body in a position where if I know that I'm not putting a lot of weight on them. I'm not injuring them. Or I'm doing quote unquote, everything right? The person, you know, the people we were the people we care about. Remember, this is all from a place of care, right? I don't do BDSM with people I hate. Oh, sorry. Thanks. So yeah, as Lola said, just adjusting because I have like a bony bony tailbone. I was like, instead off to the side. So I don't need to be again on the person. People feel uncomfortable, right, you just may feel claustrophobic, you just may feel uncomfortable, this may be kind of triggering in a position. So as soon as someone's like, oh, okay, you know, remove, get off, whatever, let's stop or whatever, then we need to stop immediately. Okay, the best part about this is, again, I don't need to like undo a bunch of stuff, right, I can just move my body off. So be aware that like, it's okay, if you're not feeling any pain, or you're not feeling any, any pressure or discomfort Lola Jean: the point of this is it will notice that the five feelings we're going for not one of them was pain, L.T. Hawk: yes, not not wanting this change, but you may want to stop just because you just feel claustrophobic, you know, and that's fine. So always make the adjustments so that you're not, you know, making a person too uncomfortable. So it just might be one arm off to the side, right, I may try one arm off to the side and keep my weight up high, there might be fine enough, right, I can kind of create that same kind of pressure by just again making that thumb grip over they are and that might be enough just to kind of feel like they're pinned down to spot Lola Jean: I think we got time for one more, which is gonna we're kind of getting there a little bit with with side control. So this is kind of getting a little bit both to that weighted blanket feeling. But also it can be that, you know, manipulation control as well. So, in this position, we're going to combine a lot of the things that we have done previously. So when we did that arm grip, the best one to do here is a seatbelt grip or we don't have to do one at all. So this is a great way to kind of play around with your body control and pinning someone's. remembering we want to keep our head tucked towards our person, but we're going to use our chest to put that weight onto our person onto their chest. And how this is going to kind of stay with that manipulation is I'm going to again, like walk my knees as close to their body as I can. And that way I can move how much of my chest that I'm going to put on to them. So for people that are very small or a lot smaller than their person, I think this is a fun one to learn of how to kind of redistribute your body weight of thinking that I'm so small, I can't possibly hold this person down. But if I put in all of my body weight into my chest onto my person, or even just flattening out a little bit more, you can play around to see what is the max amount or not even the maximum, what's the, you know, comfortable amount that feels good to your person of putting your body weight onto theirs, if I'm a lot bigger than maybe I'll put more of my weight into my legs, into my heels into my butt, but I can walk in my body close, and just play around, even walking in my knees towards their hip area, as well. Maybe a little bit towards their face, keeping my head tucked just so we don't bonk around as well too. But playing around with this way. And I could also even just like, kind of walk around their body if I wanted to play this way and kind of corralling them within. So this is another way of manipulation, but how we can pin their body down with our body. L.T. Hawk: Yeah, that's great. It's good. stretching my hips. Lola Jean: Um, and it can just feel kind of nice where it's like, like, it reminds me of like, dogs or seals, when they have to kind of move the ball around with their head. And I'm just like doing that kind of to your body sort of moving that around. And we did Baby Bear play that reminded me of that a little bit as well. L.T. Hawk: And a good person on the on the bottom. And you are concerned about the person on the bottom and you're concerned about like maybe having too much weight you want to like have like a frame. So what you want to do is is create a frame, you can create a frame in multiple ways. One is just having your arms out here, kind of still in that that kind of cocked position, I can just have it across my chest, I could cover my chest. Sometimes you could call this like a vampire grip. I'm not sure why. But I can just kind of well, I guess because a vampire sleep like this, right? Yeah. So I can go here and here and cover here. That way a person's weight is on my forearms, and it kind of feels like it's protecting my chest. Because some of us have more sensitive chest, some feels uncomfortable, have someone directly on it. So I can cover here, I can also this was This is always my favorite, cuz I feel like I have a lot of movement, um, is whenever I want to make a frame is I would just kind of like, kind of just bring my fingers up. And like I want to like pull my hair, I'm gonna bring my hand over my head in this position here. And I'm kind of here that way the person's on top. I'll show you what these different ways to vocalize with Lola on my chest here. So one, your frame is here. So those are gonna go down. There we go. And I feel like okay, maybe I just feel a little bit more comfortable. I don't feel like maybe I can control the weight a little bit here. But just yeah, in this spot. Now you can do what you can make an X with your arm. So just just like I can kind of cross my wrists here. If it's comfortable, and they laid out good. Now I feel like okay, I'm alright. And Lola can put maybe some pressure downwards, I feel like a little bit better. I can also like tap on them. Because my hands are available. I can create a little bit more space so if Lola goes down and too much weight. I can kind of just say up, I can give a little push and say oh, hey, I just need a little bit less space, right? Or I can adjust them away. The other way was crossing my chest. So like in this vampire grip. So when I keep my elbows down, so my elbows aren't poking out. So don't do this. Right. I'm not trying Yeah, don't don't hold people in the neck. So I'm here and here. I'm bringing my elbows down. I'm crossing my chest. So Lolola can puts a way down and I may be able to like take more weight here. Okay, again, I have like really sharp forearms. So Lola can just move around like go sideways. Ah, yeah, great. Aha, I move all around. Yeah, putting more weight on me. I may feel more comfortable and more at ease. That's not my favorite. Obviously. I'm gonna bring my hands across my face like this. And Lola can go ahead. Yeah, I feel like I'm allright here. Right? As Lola goes and mounts me. Okay, I have control of my face feel like Right, like a little bit a hug. Alright, not necessary. But if you just feel like you need to have a bit of a frame, you can do that, you know? Lola Jean: So hopefully like not even just for body bondage or movement. But hopefully this gives you also more body awareness of both. What are the parts of my partner's body that I can put a little bit more weight on or I can feel comfortable with my weight on and what are ways that I can alleviate any weight on my partner by putting it into my hands, or by making one of these frames? Honestly, I think with all of these courses on Wrestling, it's the thing that gives me most is body awareness. And it makes you more comfortable handling someone's body or someone handling yours and being able to keep yourself safer advocate for yourself as well. L.T. Hawk: Yeah, and we did a lot of things around the upper part of the body. We did mention, obviously, those grips work around lower parts of people's bodies as well. So it's, it's while it's very upper body focus todayIt's the same grip, right? I may come under here. And I may make the same Lola Jean: Yeah, and we said it in the beginning but we'll grip here. And I might be able to pull person over, right, so pull them on top of my knee, yeah, across my knee across my thought I can be pulled in this way I can pull their knees toward their face in this position I can go opposite, right. So they may be here, I can go under here and make the same grip here. And same thing, pulling their legs up, kind of like a like a merperson type of deal. Right? By sewing their legs together. I can step off here and pull their legs in. So there's a lot of things I can do with someone's lower body. And Lola is on top in this position.. Same thing, right when like Lola sitting back, I may want to sit up, so maybe I'll make an S grip and pull her leg up. Right. So now you have this position that I can pull by arm in and I can keep this grip, I can make one iron grip. Doing that little claw position again, pulling here and then I can reach towards her body. Yeah, I can spank a person I can get spanked in that position. So there's a lot of things you can do here, one legs, one leg, two leg, right? Maybe you want to like turn them to the side. Same deal. So the thing is these positions work. Well, these grips work well. I'm pulling my leg body around their legs. This is like kind of like a little fancy, right? So I might pull. I may use this grip. I pulled up. and now I'm in this figure four position again. And maybe I'll like, I'll figure four my legs. I don't need to maybe I'll push a leg out. And I hold his grip. Not open their legs. Like let's talk about opening someone's legs without prying them open with my hands. Okay, so I have this grip where I'm wrapping, enveloping your leg again. And I might just push this push out my fine behind the knee, I might be able to lift a leg up. So there's a lot of fun little ways you can play around. But all these grips were Yeah, on different parts of the body right around the hips, around the thighs around the ankles, around lower around the waist. reiterate it again. It's not about squeezing as hard as possible a lot of these grips. Yes, compression is a little bit about squeezing but it's really just about keeping things in place and having that control and when you have the control you're able to manipulate it a little bit more but hopefully all of these things are different tools and then freestyle it you know figure, put all these different puzzle pieces together that's literally what wrestling & jujitsu is is taking all these different tools and figuring out how to make them work for you. Alright, well I don't know if there any questions I love seeing people playing along with us it's really fun to do so we will send out this recording with the closed captioning as well so in case you forgot or you're in the middle of doing it is this correct you can always look back and watch that our play fighting for lovers or wrestling for lovers should be out sometime this month. That's almost completely done. So be on the lookout for that if you want to use I'm kind of expand on your body bondage and you want to you know do a little bit more play fighting more kinds of movements beyond just this to make it a bit more fluid. Awesome. Okay, so the first one that we will do is a bear hug that we can do in multiple directions and really on multiple parts of the body. But because the chest is a place, that tends to feel nice, when we're able to squeeze that. I can first do it around LT's arms and chest. So kind of coming in here, I'm going to do the gable grip. And in this case, because my fronts also on their back, I have this shape that I'm making, I can also make the shape not just by putting my arms inward and towards myself, but I can also push myself into my arms or into LT at the same time. So we talked about before, and you're not gonna see it that much. Because there's not as much space between my arms and Lt but I can squeeze in towards myself and squeeze my body towards them as well. And when you do this, you can just do it for a couple of seconds at a time. Again, it's not about squeezing as hard as you can, or as long as you can, there's a lot of things you can do to make this more intense that don't involve harder or longer. And just as the involvement of your person as well. Yeah, so I can do this around their arms. And that kind of gets this is getting a bit of the compression, it also can get the resistance if because lt can try to struggle within there, but they're not able to maybe move as much. Of course, they can escape by just lifting their arms up if they wanted. But if we're just having fun, and we want to just feel that resistance, we might not necessarily do that. Yeah, I could also do this even under their arms, say LT has got these giant biceps and I can't even get my arms around them here, I can always go without their arms and do the same thing. I like adding the arms because the ribcage is a sensitive area and I don't want to go too hard there. So by having the arms here and doing the bear hug, I'm automatically making a barrier where I don't have to worry about that as much. So when I'm here, I want to make sure to be higher above the floating ribs more on the chest area. And I'm probably just going to go a little bit lighter because I'm making a lot more contact with the body. before it was like compression on the arms that go into the chest. If I go under the arms. I'm just directly onto the chest. L.T. Hawk: And there's a concern that people will sometimes think about is like this, like the size of someone right? But we you see Lola is able to get around my arms and my chest and still make the make the gable grip, right. I'm not obviously flailing around, right, we keep again, keeping our hands inside to ride, my armsarenot flailing around? I'm not going going berserk. But also, the larger the person is, the more compression happens faster. Right? So you're like, oh, this person is really big. I gotta wrap my arms around it. But if I'm able to get my arms around them, their own size creates the compression faster, rather, as opposed to right, trying to like corral have a really small person, right? It's like they're wiggly, they're squiggly. There's a lot of space so you have a lot more space to need to close off. So you're going to have more actually More adjustment and more time learning since it's like learning body positions, when you have someone that actually is much smaller than you being able to get around their body and close off that space, so they can get that experience, and also be able to do it where you're measuring the amount of pressure, so you're also not pressing them. So you're gonna have much more of an adjustment with smaller people than you think you will with with larger. Lola Jean: whatif I'm unable to get my arms around you and they're just a lot smaller? What can I do them? L.T. Hawk: Yeah, so that's like a thing, if your hands only come this way, you can't do this S grip. So the s grip is just impossible to get, it's going to be really impossible to kind of do High. So what you can do when an arm is going to go down lower and find like this, this this elbow position. so Lolawill go down lower, lower, lower here and find the elbow position and my arm side, you see that kind of come together here. And then you're able to squeeze in that position. Yep. So you can find places on the arms where you're able to do this. Now that that is a difference with the body bondage is with rope, right, you're going to not want to be on like big, big parts of people's bodies, because it's going to slide down, right. So you want to you can start really high or start really low, just find that position where you feel in the compression. Another thing I would load can do is just also like, if my arms are really wide.. I'm not not participating, right, so there's a thing I'm not in like, It's not paralysis, I'm not sleep paralyzed. And not to make light of paralysis of course, but I'm not in a position where I can't participate. So if Lola goes around my arms, like really wide and Lola just can't make the grip, what I can do is I can cross my wrist over. So I'm going over here for us my wrist, and now Lola can go back higher, and then make their grip. Because I'm not making myself as wide as possible. So here, I'm as wide as possible, there's more area to cover. Here, I'm bringing my own arms across here. I can go across my wrist, I can go here or I can just touch my hips. And I make myself nice and tight. So now Lola can go higher or lower, wherever. And now I've made it a lot, I made it easier for my partner to make the grip. And I've also created a compression where I can feel what I want to feel I can also grab my elbows, if I want to do it from that position. You can go arms behind your back, as well. So I'm just crossing my arms, it feels comfortable, I'm gonna be able to cross my arm behind my back. And then same thing was able to get here in that position and squeezing. Lola Jean: I and can make my body higher or lower with what I need to do instead of just like stretching my arms everywhere as well, too. But before when LT was saying it's not about pulling someone, it's about staying attached to them. And thinking about especially with like rough body play and things like that. Or even just thinking about if you're in like a sexual scenario, sometimes you want to stay attached to your person, so it's less awkward or so you don't like lose that separation of like, we want to move over there together. So I'm gonna monkey onto your back, and then we'll do so. Or just even like, I actually did this earlier today, because I was trying to give my partner a behind hug. But they were kind of curled up and I didn't want to slide off their back. So I was like, I'm just gonna attach on to you, basically with this bear hug onto your back. And that way I don't have to like focus on my leg muscles. L.T. Hawk: And we're showing you the, the really like how to get into this position. And what we need to do is now think about adjusting. What's great about bodies are they're all just weird shapes. They're all different shapes, everything all of us are uniquely shaped. And how our bodies connect fit with other people's bodies are where more of the play comes in line is not a Lego block. It's not literally like just two and afour. So we did the two arms, right? I showed you ways where you get over two arms, but I can do two in one. So Lola could go under one arm and over another and and do this. Yeah, so you can do two and one and make that squeeze right. So Lola can just kind of reach up a little higher, and like lean this arm down. And now and then pull in you can pull it yeah, now I've got this position here. I'll show you so Lola is here above the rib. Now my ribs are going to are kind of for lack of a better word calloused in a sense, like because of like wrestling for a long time is I'm used to people like grinding against my ribs. So I don't it doesn't feel as painful for me. And you may be much more sensitive or maybe not. You may have some sensitivity there but you want to keep someone off. I don't really care if it's here like Lola can squeeze and pull in. I don't feel that it's not it's not painful for me for someone to be on my ribs. It doesn't mean I can't get injured in my ribs. So that's where you got to be conscious, right? I'm not going to feel the the shock or the sensitivity, but I know like if my speech is really hard, they can still damage my ribs, but you can go higher and Lola can pull in. And now we go. So you can go two on one, you can go one on two, you can go over under, you know, this is it doesn't have to look exactly like over two under two, you can go one and one. Lola Jean: One thing I didn't mention too, so right now my chin is on LT's shoulder neck area. And this is if I was a little bit removed, then we run the risk of bonkin heads and different things as we're talking. Also it creates it does create a smaller shape as well creates more intimacy. But this is also a safety thing too. I don't want to be behind directly behind their head. L.T. Hawk: Yeah, you don't want the person's head to go back. Accidentally, right? Yeah, obviously, you don't want to bang faces and heads, what you can do is do a, you can go ear to ear. So Lola's here, ear to ear. And again, this is like, I can actually feel like to echo my voice. So if your ear to ear is the same thing, so if my head moves, their head moves, right? There's not space, like if I, if I even tried to make space, Lola can just follow my follow my head and keep closing that space off. Right? As opposed, Lola just stays there and I move my head, right? Why, but why? Why would you do that. So the idea is, remember, you're gluing yourself. So if you go ear to ear, you're fine. Like my head goes back, it's not gonna hit Lola's head, my head goes forward, right now we made some some distance but Lola can just now just keep turning their head into me. Right? So head control is important. In order to not like Lola said create space where you're not paying Lola Jean: you can take a lot of these, if you have that mentality of like, okay, here's a way that I can create compression. And if they want to create resistance, they can do that. Now I can take that same kind of grip, here, we were getting more of that chest compression, but I can use that same grip, if I want to go around the waist and do something similar whether I want to just hold on or whether I want to squeeze it can really be either one of the two. And that's also going to be like based on that feeling. So maybe, do you want compression? Do you want resistance? Or do you want just more of that control as well, because if it's the control, and you're not gonna necessarily be squeezing, you might just be kind of moving, manipulation, a little bit of that contortion, depending on how you are manipulating them. But you can utilize this on all different parts of the body, maybe we're kind of playing around, and then I kind of want to get on both LT's legs, and just be able to take that take that away from them, or something. So you can still be able to utilize this arm grip by getting a large chunk of the body. L.T. Hawk: like where that my head is placed. So like around the front, you saw Lola's head was placed on the front, this also could be around the back. So if I was here, if I turn this way, and Lola just did this around my back, see Lola's head is now in that space close to my body not back away from me. One, the more space between their arms and my body, there's no compression, you know, so we don't want to leave like a whole bit of space. So lola's head can be here. Yeah, around the back, it can be high on the chest, and their head, it can be like right on the back. If you can't go ear to ear just because of height difference. All Lola has to do is like pin. Yeah, pin her ear to my back. So here again, I'm still not able to like bang my head back, you know, let's just, I don't know, there's a good beat going on. I don't know why you'd be doing that. But let's just say your head goes back, you're not gonna be able to create as much. That's true, some people move their head around, but I won't be banging my head like I would have to purposefully like drive my head all the way down and slam it all the way back, right. Um, but I don't know why you do that. Don't do that to partners it's not nice. Lola Jean: So you'll notice in this scenario too, for right now for the purposes of it, it's a lot of my upper body and chest that's really compressed, but you'll see that like, I have my hips away from here. And that's really just for movement so that if LT moves, it's easier for me to move with them versus if I was like flush against their body, if they move in, I will still go with them. But I'm not going to have as much control. So both of those are still good and valid depending on what it is that you want to do. And remember it's going back to these different feelings do we want to feel more controlled? Do we want to feel compressed, do we want to feel enveloped. If you want to feel enveloped, I'm not gonna have more of that control. And I'm just gonna wrap my body as much around you as possible. So that's why those feelings are really important. Let's talk about if if you want to, if you're really loving the compression and you want to add even more to this, you can use the person who is being compressed to assist with their breathing. And this gets a little bit into this is breath play, which we talked about a lot in our choking course but this is compression. So any kind of breath play is when you are limiting the amount of airflow into the lungs and the While that can be by, you know, closing different air passageways, it can also be by compressing that space. So we are compressing that a bit when we, you know, hug and bear hug on this area. But the other way we can assist in that is if our person also adjusts their breathing. L.T. Hawk: So as a person as I go to squeeze, right, again, if I have less oxygen in my body, it closes the space off, right. So this also is going to allow the person to get tighter. So as Lola begins to squeeze, Lola says, I'm going to squeeze, I'm going to exhale. So Lola may say exhale, Lola Jean: inhale together. Yeah. And as they exhale, I'll squeeze a bit more. And that's just going to deepen that compression. L.T. Hawk: Yeah. And I may hold my breath for a count, I mean, count, hold my breath for two seconds. And then inhale out in. Now I need more space to breathe, my partner's going to create, allow me to have space to breathe right? And not going to compress so much that way, I don't feel like I get air in my lungs, you'll still get air in your body, right. But it may feel labored, or it may feel like a, it may feel like you need to do a work a little harder to do that. If that is not something I want to feel, of course, I want to be able to tell my friend Oh, I need more space to breathe, or can you loosen up a little bit so that I can breathe better. So yeah, just exhaling out is a good way of taking away space. From myself, I like exhale out, bring myself low, bring myself in a little bit more than that person is able to wrap around. Same thing, like when I'm creating a squeeze, I will even if the person is not breathing, exhaling or inhaling, I may inhale or exhale. And what that looks like if I'm around someone's back here. And I'm here, and I'm just go over, we'll go, double under here. So if I'm here, and I have my chest here, and I want to like not pull my arms in because maybe when I pull my arms in, it creates too much pressure downward or forward on their chest, right. So I don't want to compress on the person's chest because it may hurt. so I squeeze and they're like, 'Oh, that's too much squeezing' but I want to take air out. So what I will do is use my chest by inhaling deep, I'm going to use my chest to create less space. So I'm here and I'm just gonna inhale it. And just you see my chest pushes into the person and it creates more of a tension, as opposed to here, watch my elbows like pull back and pull the person towards me. But instead of being able to pull back, sometimes I can't pull back, you know, maybe my arms are pretty much I mean, the person is resisting, or maybe I just can't get enough a tight enough grip. Or, again, I don't want to use my arms because they'll burn out. A big way of doing that is I don't have to worry about my forearms getting tired, because I'm constantly like in a real tight grip. So I'm here, I want to take some space away, I'm just going to inhale and drive my chest in as I drive my chest into their back, it pushes into their grip. So it makes the grip tighter, low space here. Lola Jean: And all of these things, we're doing them back to front. Um, but you can also do them face to face. Or if I don't know if I do this all the time, or like if someone's feeling like stress or anxiety, and I'm like, can you just squeeze me or give me a hug, and then we'll like go into a hug position. But what I'll do is I'll have a gable grip around their back, and then I'll pull in. So it's, it's kind of like a more intense hug. L.T. Hawk: Yeah, it's a given goal. Yeah, you can bear hug from from the back, you can bear from the front. You know, sometimes face to face, belly to belly, you can also do the same compressions. And that can be the same like over the two arms. So you can go front here, facing the person, I can go over the front of them and do the same grip here. I'm driving my shoulder down that way my shoulders not like smooshing them in the face. So I'm in here I go here and I pull in. So again, I can inhale, bring my chest forward, or I can walk my hips forward into that person, as opposed to like yanking them towards me. Again, using my arms, I'm walking my hips in. I'm trying, I'm also avoiding sorry, pull the shirt off. I'm avoiding this lower back, right, I don't want to be cracking people's back. So I'm avoiding the lower back. Your ribs are still here, which if you compress too much, it's going to affect their breathing and their lungs. So I'm not here squeezing. I'm coming up kind of right in this middle spot that if it was like a backpack would kind of be like now Lolas feel like you're going to go sleep. It will kind of be like something you would do. And in like you see a chiropractic adjustment. So I'm just kind of here in this position. There's also the curvature of the spine. there's space so that I'm not squeezing into their back. My thumb is not going into their back. So you won't miss this line is that when I go here and I have this gable grip, there's a space here. So I'm just kind of pulling here, my heads tight, we're still kind of doing ear to ear, but I'm bringing my head down, and I'm able to kind of hold, if I want to, like, breathe, I can breathe in and then release. So I can do intermittent pressure where I [breaths]. And then I'm releasing, or I can hold pressure, like a five count 5..4...3...2... and release. Lola Jean: Alright, so that's, that's plenty of things. And you can really apply that all around the body any which way too, and that's a great one, that's a little bit of like weighted blanket in a certain way, especially if you were laying on top of your person, but it can provide that nice pressure, it can be more that compression or resistance. thing that we're going to do is called, um, it's called a school person pin. And this is one that's going to be it can be a combination of like body manipulation, a little bit of wrapping, this isn't one that's kind of an all around the grip, sort of a hold. But what this is doing is it's like a pin, it's pinning someone's body into the ground so that they can have that resistance, where they can't move so in this posiiton what I'll do is the classic, school person pin is their hands over their head, so my knees are going to pin on to their biceps, and I can be on their biceps by putting weight on my hands. So there's a little bit less weight, especially if I'm a larger person, or I can put my knees so that my knee is overtop of their bicep. So that my knee is overtop of the bicep, and then my foot is here. So it's kind of like I'm putting a lock on each arm this way. So in this way, I'm not actually putting the weight on their bicep, if I wanted to, I put a little bit more weight on my hands, and lower my knees there. So that's one position. And if I wanted to kind of envelop them more, get things closer, I can always walk my knees in to their head. And the same thing, if I wanted to be more on their body, by putting more weight onto my hands, I put less weight onto their body, if I want to put more weight onto their body, like walk my hips up, then I can just use my body like a lever that way. But while you're here, put your weight into your hands. And even just squeeze your knees, I like to just walk my knees in. And that's just going a little by little, just kind of create less space between my knees and their body, giving kind of that same compression that we did with our hands and this kind of knee walk move. I do that a lot on a lot of different parts of the body when I want to kind of squeeze somebody a little bit more wherever that may be. So even if I'm on the hips, or the waist, I'll just walk my knees in, basically to get them even closer. And so here, if I wanted to do something similar to the bear hug where we had, this one version doesn't have their arms pinned, but if I wanted to have their arms pinned as well, I can do the same thing where my knees will then be on the outside of their arms, pinning their arms into their body, as well here too, and I can do this facing each direction. And this can be I find this to be really nice to feel kind of pinned down by someone's body, I want to be higher on their body, because if I'm lower, my weight is going to be on their stomach, which is a sensitive area that cannot hold weight, especially if it's not clenched, as well. So that's asking a lot of a person, but I want to be higher on their body because also if I fall, I can then fall this way and I don't just fall onto their face or their nose or something like that. This is also a fun one if you want to do body bondage with some kind of sexual play because I have a lot of movement this way. And that way. I particularly like using this move for like the person on the bottom giving oral and the person on the top doing hand stuff. I find it to be really fun because it's a it's a type of body bondage where I still have more control and it's not as as doesn't feel as forced too. But that's that's one of the favorite of mine, particularly because it has a little bit more range of motion for each person. . L.T. Hawk: And of course, like, you know, we have the support of whatever surface I'm laying on, right. So the person is laying on a surface. There is some support there, right so you can kind of just relax into this spot. What's also really good is that the positions that Lola is in is not putting a lot of pressure downward on my body. Right? Lola is using movement for, by like pinching their thighs and knees together to create that compression, as opposed to just every all the weight coming straight down on me and pinning me in that sense, which would be different. Lola Jean: I'm like, they're pinned there, just because my body's on top, and they can't... to push me off of them, That would take a lot. L.T. Hawk: I'm pinned, not nailed, right. So I'm not drilled into the ground, by like, a bunch of force on being pinned in the ground by Lola'sposition. Lola Jean: And kind of in a similar if if, especially if things like force oral or things like that aren't fun for you, I could also switch my positioning and be facing the opposite way. But I'd probably do here is I'd want LT to have their hands free. So if I was pinning them, same thing, and then I could be doing hand stuff, or whatever. And I like this, because then there's a little bit more intimacy. So LT wanted to like touch my back, or my butt, while I'm doing different things as well. This can just feel kind of nice for again, feeling if you want the feeling of feeling pinned by your person, or feeling that envelopment or even feeling resistance, because that's an area where my whole body and my lower body is stronger than your upper body. Yeah, so you're not going to be able to easily move off of me. L.T. Hawk: And yeah, and then you have, you're kind of you have a space where you can kind of move your legs, you can play with the concept of squirming without making like big, Herky jerky movement movements, or tossing the person off of me, right? I can kind of move my legs around. It also gets my legs free in case like Lola was saying, if you're doing a position where your face is engaged or touching someone's like genital area, or butt area, and you know, or they're like sitting down or putting some like or smothering like you've seen, you've seen this, like the person is in a smothering position, I have my feet where I can still tap, right? It's not only my arms, I have my arms, so I can still get their attention if I need to. And they can, you know, stop if they need to, or we can take pressure off. So it's a really fun position, you can do a lot of things that's not so focused on constricting or restrict, you can restrict the movement without putting a lot of pressure. And of course, it leads into a lot of other plays, types of play, rather sensual with touch. Or if you describe the sexual, Lola Jean: if you think of resistance, I think of it almost as like, the damsel is tied to the railroad tracks, like tell me I can't get out of these ropes. And like, they probably could, they probably could get out. It's not tight. It's usually just wrapped around like that. But it's really kind of having this fun of the feeling of resistance as well. And it's just feeling something against you like, yeah, LT bumped and moved their legs and stuff, they could probably throw me off. But that's not the game that we're playing here. So you talk about resistance. It's just that that feeling of like, "I could get out, but I'd have to try a lot harder than this." Yes. Okay, let's see. Um, okay, so now I want to talk about scissors, and leg hold. So we talked about different ways we can use our arms to compress around the body, and our legs are another thing that can compress around the body as well. And we were kind of talking before about how you know, instead of rope, you can go around larger parts of the body. But because our arms and our legs are so fleshy as well, we don't have to worry as much as we do with rope about nerve damage, because it's these, like large parts that are going around different parts of L.T. Hawk: Yeah, it's not it's not localized, right? You know, it's not, it's not really like laying directly across someone's nerve, as opposed to obviously write a very thin piece of rope, or a belt, or anything else where you write necessarily, right on the right, is the right spot, but also the wrong spot, when we have something happen, so yeah, your legs are pretty powerful. That's the other thing, though, right? You have really, you may have really powerful legs, and your legs are generally going to be stronger than your arms. Lola Jean: Um, so that's the benefit of our legs. The disadvantage when it comes to arm holds versus leg holds is that we have this really nice closed circuit with our arms. And while we can make somewhat of a closed circuit with our legs, you know, we have feet and toes, we don't have as dexterous of fingers to make that completely closed off. So it's not going to be necessarily as secure or able to envelop as much around something that's larger. So these leg holds are things that we can use around all of the different parts that we did our arms. I could do it around all LT's front, I could do it around a single leg. I could do it around a single arm, just as I could do with my arms as well. So similarly with when we did, our different grips with our arm holds bringing in or in this way, it's going to be very similar with our legs as well. But instead of our hands being the thing that's closing the circuit, it's going to be our ankles. So what that will look like without a body or person is crossing our ankles, we see this. Now the space that something can go, whether it is a leg, whether it is a head, whether it is a waist, or a body, and then what I can do to make this shape, smaller, as you'll see, I'm kind of crossing my ankles, and hooking them as much as I can. so you can even do this. And similarly, when I was pulling this way, I can pull outwards and feel how strong that is. Now, to make this shape smaller, what I can do is I could bring my knees in, or I could push my legs out, and that makes the shape here. So you can put your hand in between your legs, and feel that difference. So I can feel if I bring my knees in, and then I feel if I extend my legs outward, I can feel that on my arm, what that is able to do L.T. Hawk: Yeah, and if you have like a really, if you have really thin arms, and for some reason, you just not able to make that decision, make a fist. and put a fist between your legs or two fists between your legs, in order to do the squeeze position, you know, and you can do is on your back Lola Jean: you don't can do it on your side, you can do it anywhere. L.T. Hawk: Yeah, you can do a side, just put two fists between your legs, and get used to squeezing like, if I extend my, if I extend my legs away like a little cricket, right, I can feel my fist squeezing together. So I know I'm able to create a tighter tighter hole by doing that. So you can use two fifths if your arms are really thin or small. Lola Jean: And sometimes to being on the side can kind of help if we're unable to get our legs around these different places. So we can do this, I can start by even trying to just get one of those legs, within my legs. So I'm on my side now. And then across my legs here, I can bring them inwards even towards me to make that smaller, I can try to bring my knees together, that's probably going to take a bit more of strength on my part. So I'd rather just bring my ankles towards my butt, or push my ankles farther away from my butt. Or I can just kind of cross it even higher on my legs to just hold their leg here. And this can be a bit of that not as much compression because that's gonna be different parts of the body. But this is just more of that like envelopment more of that control, just finding ways where we can kind of koala onto our person's body in different ways. L.T. Hawk: you saw like Lola has its position. And sometimes it's called like a figure four position on a leg if it was able to do it, and have control. And also like, if I was, if Lola was able to also tuck their foot behind my light here. Lola Jean: We're getting more that wrapping. L.T. Hawk: Yeah. So now now Lola is like really attached to my leg. As you see if I move my leg around. Lola is moving around this, this makes me look like Godzilla for some reason. I if I move my leg and a whole person come with it. But that's because Lola is attached to it. I'm not dragging a bag, a sandbag, that's way down there, right. So it's not like something changed in my leg and it's weights down there. This is completely attached to my leg in this spot. So what Lola could also do is by having this grip, Lola could extend this foot out and stretch my leg out. So now I can get stretched. And if Lola wants to come back Lola would just pull it back in this spot, you know, and again, if I'm not making a huge ridiculous movements, in order to not I don't want to say you want to put too much pressure on on my partners knee and my friend partner doesn't put too much pressure on my knee. So here we are and then Lola has or can not have the foot behind and can just be in this position. Lola Jean: if you think if you think about think of like the closure of a necklace where it has like the one long stick that you have to put through the circle and then make it like perpendicular to it. So it catches, that's what's happening here as well. So if you flex your foot and put underneath of that knee and put this down, if I pull my knee that way, it's kind of it's a stopper, essentially. And that's a lot of what this wrapping will do is it's a lot of flexed feet and just acting as a stopper so it can't move. If I point my foot, then I could just go like that. But if I flex my foot, not as much. L.T. Hawk: Yeah, and you can do like you said, one leg. If the legs are, if you're able to get around two legs, you could do both legs you could do around someone's waist. You can do both. So like around his leg here. I mean, the leg in, go around the leg and I'm in this position where I'm pulling here. So watch what I do my finger, I'm going to stick this foot behind this knee, like in that figure four position and my legs out, then I pull in, so now I'm able to pull my partner closer. If we're around this way, like, Well, Lola was the first time here, and I'm around the leg, because my legs are longer, I'm going to want to tuck under, because my legs are longer there's more space, so I'm not as tight. So if you're, if you're the taller person, or you have wider legs, you might want to tuck under, or I may need to get higher on the person, in order to do this position, now, if Lola starts moving away, I'm going to also use that grip again. So I'm going to come under their waist and go this direction, just so you see. And here I am, I'm gonna make this gable grip. So now I'm on this person, and I'm holding them tight. So if Lola starts roll away, it's kind of not really going to happen. Or if I wanted to follow, I might be able to come in here. Lola Jean: And take that also the manipulation as well, because the more parts of my body, that LT has the grip on where I can't go away, the more they can also control where I go. So I couldn't really roll without them. But what they did is like they kind of move their body to make more space. So I could go on to my stomach. Yeah, and those are be things that you kind of begin to feel or even the manipulation, where LT knew that they had to be higher on my body so they can kind of move me to get where they need to go. L.T. Hawk: Yeah, and we obviously do this a lot together. If it was something that we weren't doing, I'm going to use, I'm going to if I you know, I can speak so I'm going to ask, I'm gonna say hey, and he does like slide up a little higher, because it's a little loose. Or maybe I don't know that I'm too loose. So my partner can say, hey, this doesn't, it feels a little loosely, kind of adjust a little higher, or Lola can scoot a little lower, you know, so it's really just about getting into really getting into those spots where they feels most comfortable. And it feels like you're getting the pressure you want to feel now and not too much pressure. Lola Jean: And a lot of it like when I was doing kind of like the rolling with my legs to get tighter, that might be even similar what you do with your hips to kind of make the shape a little bit tighter as well too. So don't be afraid of having that little bit of movement, it doesn't need to be big, but just kind of rolling the hips around can kind of help move both people into place. More wrapping is... I love the grapevine a lot, cuz I like both doing that and receiving it. Grape vine, we kind of did a little bit of it, but it's like a wrapping around the leg, but it's being able to go out. And then in... so that way, you can be able to push that because what it's doing is it's enveloping the leg, but staying inwards. I'm the shorter person, mind you, this will be easier if you're longer. But I'm going to put my legs in. And then underneath of the calves, so inside the thigh underneath the calves, and then what I'll do from here, I'll probably want to be on my person. So I can be on them this way. Because what's going to happen is, when I scoot my legs, their body that's gonna come back a little bit. So I want to, from earlier, kind of be close to them maybe around in a certain way, I'm going to do a seatbelt grip. But I'm going to basically extend my legs out and my body back. You're so much taller than me. L.T. Hawk: I'm growing. Lola Jean: This would be easier, we're a little bit closer in height. But what this will do is kind of like extend their legs out to and which will feel like a nice stretch. But also be wary of your person if their bodies is really, really tight. You don't want to do this super quick. Yeah, you want to do this very slowly, as well. L.T. Hawk: So yeah, so there's like there's a thing, right, we're now we're in that spot of adjusting for height. So Lola, can grapevine the one leg that feels closer, it may be this side, because you're leaning to this side, it might actually be easier to do the side. It may not or may not I don't know, whichever. So like you have the seat belt grip. And you're off to one side. Yeah, now those off the one side. So it's just going to be just too hard to do this inside. So what Lola can do is take their foot, toes out in and what lola's going to do now is actually grapevine one leg and push down on a hip to extend that way. So just do the same. And push forward push. Yeah, so now it's just it's a one leg grapevine. Right. If my leg comes up, well, we can just kind of kick and kick it up or just keep pressure here. There you go. So now we have like this one leg grapevine position, if I can't seem to get high, or the person can just squeeze and yeah, it's just a pinch. So I'm still feeling kind of the pressure. I want to feel and the person's able to extend out If I'm just too long you can get your legs around Lola Jean: we can do this front to back, we can also do it from the front. So that's going to look very similarly. What I would go here, my legs would already be outside. So now what I have to do is basically I'm going to put my ankles inside of their ankles, and then I'm gonna slowly stretch out. kind of flatten like a pancake. So again, it's going to look a little bit different if our legs were closer in size. Yeah, but even still aware, this is their legs might not be straight out, but I still have their ankles locked here so that I'm able to move them out. L.T. Hawk: Yeah, I can't bridge in this position. So that's kind of what what the grapevine does is take away this bridging motion that I can't do. So sometimes it looks really dramatic, and you're able to extend people's legs completely out kind of like a starfish, yeah. Which you'll get like a starfish kind of shape here. Because because of the height difference, it's not really possible to get my legs completely out, because Lola's legs completely straight does not straighten my legs completely. Well, what does does do is I can't bridge here, like I really, really can't drive my hips off the ground very far, because they're driving their hips down. Now what Lola could do is walk their hips back, a little further here, and now grapevine and drive the hips down. Yep. As you see, like my breath kind of changes, go do it again, and extend. Yeah, so now I can't bridge at all, before I when Lola was a little higher, and doing a grapevine, I could still kind of bridge, it's not going to get them off. But I can kind of bridge it. So just drive your hips down further. So now it's hip to hip. And then as lola grapevines, there's no bridge at all, I cannot get my. Lola Jean: kind of the chest shoulder area. And as well as on the hip bones. These are two areas that where we can put the most amount of pressure and weight. But still, in that case, I'm going to be conscious of putting my weight onto my hands so that it's not entirely on my body. So if it was the other way around, or I was a lot heavier or larger than LT, I probably putting even more weight onto my hands there too. But this can also be kind of a bit of that weighted blanket. So if we were similar sizes, and I was able to fully extend, I can also be able to put more of my weight onto them L.T. Hawk: So I think what what could be helpful is you see it in reverse, right. So like you saw, you can see this person who's slightly smaller, or much smaller size than I am on top. And it's easy to keep that weight off, right? Because it's like, alright, they're smaller. But if I'm on top, here in this it's still envelopment because there isn't a compression, but position, it's similar, like Lola said, my weight is in my hands, my head is not like directly over their head, right. So my forehead goes above their forehead, and I lose my balance, like, their legs are wrapped around mine, which is my head will hit the ground and not hit their face. Okay, so you know, I want to be back here. Again, my weights back sitting my way back towards their thighs and towards their hips. I'm not, if I open my knees, then I'm driving my way down. So this is the difference. Weight is back, kind of like this a child's pose that you see in a physical yoga practice, or my weight is forward here. Okay, and I can bring my way down towards the chest, I bring my head to off to the side. So I'm not collapsing all my weight down. I'm here and I'm bringing my weight to this direction, and keeping my arms out. And if I want to bring my weight down, I will just open my knees slightly. And I'm in this position. We talk about grapevine and I'm in this spot, and I extend my legs out. Yeah, it's kind of like the starfish comforting. but not extended to too far. And it's really just my bony feet Yeah, um, so I still have control, I can cross my ankles. into the Shin. So it's really my feet into the Lola's shin, that creates that sound. So I can kind of just take some of the pressure off. Because I have longer feet, I can go towards the ankle in extending my weight around, see how my weight stays distributed in my hands. And I'm not again, collapsing my chest. Now, if for some reason, this just gets tiring. You can't really hold yourself up because it's kind of like a push up position. I don't need to be in this position the whole time. What I'm going to do is bring my weight off to one side. Okay, so for one way, I'm going to bring my arm, right arm to the opposite side of the body, and I can bring my chest down that way my chest is not laying on their chest, and I'm not compressing on their stomach. I'm still able to stay and keep keep pressing here. And I don't have to be in this push up position. And I'm not laying on the chest. I bring my weight off to the side, one side or the other side opposite you won't see my face and I'm down. Creating pressure here, I don't need the grapevine as much especially just bringing their legs. But I can pinch, I will say like we're all walking by walking my knees in and pinching here, bringing my chest down, creating pressure, I can just cross I can also cross my ankles here. I can push down on feet and squeeze and squeeze my hips, squeeze my knees together on their hips, and I can move the person around just with my knees, as opposed to, like slapping them around. So I'm not wasting a lot of time and or not time and not waste a lot of effort, like yanking or pulling them around, or flipping them around. Okay, if they want to help me out, Lola can just put their feet to the ground. Oh, yeah. And Lola is gonna like do like the Homer Simpson Twinkletoes thing as I move to the side Lola is gonna walk. Yeah, so I'm gonna be able to get into different positions, because I may be like, oh, let's get away from this. Because I, I left the I left a diffuser on or whatever. Or it is one of those candles lit that we got to get away from them. We walk away. So that way we don't, we all burn the house down. So yeah, you can work with your partner. So that way you don't have to like, be like a superhero. You can walk around with your partner and work together. Because you see I'm on top of not putting a lot of weight down on lola's body, right? Same thing with like going over the arms. So I don't want to my knees are like going to be too sharp. So I don't drive my knee down into someone's arm. So I'm going to do the one that goes over here. And what's happening is like their arm. Their arm is here, right in this little space. That's how I'm trapping the arm. in that spot. I don't need to do both if for some reason, if I just did both, and it was way too much pressure. So now I'm sitting all those hips. But my really what I'm doing is my feet are flat, and I don't need to really be hurting someone, or creating too much pressure. For this to be uncomfortable. I may put my body in a position where if I know that I'm not putting a lot of weight on them. I'm not injuring them. Or I'm doing quote unquote, everything right? The person, you know, the people we were the people we care about. Remember, this is all from a place of care, right? I don't do BDSM with people I hate. Oh, sorry. Thanks. So yeah, as Lola said, just adjusting because I have like a bony bony tailbone. I was like, instead off to the side. So I don't need to be again on the person. People feel uncomfortable, right, you just may feel claustrophobic, you just may feel uncomfortable, this may be kind of triggering in a position. So as soon as someone's like, oh, okay, you know, remove, get off, whatever, let's stop or whatever, then we need to stop immediately. Okay, the best part about this is, again, I don't need to like undo a bunch of stuff, right, I can just move my body off. So be aware that like, it's okay, if you're not feeling any pain, or you're not feeling any, any pressure or discomfort Lola Jean: the point of this is it will notice that the five feelings we're going for not one of them was pain, L.T. Hawk: yes, not not wanting this change, but you may want to stop just because you just feel claustrophobic, you know, and that's fine. So always make the adjustments so that you're not, you know, making a person too uncomfortable. So it just might be one arm off to the side, right, I may try one arm off to the side and keep my weight up high, there might be fine enough, right, I can kind of create that same kind of pressure by just again making that thumb grip over they are and that might be enough just to kind of feel like they're pinned down to spot Lola Jean: I think we got time for one more, which is gonna we're kind of getting there a little bit with with side control. So this is kind of getting a little bit both to that weighted blanket feeling. But also it can be that, you know, manipulation control as well. So, in this position, we're going to combine a lot of the things that we have done previously. So when we did that arm grip, the best one to do here is a seatbelt grip or we don't have to do one at all. So this is a great way to kind of play around with your body control and pinning someone's. remembering we want to keep our head tucked towards our person, but we're going to use our chest to put that weight onto our person onto their chest. And how this is going to kind of stay with that manipulation is I'm going to again, like walk my knees as close to their body as I can. And that way I can move how much of my chest that I'm going to put on to them. So for people that are very small or a lot smaller than their person, I think this is a fun one to learn of how to kind of redistribute your body weight of thinking that I'm so small, I can't possibly hold this person down. But if I put in all of my body weight into my chest onto my person, or even just flattening out a little bit more, you can play around to see what is the max amount or not even the maximum, what's the, you know, comfortable amount that feels good to your person of putting your body weight onto theirs, if I'm a lot bigger than maybe I'll put more of my weight into my legs, into my heels into my butt, but I can walk in my body close, and just play around, even walking in my knees towards their hip area, as well. Maybe a little bit towards their face, keeping my head tucked just so we don't bonk around as well too. But playing around with this way. And I could also even just like, kind of walk around their body if I wanted to play this way and kind of corralling them within. So this is another way of manipulation, but how we can pin their body down with our body. L.T. Hawk: Yeah, that's great. It's good. stretching my hips. Lola Jean: Um, and it can just feel kind of nice where it's like, like, it reminds me of like, dogs or seals, when they have to kind of move the ball around with their head. And I'm just like doing that kind of to your body sort of moving that around. And we did Baby Bear play that reminded me of that a little bit as well. L.T. Hawk: And a good person on the on the bottom. And you are concerned about the person on the bottom and you're concerned about like maybe having too much weight you want to like have like a frame. So what you want to do is is create a frame, you can create a frame in multiple ways. One is just having your arms out here, kind of still in that that kind of cocked position, I can just have it across my chest, I could cover my chest. Sometimes you could call this like a vampire grip. I'm not sure why. But I can just kind of well, I guess because a vampire sleep like this, right? Yeah. So I can go here and here and cover here. That way a person's weight is on my forearms, and it kind of feels like it's protecting my chest. Because some of us have more sensitive chest, some feels uncomfortable, have someone directly on it. So I can cover here, I can also this was This is always my favorite, cuz I feel like I have a lot of movement, um, is whenever I want to make a frame is I would just kind of like, kind of just bring my fingers up. And like I want to like pull my hair, I'm gonna bring my hand over my head in this position here. And I'm kind of here that way the person's on top. I'll show you what these different ways to vocalize with Lola on my chest here. So one, your frame is here. So those are gonna go down. There we go. And I feel like okay, maybe I just feel a little bit more comfortable. I don't feel like maybe I can control the weight a little bit here. But just yeah, in this spot. Now you can do what you can make an X with your arm. So just just like I can kind of cross my wrists here. If it's comfortable, and they laid out good. Now I feel like okay, I'm alright. And Lola can put maybe some pressure downwards, I feel like a little bit better. I can also like tap on them. Because my hands are available. I can create a little bit more space so if Lola goes down and too much weight. I can kind of just say up, I can give a little push and say oh, hey, I just need a little bit less space, right? Or I can adjust them away. The other way was crossing my chest. So like in this vampire grip. So when I keep my elbows down, so my elbows aren't poking out. So don't do this. Right. I'm not trying Yeah, don't don't hold people in the neck. So I'm here and here. I'm bringing my elbows down. I'm crossing my chest. So Lolola can puts a way down and I may be able to like take more weight here. Okay, again, I have like really sharp forearms. So Lola can just move around like go sideways. Ah, yeah, great. Aha, I move all around. Yeah, putting more weight on me. I may feel more comfortable and more at ease. That's not my favorite. Obviously. I'm gonna bring my hands across my face like this. And Lola can go ahead. Yeah, I feel like I'm allright here. Right? As Lola goes and mounts me. Okay, I have control of my face feel like Right, like a little bit a hug. Alright, not necessary. But if you just feel like you need to have a bit of a frame, you can do that, you know? Lola Jean: So hopefully like not even just for body bondage or movement. But hopefully this gives you also more body awareness of both. What are the parts of my partner's body that I can put a little bit more weight on or I can feel comfortable with my weight on and what are ways that I can alleviate any weight on my partner by putting it into my hands, or by making one of these frames? Honestly, I think with all of these courses on Wrestling, it's the thing that gives me most is body awareness. And it makes you more comfortable handling someone's body or someone handling yours and being able to keep yourself safer advocate for yourself as well. L.T. Hawk: Yeah, and we did a lot of things around the upper part of the body. We did mention, obviously, those grips work around lower parts of people's bodies as well. So it's, it's while it's very upper body focus todayIt's the same grip, right? I may come under here. And I may make the same Lola Jean: Yeah, and we said it in the beginning but we'll grip here. And I might be able to pull person over, right, so pull them on top of my knee, yeah, across my knee across my thought I can be pulled in this way I can pull their knees toward their face in this position I can go opposite, right. So they may be here, I can go under here and make the same grip here. And same thing, pulling their legs up, kind of like a like a merperson type of deal. Right? By sewing their legs together. I can step off here and pull their legs in. So there's a lot of things I can do with someone's lower body. And Lola is on top in this position.. Same thing, right when like Lola sitting back, I may want to sit up, so maybe I'll make an S grip and pull her leg up. Right. So now you have this position that I can pull by arm in and I can keep this grip, I can make one iron grip. Doing that little claw position again, pulling here and then I can reach towards her body. Yeah, I can spank a person I can get spanked in that position. So there's a lot of things you can do here, one legs, one leg, two leg, right? Maybe you want to like turn them to the side. Same deal. So the thing is these positions work. Well, these grips work well. I'm pulling my leg body around their legs. This is like kind of like a little fancy, right? So I might pull. I may use this grip. I pulled up. and now I'm in this figure four position again. And maybe I'll like, I'll figure four my legs. I don't need to maybe I'll push a leg out. And I hold his grip. Not open their legs. Like let's talk about opening someone's legs without prying them open with my hands. Okay, so I have this grip where I'm wrapping, enveloping your leg again. And I might just push this push out my fine behind the knee, I might be able to lift a leg up. So there's a lot of fun little ways you can play around. But all these grips were Yeah, on different parts of the body right around the hips, around the thighs around the ankles, around lower around the waist. reiterate it again. It's not about squeezing as hard as possible a lot of these grips. Yes, compression is a little bit about squeezing but it's really just about keeping things in place and having that control and when you have the control you're able to manipulate it a little bit more but hopefully all of these things are different tools and then freestyle it you know figure, put all these different puzzle pieces together that's literally what wrestling & jujitsu is is taking all these different tools and figuring out how to make them work for you. Alright, well I don't know if there any questions I love seeing people playing along with us it's really fun to do so we will send out this recording with the closed captioning as well so in case you forgot or you're in the middle of doing it is this correct you can always look back and watch that our play fighting for lovers or wrestling for lovers should be out sometime this month. That's almost completely done. So be on the lookout for that if you want to use I'm kind of expand on your body bondage and you want to you know do a little bit more play fighting more kinds of movements beyond just this to make it a bit more fluid. Awesome. Okay, so the next thing that we're going to do is called, it's called a school person pin. And this is one that's going to be it can be a combination of body manipulation, a little bit of wrapping, this isn't one that's kind of an all around the grip, sort of a hold. But what this is doing is it's like a pin, it's pinning someone's body into the ground so that they can have that resistance, where they can't move so in this positon what I'll do is the classic, school person pin is their hands over their head, so my knees are going to pin on to their biceps, and I can be on their biceps by putting weight on my hands. So there's a little bit less weight, especially if I'm a larger person, or I can put my knees so that my knee is overtop of their bicep. So that my knee is overtop of the bicep, and then my foot is here. So it's kind of like I'm putting a lock on each arm this way. So in this way, I'm not actually putting the weight on their bicep, if I wanted to, I put a little bit more weight on my hands, and lower my knees there. So that's one position. And if I wanted to kind of envelop them more, get things closer, I can always walk my knees in to their head. And the same thing, if I wanted to be more on their body, by putting more weight onto my hands, I put less weight onto their body, if I want to put more weight onto their body, like walk my hips up, then I can just use my body like a lever that way. But while you're here, put your weight into your hands. And even just squeeze your knees, I like to just walk my knees in. And that's just going a little by little, just kind of create less space between my knees and their body, giving kind of that same compression that we did with our hands and this kind of knee walk move. I do that a lot on a lot of different parts of the body when I want to kind of squeeze somebody a little bit more wherever that may be. So even if I'm on the hips, or the waist, I'll just walk my knees in, basically to get them even closer. And so here, if I wanted to do something similar to the bear hug where we had, this one version doesn't have their arms pinned, but if I wanted to have their arms pinned as well, I can do the same thing where my knees will then be on the outside of their arms, pinning their arms into their body, as well here too, and I can do this facing each direction. And this can be I find this to be really nice to feel kind of pinned down by someone's body, I want to be higher on their body, because if I'm lower, my weight is going to be on their stomach, which is a sensitive area that cannot hold weight, especially if it's not clenched, as well. So that's asking a lot of a person, but I want to be higher on their body because also if I fall, I can then fall this way and I don't just fall onto their face or their nose or something like that. This is also a fun one if you want to do body bondage with some kind of sexual play because I have a lot of movement this way. And that way. I particularly like using this move for like the person on the bottom giving oral and the person on the top doing hand stuff. I find it to be really fun because it's a it's a type of body bondage where I still have more control and it's not as as doesn't feel as forced too. But that's that's one of the favorite of mine, particularly because it has a little bit more range of motion for each person. . L.T. Hawk: And of course, like, you know, we have the support of whatever surface I'm laying on, right. So the person is laying on a surface. There is some support there, right so you can kind of just relax into this spot. What's also really good is that the positions that Lola is in is not putting a lot of pressure downward on my body. Right? Lola is using movement for, by like pinching their thighs and knees together to create that compression, as opposed to just every all the weight coming straight down on me and pinning me in that sense, which would be different. Lola Jean: I'm like, they're pinned there, just because my body's on top, and they can't... to push me off of them, That would take a lot. L.T. Hawk: I'm pinned, not nailed, right. So I'm not drilled into the ground, by like, a bunch of force on being pinned in the ground by Lola'sposition. Lola Jean: And kind of in a similar if if, especially if things like force oral or things like that aren't fun for you, I could also switch my positioning and be facing the opposite way. But I'd probably do here is I'd want LT to have their hands free. So if I was pinning them, same thing, and then I could be doing hand stuff, or whatever. And I like this, because then there's a little bit more intimacy. So LT wanted to like touch my back, or my butt, while I'm doing different things as well. This can just feel kind of nice for again, feeling if you want the feeling of feeling pinned by your person, or feeling that envelopment or even feeling resistance, because that's an area where my whole body and my lower body is stronger than your upper body. Yeah, so you're not going to be able to easily move off of me. L.T. Hawk: And yeah, and then you have, you're kind of you have a space where you can kind of move your legs, you can play with the concept of squirming without making like big, Herky jerky movement movements, or tossing the person off of me, right? I can kind of move my legs around. It also gets my legs free in case like Lola was saying, if you're doing a position where your face is engaged or touching someone's like genital area, or butt area, and you know, or they're like sitting down or putting some like or smothering like you've seen, you've seen this, like the person is in a smothering position, I have my feet where I can still tap, right? It's not only my arms, I have my arms, so I can still get their attention if I need to. And they can, you know, stop if they need to, or we can take pressure off. So it's a really fun position, you can do a lot of things that's not so focused on constricting or restrict, you can restrict the movement without putting a lot of pressure. And of course, it leads into a lot of other plays, types of play, rather sensual with touch. Or if you describe the sexual, Lola Jean: if you think of resistance, I think of it almost as like, the damsel is tied to the railroad tracks, like tell me I can't get out of these ropes. And like, they probably could, they probably could get out. It's not tight. It's usually just wrapped around like that. But it's really kind of having this fun of the feeling of resistance as well. And it's just feeling something against you like, yeah, LT bumped and moved their legs and stuff, they could probably throw me off. But that's not the game that we're playing here. So you talk about resistance. It's just that that feeling of like, "I could get out, but I'd have to try a lot harder than this." Yes. let's see. Um, okay, so now I want to talk about scissors, and leg hold. So we talked about different ways we can use our arms to compress around the body, and our legs are another thing that can compress around the body as well. And we were kind of talking before about how you know, instead of rope, you can go around larger parts of the body. But because our arms and our legs are so fleshy as well, we don't have to worry as much as we do with rope about nerve damage, because it's these, like large parts that are going around different parts of L.T. Hawk: Yeah, it's not it's not localized, right? You know, it's not, it's not really like laying directly across someone's nerve, as opposed to obviously write a very thin piece of rope, or a belt, or anything else where you write necessarily, right on the right, is the right spot, but also the wrong spot, when we have something happen, so yeah, your legs are pretty powerful. That's the other thing, though, right? You have really, you may have really powerful legs, and your legs are generally going to be stronger than your arms. Lola Jean: Um, so that's the benefit of our legs. The disadvantage when it comes to arm holds versus leg holds is that we have this really nice closed circuit with our arms. And while we can make somewhat of a closed circuit with our legs, you know, we have feet and toes, we don't have as dexterous of fingers to make that completely closed off. So it's not going to be necessarily as secure or able to envelop as much around something that's larger. So these leg holds are things that we can use around all of the different parts that we did our arms. I could do it around all LT's front, I could do it around a single leg. I could do it around a single arm, just as I could do with my arms as well. So similarly with when we did, our different grips with our arm holds bringing in or in this way, it's going to be very similar with our legs as well. But instead of our hands being the thing that's closing the circuit, it's going to be our ankles. So what that will look like without a body or person is crossing our ankles, we see this. Now the space that something can go, whether it is a leg, whether it is a head, whether it is a waist, or a body, and then what I can do to make this shape, smaller, as you'll see, I'm kind of crossing my ankles, and hooking them as much as I can. so you can even do this. And similarly, when I was pulling this way, I can pull outwards and feel how strong that is. Now, to make this shape smaller, what I can do is I could bring my knees in, or I could push my legs out, and that makes the shape here. So you can put your hand in between your legs, and feel that difference. So I can feel if I bring my knees in, and then I feel if I extend my legs outward, I can feel that on my arm, what that is able to do L.T. Hawk: Yeah, and if you have like a really, if you have really thin arms, and for some reason, you just not able to make that decision, make a fist. and put a fist between your legs or two fists between your legs, in order to do the squeeze position, you know, and you can do is on your back Lola Jean: you don't can do it on your side, you can do it anywhere. L.T. Hawk: Yeah, you can do a side, just put two fists between your legs, and get used to squeezing like, if I extend my, if I extend my legs away like a little cricket, right, I can feel my fist squeezing together. So I know I'm able to create a tighter tighter hole by doing that. So you can use two fifths if your arms are really thin or small. Lola Jean: And sometimes to being on the side can kind of help if we're unable to get our legs around these different places. So we can do this, I can start by even trying to just get one of those legs, within my legs. So I'm on my side now. And then across my legs here, I can bring them inwards even towards me to make that smaller, I can try to bring my knees together, that's probably going to take a bit more of strength on my part. So I'd rather just bring my ankles towards my butt, or push my ankles farther away from my butt. Or I can just kind of cross it even higher on my legs to just hold their leg here. And this can be a bit of that not as much compression because that's gonna be different parts of the body. But this is just more of that like envelopment more of that control, just finding ways where we can kind of koala onto our person's body in different ways. L.T. Hawk: you saw like Lola has its position. And sometimes it's called like a figure four position on a leg if it was able to do it, and have control. And also like, if I was, if Lola was able to also tuck their foot behind my light here. Lola Jean: We're getting more that wrapping. L.T. Hawk: Yeah. So now now Lola is like really attached to my leg. As you see if I move my leg around. Lola is moving around this, this makes me look like Godzilla for some reason. I if I move my leg and a whole person come with it. But that's because Lola is attached to it. I'm not dragging a bag, a sandbag, that's way down there, right. So it's not like something changed in my leg and it's weights down there. This is completely attached to my leg in this spot. So what Lola could also do is by having this grip, Lola could extend this foot out and stretch my leg out. So now I can get stretched. And if Lola wants to come back Lola would just pull it back in this spot, you know, and again, if I'm not making a huge ridiculous movements, in order to not I don't want to say you want to put too much pressure on on my partners knee and my friend partner doesn't put too much pressure on my knee. So here we are and then Lola has or can not have the foot behind and can just be in this position. Lola Jean: if you think if you think about think of like the closure of a necklace where it has like the one long stick that you have to put through the circle and then make it like perpendicular to it. So it catches, that's what's happening here as well. So if you flex your foot and put underneath of that knee and put this down, if I pull my knee that way, it's kind of it's a stopper, essentially. And that's a lot of what this wrapping will do is it's a lot of flexed feet and just acting as a stopper so it can't move. If I point my foot, then I could just go like that. But if I flex my foot, not as much. L.T. Hawk: Yeah, and you can do like you said, one leg. If the legs are, if you're able to get around two legs, you could do both legs you could do around someone's waist. You can do both. So like around his leg here. I mean, the leg in, go around the leg and I'm in this position where I'm pulling here. So watch what I do my finger, I'm going to stick this foot behind this knee, like in that figure four position and my legs out, then I pull in, so now I'm able to pull my partner closer. If we're around this way, like, Well, Lola was the first time here, and I'm around the leg, because my legs are longer, I'm going to want to tuck under, because my legs are longer there's more space, so I'm not as tight. So if you're, if you're the taller person, or you have wider legs, you might want to tuck under, or I may need to get higher on the person, in order to do this position, now, if Lola starts moving away, I'm going to also use that grip again. So I'm going to come under their waist and go this direction, just so you see. And here I am, I'm gonna make this gable grip. So now I'm on this person, and I'm holding them tight. So if Lola starts roll away, it's kind of not really going to happen. Or if I wanted to follow, I might be able to come in here. Lola Jean: And take that also the manipulation as well, because the more parts of my body, that LT has the grip on where I can't go away, the more they can also control where I go. So I couldn't really roll without them. But what they did is like they kind of move their body to make more space. So I could go on to my stomach. Yeah, and those are be things that you kind of begin to feel or even the manipulation, where LT knew that they had to be higher on my body so they can kind of move me to get where they need to go. L.T. Hawk: Yeah, and we obviously do this a lot together. If it was something that we weren't doing, I'm going to use, I'm going to if I you know, I can speak so I'm going to ask, I'm gonna say hey, and he does like slide up a little higher, because it's a little loose. Or maybe I don't know that I'm too loose. So my partner can say, hey, this doesn't, it feels a little loosely, kind of adjust a little higher, or Lola can scoot a little lower, you know, so it's really just about getting into really getting into those spots where they feels most comfortable. And it feels like you're getting the pressure you want to feel now and not too much pressure. Lola Jean: And a lot of it like when I was doing kind of like the rolling with my legs to get tighter, that might be even similar what you do with your hips to kind of make the shape a little bit tighter as well too. So don't be afraid of having that little bit of movement, it doesn't need to be big, but just kind of rolling the hips around can kind of help move both people into place. More wrapping is... I love the grapevine a lot, cuz I like both doing that and receiving it. Grape vine, we kind of did a little bit of it, but it's like a wrapping around the leg, but it's being able to go out. And then in... so that way, you can be able to push that because what it's doing is it's enveloping the leg, but staying inwards. I'm the shorter person, mind you, this will be easier if you're longer. But I'm going to put my legs in. And then underneath of the calves, so inside the thigh underneath the calves, and then what I'll do from here, I'll probably want to be on my person. So I can be on them this way. Because what's going to happen is, when I scoot my legs, their body that's gonna come back a little bit. So I want to, from earlier, kind of be close to them maybe around in a certain way, I'm going to do a seatbelt grip. But I'm going to basically extend my legs out and my body back. You're so much taller than me. L.T. Hawk: I'm growing. Lola Jean: This would be easier, we're a little bit closer in height. But what this will do is kind of like extend their legs out to and which will feel like a nice stretch. But also be wary of your person if their bodies is really, really tight. You don't want to do this super quick. Yeah, you want to do this very slowly, as well. L.T. Hawk: So yeah, so there's like there's a thing, right, we're now we're in that spot of adjusting for height. So Lola, can grapevine the one leg that feels closer, it may be this side, because you're leaning to this side, it might actually be easier to do the side. It may not or may not I don't know, whichever. So like you have the seat belt grip. And you're off to one side. Yeah, now those off the one side. So it's just going to be just too hard to do this inside. So what Lola can do is take their foot, toes out in and what lola's going to do now is actually grapevine one leg and push down on a hip to extend that way. So just do the same. And push forward push. Yeah, so now it's just it's a one leg grapevine. Right. If my leg comes up, well, we can just kind of kick and kick it up or just keep pressure here. There you go. So now we have like this one leg grapevine position, if I can't seem to get high, or the person can just squeeze and yeah, it's just a pinch. So I'm still feeling kind of the pressure. I want to feel and the person's able to extend out If I'm just too long you can get your legs around Lola Jean: we can do this front to back, we can also do it from the front. So that's going to look very similarly. What I would go here, my legs would already be outside. So now what I have to do is basically I'm going to put my ankles inside of their ankles, and then I'm gonna slowly stretch out. kind of flatten like a pancake. So again, it's going to look a little bit different if our legs were closer in size. Yeah, but even still aware, this is their legs might not be straight out, but I still have their ankles locked here so that I'm able to move them out. L.T. Hawk: Yeah, I can't bridge in this position. So that's kind of what what the grapevine does is take away this bridging motion that I can't do. So sometimes it looks really dramatic, and you're able to extend people's legs completely out kind of like a starfish, yeah. Which you'll get like a starfish kind of shape here. Because because of the height difference, it's not really possible to get my legs completely out, because Lola's legs completely straight does not straighten my legs completely. Well, what does does do is I can't bridge here, like I really, really can't drive my hips off the ground very far, because they're driving their hips down. Now what Lola could do is walk their hips back, a little further here, and now grapevine and drive the hips down. Yep. As you see, like my breath kind of changes, go do it again, and extend. Yeah, so now I can't bridge at all, before I when Lola was a little higher, and doing a grapevine, I could still kind of bridge, it's not going to get them off. But I can kind of bridge it. So just drive your hips down further. So now it's hip to hip. And then as lola grapevines, there's no bridge at all, I cannot get my. Lola Jean: kind of the chest shoulder area. And as well as on the hip bones. These are two areas that where we can put the most amount of pressure and weight. But still, in that case, I'm going to be conscious of putting my weight onto my hands so that it's not entirely on my body. So if it was the other way around, or I was a lot heavier or larger than LT, I probably putting even more weight onto my hands there too. But this can also be kind of a bit of that weighted blanket. So if we were similar sizes, and I was able to fully extend, I can also be able to put more of my weight onto them L.T. Hawk: So I think what what could be helpful is you see it in reverse, right. So like you saw, you can see this person who's slightly smaller, or much smaller size than I am on top. And it's easy to keep that weight off, right? Because it's like, alright, they're smaller. But if I'm on top, here in this it's still envelopment because there isn't a compression, but position, it's similar, like Lola said, my weight is in my hands, my head is not like directly over their head, right. So my forehead goes above their forehead, and I lose my balance, like, their legs are wrapped around mine, which is my head will hit the ground and not hit their face. Okay, so you know, I want to be back here. Again, my weights back sitting my way back towards their thighs and towards their hips. I'm not, if I open my knees, then I'm driving my way down. So this is the difference. Weight is back, kind of like this a child's pose that you see in a physical yoga practice, or my weight is forward here. Okay, and I can bring my way down towards the chest, I bring my head to off to the side. So I'm not collapsing all my weight down. I'm here and I'm bringing my weight to this direction, and keeping my arms out. And if I want to bring my weight down, I will just open my knees slightly. And I'm in this position. We talk about grapevine and I'm in this spot, and I extend my legs out. Yeah, it's kind of like the starfish comforting. but not extended to too far. And it's really just my bony feet Yeah, um, so I still have control, I can cross my ankles. into the Shin. So it's really my feet into the Lola's shin, that creates that sound. So I can kind of just take some of the pressure off. Because I have longer feet, I can go towards the ankle in extending my weight around, see how my weight stays distributed in my hands. And I'm not again, collapsing my chest. Now, if for some reason, this just gets tiring. You can't really hold yourself up because it's kind of like a push up position. I don't need to be in this position the whole time. What I'm going to do is bring my weight off to one side. Okay, so for one way, I'm going to bring my arm, right arm to the opposite side of the body, and I can bring my chest down that way my chest is not laying on their chest, and I'm not compressing on their stomach. I'm still able to stay and keep keep pressing here. And I don't have to be in this push up position. And I'm not laying on the chest. I bring my weight off to the side, one side or the other side opposite you won't see my face and I'm down. Creating pressure here, I don't need the grapevine as much especially just bringing their legs. But I can pinch, I will say like we're all walking by walking my knees in and pinching here, bringing my chest down, creating pressure, I can just cross I can also cross my ankles here. I can push down on feet and squeeze and squeeze my hips, squeeze my knees together on their hips, and I can move the person around just with my knees, as opposed to, like slapping them around. So I'm not wasting a lot of time and or not time and not waste a lot of effort, like yanking or pulling them around, or flipping them around. Okay, if they want to help me out, Lola can just put their feet to the ground. Oh, yeah. And Lola is gonna like do like the Homer Simpson Twinkletoes thing as I move to the side Lola is gonna walk. Yeah, so I'm gonna be able to get into different positions, because I may be like, oh, let's get away from this. Because I, I left the I left a diffuser on or whatever. Or it is one of those candles lit that we got to get away from them. We walk away. So that way we don't, we all burn the house down. So yeah, you can work with your partner. So that way you don't have to like, be like a superhero. You can walk around with your partner and work together. Because you see I'm on top of not putting a lot of weight down on lola's body, right? Same thing with like going over the arms. So I don't want to my knees are like going to be too sharp. So I don't drive my knee down into someone's arm. So I'm going to do the one that goes over here. And what's happening is like their arm. Their arm is here, right in this little space. That's how I'm trapping the arm. in that spot. I don't need to do both if for some reason, if I just did both, and it was way too much pressure. So now I'm sitting all those hips. But my really what I'm doing is my feet are flat, and I don't need to really be hurting someone, or creating too much pressure. For this to be uncomfortable. I may put my body in a position where if I know that I'm not putting a lot of weight on them. I'm not injuring them. Or I'm doing quote unquote, everything right? The person, you know, the people we were the people we care about. Remember, this is all from a place of care, right? I don't do BDSM with people I hate. Oh, sorry. Thanks. So yeah, as Lola said, just adjusting because I have like a bony bony tailbone. I was like, instead off to the side. So I don't need to be again on the person. People feel uncomfortable, right, you just may feel claustrophobic, you just may feel uncomfortable, this may be kind of triggering in a position. So as soon as someone's like, oh, okay, you know, remove, get off, whatever, let's stop or whatever, then we need to stop immediately. Okay, the best part about this is, again, I don't need to like undo a bunch of stuff, right, I can just move my body off. So be aware that like, it's okay, if you're not feeling any pain, or you're not feeling any, any pressure or discomfort Lola Jean: the point of this is it will notice that the five feelings we're going for not one of them was pain, L.T. Hawk: yes, not not wanting this change, but you may want to stop just because you just feel claustrophobic, you know, and that's fine. So always make the adjustments so that you're not, you know, making a person too uncomfortable. So it just might be one arm off to the side, right, I may try one arm off to the side and keep my weight up high, there might be fine enough, right, I can kind of create that same kind of pressure by just again making that thumb grip over they are and that might be enough just to kind of feel like they're pinned down to spot Lola Jean: I think we got time for one more, which is gonna we're kind of getting there a little bit with with side control. So this is kind of getting a little bit both to that weighted blanket feeling. But also it can be that, you know, manipulation control as well. So, in this position, we're going to combine a lot of the things that we have done previously. So when we did that arm grip, the best one to do here is a seatbelt grip or we don't have to do one at all. So this is a great way to kind of play around with your body control and pinning someone's. remembering we want to keep our head tucked towards our person, but we're going to use our chest to put that weight onto our person onto their chest. And how this is going to kind of stay with that manipulation is I'm going to again, like walk my knees as close to their body as I can. And that way I can move how much of my chest that I'm going to put on to them. So for people that are very small or a lot smaller than their person, I think this is a fun one to learn of how to kind of redistribute your body weight of thinking that I'm so small, I can't possibly hold this person down. But if I put in all of my body weight into my chest onto my person, or even just flattening out a little bit more, you can play around to see what is the max amount or not even the maximum, what's the, you know, comfortable amount that feels good to your person of putting your body weight onto theirs, if I'm a lot bigger than maybe I'll put more of my weight into my legs, into my heels into my butt, but I can walk in my body close, and just play around, even walking in my knees towards their hip area, as well. Maybe a little bit towards their face, keeping my head tucked just so we don't bonk around as well too. But playing around with this way. And I could also even just like, kind of walk around their body if I wanted to play this way and kind of corralling them within. So this is another way of manipulation, but how we can pin their body down with our body. L.T. Hawk: Yeah, that's great. It's good. stretching my hips. Lola Jean: Um, and it can just feel kind of nice where it's like, like, it reminds me of like, dogs or seals, when they have to kind of move the ball around with their head. And I'm just like doing that kind of to your body sort of moving that around. And we did Baby Bear play that reminded me of that a little bit as well. L.T. Hawk: And a good person on the on the bottom. And you are concerned about the person on the bottom and you're concerned about like maybe having too much weight you want to like have like a frame. So what you want to do is is create a frame, you can create a frame in multiple ways. One is just having your arms out here, kind of still in that that kind of cocked position, I can just have it across my chest, I could cover my chest. Sometimes you could call this like a vampire grip. I'm not sure why. But I can just kind of well, I guess because a vampire sleep like this, right? Yeah. So I can go here and here and cover here. That way a person's weight is on my forearms, and it kind of feels like it's protecting my chest. Because some of us have more sensitive chest, some feels uncomfortable, have someone directly on it. So I can cover here, I can also this was This is always my favorite, cuz I feel like I have a lot of movement, um, is whenever I want to make a frame is I would just kind of like, kind of just bring my fingers up. And like I want to like pull my hair, I'm gonna bring my hand over my head in this position here. And I'm kind of here that way the person's on top. I'll show you what these different ways to vocalize with Lola on my chest here. So one, your frame is here. So those are gonna go down. There we go. And I feel like okay, maybe I just feel a little bit more comfortable. I don't feel like maybe I can control the weight a little bit here. But just yeah, in this spot. Now you can do what you can make an X with your arm. So just just like I can kind of cross my wrists here. If it's comfortable, and they laid out good. Now I feel like okay, I'm alright. And Lola can put maybe some pressure downwards, I feel like a little bit better. I can also like tap on them. Because my hands are available. I can create a little bit more space so if Lola goes down and too much weight. I can kind of just say up, I can give a little push and say oh, hey, I just need a little bit less space, right? Or I can adjust them away. The other way was crossing my chest. So like in this vampire grip. So when I keep my elbows down, so my elbows aren't poking out. So don't do this. Right. I'm not trying Yeah, don't don't hold people in the neck. So I'm here and here. I'm bringing my elbows down. I'm crossing my chest. So Lolola can puts a way down and I may be able to like take more weight here. Okay, again, I have like really sharp forearms. So Lola can just move around like go sideways. Ah, yeah, great. Aha, I move all around. Yeah, putting more weight on me. I may feel more comfortable and more at ease. That's not my favorite. Obviously. I'm gonna bring my hands across my face like this. And Lola can go ahead. Yeah, I feel like I'm allright here. Right? As Lola goes and mounts me. Okay, I have control of my face feel like Right, like a little bit a hug. Alright, not necessary. But if you just feel like you need to have a bit of a frame, you can do that, you know? Lola Jean: So hopefully like not even just for body bondage or movement. But hopefully this gives you also more body awareness of both. What are the parts of my partner's body that I can put a little bit more weight on or I can feel comfortable with my weight on and what are ways that I can alleviate any weight on my partner by putting it into my hands, or by making one of these frames? Honestly, I think with all of these courses on Wrestling, it's the thing that gives me most is body awareness. And it makes you more comfortable handling someone's body or someone handling yours and being able to keep yourself safer advocate for yourself as well. L.T. Hawk: Yeah, and we did a lot of things around the upper part of the body. We did mention, obviously, those grips work around lower parts of people's bodies as well. So it's, it's while it's very upper body focus todayIt's the same grip, right? I may come under here. And I may make the same Lola Jean: Yeah, and we said it in the beginning but we'll grip here. And I might be able to pull person over, right, so pull them on top of my knee, yeah, across my knee across my thought I can be pulled in this way I can pull their knees toward their face in this position I can go opposite, right. So they may be here, I can go under here and make the same grip here. And same thing, pulling their legs up, kind of like a like a merperson type of deal. Right? By sewing their legs together. I can step off here and pull their legs in. So there's a lot of things I can do with someone's lower body. And Lola is on top in this position.. Same thing, right when like Lola sitting back, I may want to sit up, so maybe I'll make an S grip and pull her leg up. Right. So now you have this position that I can pull by arm in and I can keep this grip, I can make one iron grip. Doing that little claw position again, pulling here and then I can reach towards her body. Yeah, I can spank a person I can get spanked in that position. So there's a lot of things you can do here, one legs, one leg, two leg, right? Maybe you want to like turn them to the side. Same deal. So the thing is these positions work. Well, these grips work well. I'm pulling my leg body around their legs. This is like kind of like a little fancy, right? So I might pull. I may use this grip. I pulled up. and now I'm in this figure four position again. And maybe I'll like, I'll figure four my legs. I don't need to maybe I'll push a leg out. And I hold his grip. Not open their legs. Like let's talk about opening someone's legs without prying them open with my hands. Okay, so I have this grip where I'm wrapping, enveloping your leg again. And I might just push this push out my fine behind the knee, I might be able to lift a leg up. So there's a lot of fun little ways you can play around. But all these grips were Yeah, on different parts of the body right around the hips, around the thighs around the ankles, around lower around the waist. reiterate it again. It's not about squeezing as hard as possible a lot of these grips. Yes, compression is a little bit about squeezing but it's really just about keeping things in place and having that control and when you have the control you're able to manipulate it a little bit more but hopefully all of these things are different tools and then freestyle it you know figure, put all these different puzzle pieces together that's literally what wrestling & jujitsu is is taking all these different tools and figuring out how to make them work for you. Alright, well I don't know if there any questions I love seeing people playing along with us it's really fun to do so we will send out this recording with the closed captioning as well so in case you forgot or you're in the middle of doing it is this correct you can always look back and watch that our play fighting for lovers or wrestling for lovers should be out sometime this month. That's almost completely done. So be on the lookout for that if you want to use I'm kind of expand on your body bondage and you want to you know do a little bit more play fighting more kinds of movements beyond just this to make it a bit more fluid. Awesome. Um, okay, so now I want to talk about scissors and leg holds. So we talked about different ways we can use our arms to compress around the body, and our legs are another thing that can compress around the body as well. And we were kind of talking before about how you know, instead of rope, you can go around larger parts of the body. But because our arms and our legs are so fleshy as well, we don't have to worry as much as we do with rope about nerve damage, because it's these, like large parts that are going around different parts of L.T. Hawk: Yeah, it's not it's not localized, right? You know, it's not, it's not really like laying directly across someone's nerve, as opposed to obviously write a very thin piece of rope, or a belt, or anything else where you write necessarily, right on the right, is the right spot, but also the wrong spot, when we have something happen, so yeah, your legs are pretty powerful. That's the other thing, though, right? You have really, you may have really powerful legs, and your legs are generally going to be stronger than your arms. Lola Jean: Um, so that's the benefit of our legs. The disadvantage when it comes to arm holds versus leg holds is that we have this really nice closed circuit with our arms. And while we can make somewhat of a closed circuit with our legs, you know, we have feet and toes, we don't have as dexterous of fingers to make that completely closed off. So it's not going to be necessarily as secure or able to envelop as much around something that's larger. So these leg holds are things that we can use around all of the different parts that we did our arms. I could do it around all LT's front, I could do it around a single leg. I could do it around a single arm, just as I could do with my arms as well. So similarly with when we did, our different grips with our arm holds bringing in or in this way, it's going to be very similar with our legs as well. But instead of our hands being the thing that's closing the circuit, it's going to be our ankles. So what that will look like without a body or person is crossing our ankles, we see this. Now the space that something can go, whether it is a leg, whether it is a head, whether it is a waist, or a body, and then what I can do to make this shape, smaller, as you'll see, I'm kind of crossing my ankles, and hooking them as much as I can. so you can even do this. And similarly, when I was pulling this way, I can pull outwards and feel how strong that is. Now, to make this shape smaller, what I can do is I could bring my knees in, or I could push my legs out, and that makes the shape here. So you can put your hand in between your legs, and feel that difference. So I can feel if I bring my knees in, and then I feel if I extend my legs outward, I can feel that on my arm, what that is able to do L.T. Hawk: Yeah, and if you have like a really, if you have really thin arms, and for some reason, you just not able to make that decision, make a fist. and put a fist between your legs or two fists between your legs, in order to do the squeeze position, you know, and you can do is on your back Lola Jean: you don't can do it on your side, you can do it anywhere. L.T. Hawk: Yeah, you can do a side, just put two fists between your legs, and get used to squeezing like, if I extend my, if I extend my legs away like a little cricket, right, I can feel my fist squeezing together. So I know I'm able to create a tighter tighter hole by doing that. So you can use two fifths if your arms are really thin or small. Lola Jean: And sometimes to being on the side can kind of help if we're unable to get our legs around these different places. So we can do this, I can start by even trying to just get one of those legs, within my legs. So I'm on my side now. And then across my legs here, I can bring them inwards even towards me to make that smaller, I can try to bring my knees together, that's probably going to take a bit more of strength on my part. So I'd rather just bring my ankles towards my butt, or push my ankles farther away from my butt. Or I can just kind of cross it even higher on my legs to just hold their leg here. And this can be a bit of that not as much compression because that's gonna be different parts of the body. But this is just more of that like envelopment more of that control, just finding ways where we can kind of koala onto our person's body in different ways. L.T. Hawk: you saw like Lola has its position. And sometimes it's called like a figure four position on a leg if it was able to do it, and have control. And also like, if I was, if Lola was able to also tuck their foot behind my light here. Lola Jean: We're getting more that wrapping. L.T. Hawk: Yeah. So now now Lola is like really attached to my leg. As you see if I move my leg around. Lola is moving around this, this makes me look like Godzilla for some reason. I if I move my leg and a whole person come with it. But that's because Lola is attached to it. I'm not dragging a bag, a sandbag, that's way down there, right. So it's not like something changed in my leg and it's weights down there. This is completely attached to my leg in this spot. So what Lola could also do is by having this grip, Lola could extend this foot out and stretch my leg out. So now I can get stretched. And if Lola wants to come back Lola would just pull it back in this spot, you know, and again, if I'm not making a huge ridiculous movements, in order to not I don't want to say you want to put too much pressure on on my partners knee and my friend partner doesn't put too much pressure on my knee. So here we are and then Lola has or can not have the foot behind and can just be in this position. Lola Jean: if you think if you think about think of like the closure of a necklace where it has like the one long stick that you have to put through the circle and then make it like perpendicular to it. So it catches, that's what's happening here as well. So if you flex your foot and put underneath of that knee and put this down, if I pull my knee that way, it's kind of it's a stopper, essentially. And that's a lot of what this wrapping will do is it's a lot of flexed feet and just acting as a stopper so it can't move. If I point my foot, then I could just go like that. But if I flex my foot, not as much. L.T. Hawk: Yeah, and you can do like you said, one leg. If the legs are, if you're able to get around two legs, you could do both legs you could do around someone's waist. You can do both. So like around his leg here. I mean, the leg in, go around the leg and I'm in this position where I'm pulling here. So watch what I do my finger, I'm going to stick this foot behind this knee, like in that figure four position and my legs out, then I pull in, so now I'm able to pull my partner closer. If we're around this way, like, Well, Lola was the first time here, and I'm around the leg, because my legs are longer, I'm going to want to tuck under, because my legs are longer there's more space, so I'm not as tight. So if you're, if you're the taller person, or you have wider legs, you might want to tuck under, or I may need to get higher on the person, in order to do this position, now, if Lola starts moving away, I'm going to also use that grip again. So I'm going to come under their waist and go this direction, just so you see. And here I am, I'm gonna make this gable grip. So now I'm on this person, and I'm holding them tight. So if Lola starts roll away, it's kind of not really going to happen. Or if I wanted to follow, I might be able to come in here. Lola Jean: And take that also the manipulation as well, because the more parts of my body, that LT has the grip on where I can't go away, the more they can also control where I go. So I couldn't really roll without them. But what they did is like they kind of move their body to make more space. So I could go on to my stomach. Yeah, and those are be things that you kind of begin to feel or even the manipulation, where LT knew that they had to be higher on my body so they can kind of move me to get where they need to go. L.T. Hawk: Yeah, and we obviously do this a lot together. If it was something that we weren't doing, I'm going to use, I'm going to if I you know, I can speak so I'm going to ask, I'm gonna say hey, and he does like slide up a little higher, because it's a little loose. Or maybe I don't know that I'm too loose. So my partner can say, hey, this doesn't, it feels a little loosely, kind of adjust a little higher, or Lola can scoot a little lower, you know, so it's really just about getting into really getting into those spots where they feels most comfortable. And it feels like you're getting the pressure you want to feel now and not too much pressure. Lola Jean: And a lot of it like when I was doing kind of like the rolling with my legs to get tighter, that might be even similar what you do with your hips to kind of make the shape a little bit tighter as well too. So don't be afraid of having that little bit of movement, it doesn't need to be big, but just kind of rolling the hips around can kind of help move both people into place. More wrapping is... I love the grapevine a lot, cuz I like both doing that and receiving it. Grape vine, we kind of did a little bit of it, but it's like a wrapping around the leg, but it's being able to go out. And then in... so that way, you can be able to push that because what it's doing is it's enveloping the leg, but staying inwards. I'm the shorter person, mind you, this will be easier if you're longer. But I'm going to put my legs in. And then underneath of the calves, so inside the thigh underneath the calves, and then what I'll do from here, I'll probably want to be on my person. So I can be on them this way. Because what's going to happen is, when I scoot my legs, their body that's gonna come back a little bit. So I want to, from earlier, kind of be close to them maybe around in a certain way, I'm going to do a seatbelt grip. But I'm going to basically extend my legs out and my body back. You're so much taller than me. L.T. Hawk: I'm growing. Lola Jean: This would be easier, we're a little bit closer in height. But what this will do is kind of like extend their legs out to and which will feel like a nice stretch. But also be wary of your person if their bodies is really, really tight. You don't want to do this super quick. Yeah, you want to do this very slowly, as well. L.T. Hawk: So yeah, so there's like there's a thing, right, we're now we're in that spot of adjusting for height. So Lola, can grapevine the one leg that feels closer, it may be this side, because you're leaning to this side, it might actually be easier to do the side. It may not or may not I don't know, whichever. So like you have the seat belt grip. And you're off to one side. Yeah, now those off the one side. So it's just going to be just too hard to do this inside. So what Lola can do is take their foot, toes out in and what lola's going to do now is actually grapevine one leg and push down on a hip to extend that way. So just do the same. And push forward push. Yeah, so now it's just it's a one leg grapevine. Right. If my leg comes up, well, we can just kind of kick and kick it up or just keep pressure here. There you go. So now we have like this one leg grapevine position, if I can't seem to get high, or the person can just squeeze and yeah, it's just a pinch. So I'm still feeling kind of the pressure. I want to feel and the person's able to extend out If I'm just too long you can get your legs around Lola Jean: we can do this front to back, we can also do it from the front. So that's going to look very similarly. What I would go here, my legs would already be outside. So now what I have to do is basically I'm going to put my ankles inside of their ankles, and then I'm gonna slowly stretch out. kind of flatten like a pancake. So again, it's going to look a little bit different if our legs were closer in size. Yeah, but even still aware, this is their legs might not be straight out, but I still have their ankles locked here so that I'm able to move them out. L.T. Hawk: Yeah, I can't bridge in this position. So that's kind of what what the grapevine does is take away this bridging motion that I can't do. So sometimes it looks really dramatic, and you're able to extend people's legs completely out kind of like a starfish, yeah. Which you'll get like a starfish kind of shape here. Because because of the height difference, it's not really possible to get my legs completely out, because Lola's legs completely straight does not straighten my legs completely. Well, what does does do is I can't bridge here, like I really, really can't drive my hips off the ground very far, because they're driving their hips down. Now what Lola could do is walk their hips back, a little further here, and now grapevine and drive the hips down. Yep. As you see, like my breath kind of changes, go do it again, and extend. Yeah, so now I can't bridge at all, before I when Lola was a little higher, and doing a grapevine, I could still kind of bridge, it's not going to get them off. But I can kind of bridge it. So just drive your hips down further. So now it's hip to hip. And then as lola grapevines, there's no bridge at all, I cannot get my. Lola Jean: kind of the chest shoulder area. And as well as on the hip bones. These are two areas that where we can put the most amount of pressure and weight. But still, in that case, I'm going to be conscious of putting my weight onto my hands so that it's not entirely on my body. So if it was the other way around, or I was a lot heavier or larger than LT, I probably putting even more weight onto my hands there too. But this can also be kind of a bit of that weighted blanket. So if we were similar sizes, and I was able to fully extend, I can also be able to put more of my weight onto them L.T. Hawk: So I think what what could be helpful is you see it in reverse, right. So like you saw, you can see this person who's slightly smaller, or much smaller size than I am on top. And it's easy to keep that weight off, right? Because it's like, alright, they're smaller. But if I'm on top, here in this it's still envelopment because there isn't a compression, but position, it's similar, like Lola said, my weight is in my hands, my head is not like directly over their head, right. So my forehead goes above their forehead, and I lose my balance, like, their legs are wrapped around mine, which is my head will hit the ground and not hit their face. Okay, so you know, I want to be back here. Again, my weights back sitting my way back towards their thighs and towards their hips. I'm not, if I open my knees, then I'm driving my way down. So this is the difference. Weight is back, kind of like this a child's pose that you see in a physical yoga practice, or my weight is forward here. Okay, and I can bring my way down towards the chest, I bring my head to off to the side. So I'm not collapsing all my weight down. I'm here and I'm bringing my weight to this direction, and keeping my arms out. And if I want to bring my weight down, I will just open my knees slightly. And I'm in this position. We talk about grapevine and I'm in this spot, and I extend my legs out. Yeah, it's kind of like the starfish comforting. but not extended to too far. And it's really just my bony feet Yeah, um, so I still have control, I can cross my ankles. into the Shin. So it's really my feet into the Lola's shin, that creates that sound. So I can kind of just take some of the pressure off. Because I have longer feet, I can go towards the ankle in extending my weight around, see how my weight stays distributed in my hands. And I'm not again, collapsing my chest. Now, if for some reason, this just gets tiring. You can't really hold yourself up because it's kind of like a push up position. I don't need to be in this position the whole time. What I'm going to do is bring my weight off to one side. Okay, so for one way, I'm going to bring my arm, right arm to the opposite side of the body, and I can bring my chest down that way my chest is not laying on their chest, and I'm not compressing on their stomach. I'm still able to stay and keep keep pressing here. And I don't have to be in this push up position. And I'm not laying on the chest. I bring my weight off to the side, one side or the other side opposite you won't see my face and I'm down. Creating pressure here, I don't need the grapevine as much especially just bringing their legs. But I can pinch, I will say like we're all walking by walking my knees in and pinching here, bringing my chest down, creating pressure, I can just cross I can also cross my ankles here. I can push down on feet and squeeze and squeeze my hips, squeeze my knees together on their hips, and I can move the person around just with my knees, as opposed to, like slapping them around. So I'm not wasting a lot of time and or not time and not waste a lot of effort, like yanking or pulling them around, or flipping them around. Okay, if they want to help me out, Lola can just put their feet to the ground. Oh, yeah. And Lola is gonna like do like the Homer Simpson Twinkletoes thing as I move to the side Lola is gonna walk. Yeah, so I'm gonna be able to get into different positions, because I may be like, oh, let's get away from this. Because I, I left the I left a diffuser on or whatever. Or it is one of those candles lit that we got to get away from them. We walk away. So that way we don't, we all burn the house down. So yeah, you can work with your partner. So that way you don't have to like, be like a superhero. You can walk around with your partner and work together. Because you see I'm on top of not putting a lot of weight down on lola's body, right? Same thing with like going over the arms. So I don't want to my knees are like going to be too sharp. So I don't drive my knee down into someone's arm. So I'm going to do the one that goes over here. And what's happening is like their arm. Their arm is here, right in this little space. That's how I'm trapping the arm. in that spot. I don't need to do both if for some reason, if I just did both, and it was way too much pressure. So now I'm sitting all those hips. But my really what I'm doing is my feet are flat, and I don't need to really be hurting someone, or creating too much pressure. For this to be uncomfortable. I may put my body in a position where if I know that I'm not putting a lot of weight on them. I'm not injuring them. Or I'm doing quote unquote, everything right? The person, you know, the people we were the people we care about. Remember, this is all from a place of care, right? I don't do BDSM with people I hate. Oh, sorry. Thanks. So yeah, as Lola said, just adjusting because I have like a bony bony tailbone. I was like, instead off to the side. So I don't need to be again on the person. People feel uncomfortable, right, you just may feel claustrophobic, you just may feel uncomfortable, this may be kind of triggering in a position. So as soon as someone's like, oh, okay, you know, remove, get off, whatever, let's stop or whatever, then we need to stop immediately. Okay, the best part about this is, again, I don't need to like undo a bunch of stuff, right, I can just move my body off. So be aware that like, it's okay, if you're not feeling any pain, or you're not feeling any, any pressure or discomfort Lola Jean: the point of this is it will notice that the five feelings we're going for not one of them was pain, L.T. Hawk: yes, not not wanting this change, but you may want to stop just because you just feel claustrophobic, you know, and that's fine. So always make the adjustments so that you're not, you know, making a person too uncomfortable. So it just might be one arm off to the side, right, I may try one arm off to the side and keep my weight up high, there might be fine enough, right, I can kind of create that same kind of pressure by just again making that thumb grip over they are and that might be enough just to kind of feel like they're pinned down to spot. Lola Jean: I think we got time for one more, which is gonna we're kind of getting there a little bit with with side control. So this is kind of getting a little bit both to that weighted blanket feeling. But also it can be that, you know, manipulation control as well. So, in this position, we're going to combine a lot of the things that we have done previously. So when we did that arm grip, the best one to do here is a seatbelt grip or we don't have to do one at all. So this is a great way to kind of play around with your body control and pinning someone's. remembering we want to keep our head tucked towards our person, but we're going to use our chest to put that weight onto our person onto their chest. And how this is going to kind of stay with that manipulation is I'm going to again, like walk my knees as close to their body as I can. And that way I can move how much of my chest that I'm going to put on to them. So for people that are very small or a lot smaller than their person, I think this is a fun one to learn of how to kind of redistribute your body weight of thinking that I'm so small, I can't possibly hold this person down. But if I put in all of my body weight into my chest onto my person, or even just flattening out a little bit more, you can play around to see what is the max amount or not even the maximum, what's the, you know, comfortable amount that feels good to your person of putting your body weight onto theirs, if I'm a lot bigger than maybe I'll put more of my weight into my legs, into my heels into my butt, but I can walk in my body close, and just play around, even walking in my knees towards their hip area, as well. Maybe a little bit towards their face, keeping my head tucked just so we don't bonk around as well too. But playing around with this way. And I could also even just like, kind of walk around their body if I wanted to play this way and kind of corralling them within. So this is another way of manipulation, but how we can pin their body down with our body. L.T. Hawk: Yeah, that's great. It's good. stretching my hips. Lola Jean: Um, and it can just feel kind of nice where it's like, like, it reminds me of like, dogs or seals, when they have to kind of move the ball around with their head. And I'm just like doing that kind of to your body sort of moving that around. And we did Baby Bear play that reminded me of that a little bit as well. L.T. Hawk: And a good person on the on the bottom. And you are concerned about the person on the bottom and you're concerned about like maybe having too much weight you want to like have like a frame. So what you want to do is is create a frame, you can create a frame in multiple ways. One is just having your arms out here, kind of still in that that kind of cocked position, I can just have it across my chest, I could cover my chest. Sometimes you could call this like a vampire grip. I'm not sure why. But I can just kind of well, I guess because a vampire sleep like this, right? Yeah. So I can go here and here and cover here. That way a person's weight is on my forearms, and it kind of feels like it's protecting my chest. Because some of us have more sensitive chest, some feels uncomfortable, have someone directly on it. So I can cover here, I can also this was This is always my favorite, cuz I feel like I have a lot of movement, um, is whenever I want to make a frame is I would just kind of like, kind of just bring my fingers up. And like I want to like pull my hair, I'm gonna bring my hand over my head in this position here. And I'm kind of here that way the person's on top. I'll show you what these different ways to vocalize with Lola on my chest here. So one, your frame is here. So those are gonna go down. There we go. And I feel like okay, maybe I just feel a little bit more comfortable. I don't feel like maybe I can control the weight a little bit here. But just yeah, in this spot. Now you can do what you can make an X with your arm. So just just like I can kind of cross my wrists here. If it's comfortable, and they laid out good. Now I feel like okay, I'm alright. And Lola can put maybe some pressure downwards, I feel like a little bit better. I can also like tap on them. Because my hands are available. I can create a little bit more space so if Lola goes down and too much weight. I can kind of just say up, I can give a little push and say oh, hey, I just need a little bit less space, right? Or I can adjust them away. The other way was crossing my chest. So like in this vampire grip. So when I keep my elbows down, so my elbows aren't poking out. So don't do this. Right. I'm not trying Yeah, don't don't hold people in the neck. So I'm here and here. I'm bringing my elbows down. I'm crossing my chest. So Lolola can puts a way down and I may be able to like take more weight here. Okay, again, I have like really sharp forearms. So Lola can just move around like go sideways. Ah, yeah, great. Aha, I move all around. Yeah, putting more weight on me. I may feel more comfortable and more at ease. That's not my favorite. Obviously. I'm gonna bring my hands across my face like this. And Lola can go ahead. Yeah, I feel like I'm allright here. Right? As Lola goes and mounts me. Okay, I have control of my face feel like Right, like a little bit a hug. Alright, not necessary. But if you just feel like you need to have a bit of a frame, you can do that, you know? Lola Jean: So hopefully like not even just for body bondage or movement. But hopefully this gives you also more body awareness of both. What are the parts of my partner's body that I can put a little bit more weight on or I can feel comfortable with my weight on and what are ways that I can alleviate any weight on my partner by putting it into my hands, or by making one of these frames? Honestly, I think with all of these courses on Wrestling, it's the thing that gives me most is body awareness. And it makes you more comfortable handling someone's body or someone handling yours and being able to keep yourself safer advocate for yourself as well. L.T. Hawk: Yeah, and we did a lot of things around the upper part of the body. We did mention, obviously, those grips work around lower parts of people's bodies as well. So it's, it's while it's very upper body focus todayIt's the same grip, right? I may come under here. And I may make the same Lola Jean: Yeah, and we said it in the beginning but we'll grip here. And I might be able to pull person over, right, so pull them on top of my knee, yeah, across my knee across my thought I can be pulled in this way I can pull their knees toward their face in this position I can go opposite, right. So they may be here, I can go under here and make the same grip here. And same thing, pulling their legs up, kind of like a like a merperson type of deal. Right? By sewing their legs together. I can step off here and pull their legs in. So there's a lot of things I can do with someone's lower body. And Lola is on top in this position.. Same thing, right when like Lola sitting back, I may want to sit up, so maybe I'll make an S grip and pull her leg up. Right. So now you have this position that I can pull by arm in and I can keep this grip, I can make one iron grip. Doing that little claw position again, pulling here and then I can reach towards her body. Yeah, I can spank a person I can get spanked in that position. So there's a lot of things you can do here, one legs, one leg, two leg, right? Maybe you want to like turn them to the side. Same deal. So the thing is these positions work. Well, these grips work well. I'm pulling my leg body around their legs. This is like kind of like a little fancy, right? So I might pull. I may use this grip. I pulled up. and now I'm in this figure four position again. And maybe I'll like, I'll figure four my legs. I don't need to maybe I'll push a leg out. And I hold his grip. Not open their legs. Like let's talk about opening someone's legs without prying them open with my hands. Okay, so I have this grip where I'm wrapping, enveloping your leg again. And I might just push this push out my fine behind the knee, I might be able to lift a leg up. So there's a lot of fun little ways you can play around. But all these grips were Yeah, on different parts of the body right around the hips, around the thighs around the ankles, around lower around the waist. reiterate it again. It's not about squeezing as hard as possible a lot of these grips. Yes, compression is a little bit about squeezing but it's really just about keeping things in place and having that control and when you have the control you're able to manipulate it a little bit more but hopefully all of these things are different tools and then freestyle it you know figure, put all these different puzzle pieces together that's literally what wrestling & jujitsu is is taking all these different tools and figuring out how to make them work for you. Alright, well I don't know if there any questions I love seeing people playing along with us it's really fun to do so we will send out this recording with the closed captioning as well so in case you forgot or you're in the middle of doing it is this correct you can always look back and watch that our play fighting for lovers or wrestling for lovers should be out sometime this month. That's almost completely done. So be on the lookout for that if you want to use I'm kind of expand on your body bondage and you want to you know do a little bit more play fighting more kinds of movements beyond just this to make it a bit more fluid. Awesome. Lola Jean: One more, which is gonna We're kind of getting there a little bit with side control. So this is kind of getting a little bit both to that weighted blanket feeling. But also it can be that, you know, manipulation control as well. So, in this position, we're going to combine a lot of the things that we have done previously. So when we did that arm grip, the best one to do here is a seatbelt grip or we don't have to do one at all. So this is a great way to kind of play around with your body control and pinning someone's, remembering we want to keep our head tucked towards our person, but we're going to use our chest to put that weight onto our person onto their chest. And how this is going to kind of stay with that manipulation is I'm going to again, like walk my knees as close to their body as I can. And that way I can move how much of my chest that I'm going to put on to them. So for people that are very small or a lot smaller than their person, I think this is a fun one to learn of how to kind of redistribute your body weight of thinking that I'm so small, I can't possibly hold this person down. But if I put in all of my body weight into my chest onto my person, or even just flattening out a little bit more, you can play around to see what is the max amount or not even the maximum, what's the, you know, comfortable amount that feels good to your person of putting your body weight onto theirs, if I'm a lot bigger than maybe I'll put more of my weight into my legs, into my heels into my butt, but I can walk in my body close, and just play around, even walking in my knees towards their hip area, as well. Maybe a little bit towards their face, keeping my head tucked just so we don't bonk around as well too. But playing around with this way. And I could also even just like, kind of walk around their body if I wanted to play this way and kind of corralling them within. So this is another way of manipulation, but how we can pin their body down with our body. L.T. Hawk: Yeah, that's great. It's good. stretching my hips. Lola Jean: Um, and it can just feel kind of nice where it's like, like, it reminds me of like, dogs or seals, when they have to kind of move the ball around with their head. And I'm just like doing that kind of to your body sort of moving that around. And we did Baby Bear play that reminded me of that a little bit as well. L.T. Hawk: And a good person on the on the bottom. And you are concerned about the person on the bottom and you're concerned about like maybe having too much weight you want to like have like a frame. So what you want to do is is create a frame, you can create a frame in multiple ways. One is just having your arms out here, kind of still in that that kind of cocked position, I can just have it across my chest, I could cover my chest. Sometimes you could call this like a vampire grip. I'm not sure why. But I can just kind of well, I guess because a vampire sleep like this, right? Yeah. So I can go here and here and cover here. That way a person's weight is on my forearms, and it kind of feels like it's protecting my chest. Because some of us have more sensitive chest, some feels uncomfortable, have someone directly on it. So I can cover here, I can also this was This is always my favorite, cuz I feel like I have a lot of movement, um, is whenever I want to make a frame is I would just kind of like, kind of just bring my fingers up. And like I want to like pull my hair, I'm gonna bring my hand over my head in this position here. And I'm kind of here that way the person's on top. I'll show you what these different ways to vocalize with Lola on my chest here. So one, your frame is here. So those are gonna go down. There we go. And I feel like okay, maybe I just feel a little bit more comfortable. I don't feel like maybe I can control the weight a little bit here. But just yeah, in this spot. Now you can do what you can make an X with your arm. So just just like I can kind of cross my wrists here. If it's comfortable, and they laid out good. Now I feel like okay, I'm alright. And Lola can put maybe some pressure downwards, I feel like a little bit better. I can also like tap on them. Because my hands are available. I can create a little bit more space so if Lola goes down and too much weight. I can kind of just say up, I can give a little push and say oh, hey, I just need a little bit less space, right? Or I can adjust them away. The other way was crossing my chest. So like in this vampire grip. So when I keep my elbows down, so my elbows aren't poking out. So don't do this. Right. I'm not trying Yeah, don't don't hold people in the neck. So I'm here and here. I'm bringing my elbows down. I'm crossing my chest. So Lolola can puts a way down and I may be able to like take more weight here. Okay, again, I have like really sharp forearms. So Lola can just move around like go sideways. Ah, yeah, great. Aha, I move all around. Yeah, putting more weight on me. I may feel more comfortable and more at ease. That's not my favorite. Obviously. I'm gonna bring my hands across my face like this. And Lola can go ahead. Yeah, I feel like I'm allright here. Right? As Lola goes and mounts me. Okay, I have control of my face feel like Right, like a little bit a hug. Alright, not necessary. But if you just feel like you need to have a bit of a frame, you can do that, you know? Lola Jean: So hopefully like not even just for body bondage or movement. But hopefully this gives you also more body awareness of both. What are the parts of my partner's body that I can put a little bit more weight on or I can feel comfortable with my weight on and what are ways that I can alleviate any weight on my partner by putting it into my hands, or by making one of these frames? Honestly, I think with all of these courses on Wrestling, it's the thing that gives me most is body awareness. And it makes you more comfortable handling someone's body or someone handling yours and being able to keep yourself safer advocate for yourself as well. L.T. Hawk: Yeah, and we did a lot of things around the upper part of the body. We did mention, obviously, those grips work around lower parts of people's bodies as well. So it's, it's while it's very upper body focus todayIt's the same grip, right? I may come under here. And I may make the same Lola Jean: Yeah, and we said it in the beginning but we'll grip here. And I might be able to pull person over, right, so pull them on top of my knee, yeah, across my knee across my thought I can be pulled in this way I can pull their knees toward their face in this position I can go opposite, right. So they may be here, I can go under here and make the same grip here. And same thing, pulling their legs up, kind of like a like a merperson type of deal. Right? By sewing their legs together. I can step off here and pull their legs in. So there's a lot of things I can do with someone's lower body. And Lola is on top in this position.. Same thing, right when like Lola sitting back, I may want to sit up, so maybe I'll make an S grip and pull her leg up. Right. So now you have this position that I can pull by arm in and I can keep this grip, I can make one iron grip. Doing that little claw position again, pulling here and then I can reach towards her body. Yeah, I can spank a person I can get spanked in that position. So there's a lot of things you can do here, one legs, one leg, two leg, right? Maybe you want to like turn them to the side. Same deal. So the thing is these positions work. Well, these grips work well. I'm pulling my leg body around their legs. This is like kind of like a little fancy, right? So I might pull. I may use this grip. I pulled up. and now I'm in this figure four position again. And maybe I'll like, I'll figure four my legs. I don't need to maybe I'll push a leg out. And I hold his grip. Not open their legs. Like let's talk about opening someone's legs without prying them open with my hands. Okay, so I have this grip where I'm wrapping, enveloping your leg again. And I might just push this push out my fine behind the knee, I might be able to lift a leg up. So there's a lot of fun little ways you can play around. But all these grips were Yeah, on different parts of the body right around the hips, around the thighs around the ankles, around lower around the waist. reiterate it again. It's not about squeezing as hard as possible a lot of these grips. Yes, compression is a little bit about squeezing but it's really just about keeping things in place and having that control and when you have the control you're able to manipulate it a little bit more but hopefully all of these things are different tools and then freestyle it you know figure, put all these different puzzle pieces together that's literally what wrestling & jujitsu is is taking all these different tools and figuring out how to make them work for you. Alright, well I don't know if there any questions I love seeing people playing along with us it's really fun to do so we will send out this recording with the closed captioning as well so in case you forgot or you're in the middle of doing it is this correct you can always look back and watch that our play fighting for lovers or wrestling for lovers should be out sometime this month. That's almost completely done. So be on the lookout for that if you want to use I'm kind of expand on your body bondage and you want to you know do a little bit more play fighting more kinds of movements beyond just this to make it a bit more fluid. Awesome. You are the person on the bottom and you're concerned about like maybe having too much weight you want to like have like a frame. So what you want to do is is create a frame, you can create a frame in multiple ways. One is just having your arms out here, kind of still in that that kind of cocked position. I can just have it across my chest, I could cover my chest. Sometimes you could call this like a vampire grip. I'm not sure why. But I can just kind of well, I guess because a vampire sleep like this, right? Yeah. So I can go here and here and cover here. That way a person's weight is on my forearms, and it kind of feels like it's protecting my chest. Because some of us have more sensitive chest, some feels uncomfortable, have someone directly on it. So I can cover here, I can also this was This is always my favorite, cuz I feel like I have a lot of movement, um, is whenever I want to make a frame is I would just kind of like, kind of just bring my fingers up. And like I want to like pull my hair, I'm gonna bring my hand over my head in this position here. And I'm kind of here that way the person's on top. I'll show you what these different ways to vocalize with Lola on my chest here. So one, your frame is here. So those are gonna go down. There we go. And I feel like okay, maybe I just feel a little bit more comfortable. I don't feel like maybe I can control the weight a little bit here. But just yeah, in this spot. Now you can do what you can make an X with your arm. So just just like I can kind of cross my wrists here. If it's comfortable, and they laid out good. Now I feel like okay, I'm alright. And Lola can put maybe some pressure downwards, I feel like a little bit better. I can also like tap on them. Because my hands are available. I can create a little bit more space so if Lola goes down and too much weight. I can kind of just say up, I can give a little push and say oh, hey, I just need a little bit less space, right? Or I can adjust them away. The other way was crossing my chest. So like in this vampire grip. So when I keep my elbows down, so my elbows aren't poking out. So don't do this. Right. I'm not trying Yeah, don't don't hold people in the neck. So I'm here and here. I'm bringing my elbows down. I'm crossing my chest. So Lolola can puts a way down and I may be able to like take more weight here. Okay, again, I have like really sharp forearms. So Lola can just move around like go sideways. Ah, yeah, great. Aha, I move all around. Yeah, putting more weight on me. I may feel more comfortable and more at ease. That's not my favorite. Obviously. I'm gonna bring my hands across my face like this. And Lola can go ahead. Yeah, I feel like I'm allright here. Right? As Lola goes and mounts me. Okay, I have control of my face feel like Right, like a little bit a hug. Alright, not necessary. But if you just feel like you need to have a bit of a frame, you can do that, you know? Lola Jean: So hopefully like not even just for body bondage or movement. But hopefully this gives you also more body awareness of both. What are the parts of my partner's body that I can put a little bit more weight on or I can feel comfortable with my weight on and what are ways that I can alleviate any weight on my partner by putting it into my hands, or by making one of these frames? Honestly, I think with all of these courses on Wrestling, it's the thing that gives me most is body awareness. And it makes you more comfortable handling someone's body or someone handling yours and being able to keep yourself safer advocate for yourself as well. part of the body. We did mention, obviously, those grips work around lower parts of people's bodies as well. So it's, it's while it's very upper body focus todayIt's the same grip, right? I may come under here. And I may make the same Lola Jean: Yeah, and we said it in the beginning but we'll grip here. And I might be able to pull person over, right, so pull them on top of my knee, yeah, across my knee across my thought I can be pulled in this way I can pull their knees toward their face in this position I can go opposite, right. So they may be here, I can go under here and make the same grip here. And same thing, pulling their legs up, kind of like a like a merperson type of deal. Right? By sewing their legs together. I can step off here and pull their legs in. So there's a lot of things I can do with someone's lower body. And Lola is on top in this position.. Same thing, right when like Lola sitting back, I may want to sit up, so maybe I'll make an S grip and pull her leg up. Right. So now you have this position that I can pull by arm in and I can keep this grip, I can make one iron grip. Doing that little claw position again, pulling here and then I can reach towards her body. Yeah, I can spank a person I can get spanked in that position. So there's a lot of things you can do here, one legs, one leg, two leg, right? Maybe you want to like turn them to the side. Same deal. So the thing is these positions work. Well, these grips work well. I'm pulling my leg body around their legs. This is like kind of like a little fancy, right? So I might pull. I may use this grip. I pulled up. and now I'm in this figure four position again. And maybe I'll like, I'll figure four my legs. I don't need to maybe I'll push a leg out. And I hold his grip. Not open their legs. Like let's talk about opening someone's legs without prying them open with my hands. Okay, so I have this grip where I'm wrapping, enveloping your leg again. And I might just push this push out my fine behind the knee, I might be able to lift a leg up. So there's a lot of fun little ways you can play around. But all these grips were Yeah, on different parts of the body right around the hips, around the thighs around the ankles, around lower around the waist. reiterate it again. It's not about squeezing as hard as possible a lot of these grips. Yes, compression is a little bit about squeezing but it's really just about keeping things in place and having that control and when you have the control you're able to manipulate it a little bit more but hopefully all of these things are different tools and then freestyle it you know figure, put all these different puzzle pieces together that's literally what wrestling & jujitsu is is taking all these different tools and figuring out how to make them work for you. Alright, well I don't know if there any questions I love seeing people playing along with us it's really fun to do so we will send out this recording with the closed captioning as well so in case you forgot or you're in the middle of doing it is this correct you can always look back and watch that our play fighting for lovers or wrestling for lovers should be out sometime this month. That's almost completely done. So be on the lookout for that if you want to use I'm kind of expand on your body bondage and you want to you know do a little bit more play fighting more kinds of movements beyond just this to make it a bit more fluid. Awesome. L.T. Hawk: Yeah, and we did a lot of things around the upper part of the body. We did mention, obviously, those grips work around lower parts of people's bodies as well. So it's while it's very upper body focus today It's the same grip, right? I may come under here. And I may make the same grip here. And I might be able to pull person over, right, so pull them on top of my knee, yeah, across my knee across my back I can be pulled in this way I can pull their knees toward their face in this position, I can go opposite, right. So they may be here, I can go under here and make the same grip here. And same thing, pulling their legs up, kind of like a like a merperson type of deal. Right? By sewing their legs together. I can step off here and pull their legs in. So there's a lot of things I can do with someone's lower body. And Lola is on top in this position.. Same thing, right when like Lola sitting back, I may want to sit up, so maybe I'll make an S grip and pull her leg up. Right. So now you have this position that I can pull by arm in and I can keep this grip, I can make one iron grip. Doing that little claw position again, pulling here and then I can reach towards her body. Yeah, I can spank a person I can get spanked in that position. So there's a lot of things you can do here, one legs, one leg, two leg, right? Maybe you want to like turn them to the side. Same deal. So the thing is these positions work. Well, these grips work well. I'm pulling my leg body around their legs. This is like kind of like a little fancy, right? So I might pull. I may use this grip. I pulled up. and now I'm in this figure four position again. And maybe I'll like, I'll figure four my legs. I don't need to maybe I'll push a leg out. And I hold his grip. Not open their legs. Like let's talk about opening someone's legs without prying them open with my hands. Okay, so I have this grip where I'm wrapping, enveloping your leg again. And I And I might just push this push out my fine behind the knee, I might be able to lift a leg up. So there's a lot of fun little ways you can play around. But all these grips work, Yeah on different parts of the body right around the hips, around the thighs, around the ankles, around lower around the waist. reiterate it again. It's not about squeezing as hard as possible a lot of these grips. Yes, compression is a little bit about squeezing but it's really just about keeping things in place and having that control and when you have the control you're able to manipulate it a little bit more but hopefully all of these things are different tools and then freestyle it you know figure, put all these different puzzle pieces together that's literally what wrestling & jujitsu is is taking all these different tools and figuring out how to make them work for you. Alright, well I don't know if there any questions I love seeing people playing along with us it's really fun to do so we will send out this recording with the closed captioning as well so in case you forgot or you're in the middle of doing it is this correct you can always look back and watch that our play fighting for lovers or wrestling for lovers should be out sometime this month. That's almost completely done. So be on the lookout for that if you want to use I'm kind of expand on your body bondage and you want to you know do a little bit more play fighting more kinds of movements beyond just this to make it a bit more fluid. Awesome. We said it in the beginning but we reiterate it again. It's not about squeezing as hard as possible. A lot of these grips and different things. Yes, compression is a little bit about squeezing but it's really just about keeping things in place and having that control and when you have the control you're able to manipulate it a little bit more but hopefully all of these things are different tools and then freestyle it you know figure, put all these different puzzle pieces together that's literally what wrestling & jujitsu is is taking all these different tools and figuring out how to make them work for you.