Episode 27: Destination Double D

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Marcie Prohofsky hosts this turned on evening of erotica at OneTaste™ Urban Retreat Center, an innovative laboratory researching connection in San Francisco’s South of Market Neighborhood.

Join us for a special edition of erotic poetry with guest Virgie Tovar. Virgie reads three episodes from her book 'destination double d', a raunchy compilation of her real life sexcapades as a phone sex operator. Brace yourself and prepare for mistress Tovar to dominate, humiliate, and shock you into sexual submission.

"Lizzie Loves Latex" is a racy, tasty, teacher/student fantasy with a twist. Explore the taboo as Lizzie and her friend teach the professor a lesson in sex degredation. Prepare to be shocked and intrigued by this sordid tale with a 'big' suprise that will leave you wanting more.

The rest of the show is packed with more taboo fantasies and fetishes direct from the archives of Virgie's real life sexperiences. Listen as she describes getting off with everything from a wooden spoon to a leash and explores the extreme fetishist world of 'hot wives'.

Enter at your own risk and be ready to be shocked senseless by this extreme journey through the most taboo of fetishes.

Transcript

Marcie Prohofsky: Thanks for joining us tonight, my name is Marcie Prohofsky and welcome to our erotic open-mic event.  This is One Taste, we're in San Francisco.  This event is co-produced with a company called Personal Life Media and it's edited into a show that you can download on I-Tunes or you can also go to personallifemedia.com and check it out there.  There's all the archives of past shows; there's two other shows that we actually record at One Taste that are fantastic:  there's a reality program that interviews people from our One Taste world, and gets kind of underneath the back story of their lives.  And then we also have a guest speaker interview program which is part of our hybrid lecture series that happens every Tuesday night here at One Taste.

Rob:  I realize she's the guy, I'm the girl.  Okay, so this is not that far of a concept, there's people laughing in the audience. I'm sure there's some gender reversal, there's some ideas, there's some metamorphosis things going on.  She likes to wear jeans, I like to wear skirts.

Marcie Prohofsky:  Okay, so we are going to start out the night with the most amazing improviser in the house.  His name is Rob.  With a piece called “She's The Guy.”

Rob:  My name is Robert and this is improv.  So, I finally figured it out.  She's the guy, and I'm the girl.  Okay, so here's the scene.  We're upstairs and she's feeling a little distance, and I say “What's up?”  And she says “We haven't had sex for three days.”  “Three days?  What's the pressure?  All this pressure on me, I've got to put out?  I mean, what is this, you don't feel good about our relationship unless we have sex?”  And at that point I realize she's the guy, I'm the girl.  Okay, so this is not that far of a concept, there's people laughing in the audience. I'm sure there's some gender reversal, there's some ideas, there's some metamorphosis things going on.  She likes to wear jeans, I like to wear skirts.  Okay, that's a lie, but... so there's this thought.  We're om-ing, om-ing, orgasm meditation to the point where she's stroking me, she's taking her left hand, going up and down on my cock, I can feel it reverberating up in my mouth, and then all of a sudden her right hand is drifting down, down, down to find this little spot called the anus.  And luckily there's lubrication, and she's stroking her finger in and out, in and out, and I'm realizing that she's fucking me.  She's the guy, I'm the girl.  So here's another scenario, it's not as nasty, Judy's on the corner, her face is not smiling and we're at the movies and I have no cash.  We want to go to the movies and I have no money and she's like “No problem darling, I'll take care of you.”  She whips out her handy ATM card, she swipes it, she's buying me tickets to the movies, “No, no popcorn, I don't eat popcorn,” but we're upstairs and we're watching the movie, we're watching some girl movie but it's her idea so somehow she's the girl and I'm the guy, but she's buying me, she's taking me out, there's this totally uncomfortable feeling and I realize that this is the whole thing that's messing up this country, is that the dames are the guys and the guys are the dudes, and oh wait, the girls are the guys, girls, dudes, it's all messed up I have to just realize it doesn't matter.  All that matters is that we say “I'm willing to play.”  Thank you.

Marcie Prohofsky:  So I have a very favorite scenario with Rob as a girl.  So, pre- my full time days at One Taste, I realize it's been so long since I had some just, chilling, sweet, kind of contact.  So I call up two people that I think I can just summons for, who would just understand with out any sort of attachments, that I need some touch.  So Rob changes his plans – oh here it is, he was going to take care of a friend's children.  He was going to be babysitting, another sign of girldom.  So and then he comes over, and we took a bath.  It was so great.  Side by side, we were in my bathtub with my legs hanging over the side of the claw foot tub, it was great.  Elizabeth, who I think maybe I'll bring up to share a piece, mi amor, a piece called “Yo Tengo A Desir A Ayos”  Mas o menos.

Elizabeth:  Good evening, so this is a piece that I wrote in Spanish.  And I'll tell it to you first in English, then sing it to you in Spanish, the way it came to me.  So it's called, like in espanol you would say “Oye” which is like “Hey girls, how's it going?” like “Oye?” like “What's going on?”  So it's called “Hey Women, We Can Change The World.”

Elizabeth:  Hey girls, I got something to say to you, we can change this world, when we open our legs.  We can change the mind of warriors.  Of this world.  So don't tell me that women aren't the angels of this world.  'Cause we're the angels of each other and of every other world.  So when I tell you to give me your heart, and put it on a plate inside my body, don't resist the temptation.  And when I ask you to move inside of me, I'm inviting you to feel the earth.  'Cause inside of me lives the sun, lives the moon, and the Mars and the sky and the dirt.  So when I invite you to move inside me, you can feel the earth.  So in espanol it's a little longer, 'cause that's how it comes, but that's the basic gist of it.  So the title in Spanish is “Oye Chicas, Podemos Cambiar el Mundo”  Okay.

Elizabeth:  Yo tengo a desir a reyes, podemos cambiar el mundo.  Cuando nuestra primos las piernas.  Podemos cambiar el mente.  El mente de lescerreros es tonses dome dicho las mujeres.  No son pueden.  Podemos cambiar el mundo, de este mundo en tonses cuando yo tengo novio, siempre ayo, siempre yo espero por ayos a tuviero las otra diosas por que siempre de ayos son mejor amantes en tonses damame, damame, damame su corazon, damame, damame, damame su corazon.  Me dio por nierla, me voy a por nerra, el dentro no orno, el orno de mi cuerpo, el desa tu dendrias mierdo, el desa tu dendrias avojado, el desa tu dendrias el mio perro.  Me recuerdas.  Yo so no diferente que las selwa, yo so no diferente que la luna, yo so no diferente qua el marque el mudre, el toro esta universo, tu pueda sentir o cuando tenuedas adentro mio.  Y tu para sentir la tierra.

Marcie Prohofsky:  Okay.  Alutha, with a piece called “Revelations.”  Go on with the titles, man, alright.

Alutha:  Okay, this is a piece I wrote in my journal and posted on either the blog or the chatboards, out of a relationship I have with a woman who I'll call Beebe.  Piece is called “Revelations.”

Alutha:  So I went into the desert two weeks ago.  I went in to get rid of some of the things that I carry that aren't me.  To get cleaner, to lighten the load of baggage I carry.  This wasn't a weekend camping trip; this was intended to be a trip into the deep desert, a la Dune.  I wanted to go into a rough, primal place and get my butt kicked by the elements.  I wanted to get down to fundamentals.  I wanted my cortex scraped clean by wind and sand.  This is one of Joseph Campbell's stomping grounds.  A week into the desert, I hit a powerful insight, and thought “Is this it?  Am I done?  Is it time to leave the desert and go back to being with people?”  And my body said to linger, and I did.  Then, Sunday a storm came up, caught me by surprise, stripped the flesh from my bones and had me cry out to God.  Full of anguish and regret and deep sorrow.  It was more than I thought I could bear.  This storm was a stroke delivered by Beebe, my then ex-research partner and then ex-fiance by four days.  And late Monday afternoon, in a place of shadow between light and dark, we met.  We danced toward each other like Elk, mating.  We snorted and sniffed more than spoke.  I was full of fury, she was determined, strong, passionate.  She said I had been energetically requesting this stroke for a long time and she'd stopped resisting it.  The stroke was to lose her, fully, and to feel the burn, the loss, the torture down to my very core. She was right.  I had been pulling for that stroke, and she delivered it beautifully.  I was devastated Sunday night, I felt the burn of her loss to my core.  And as I took this fact in, we went in deeper.  She showed me my wall, and I was able to catch a glimpse of it for a few seconds before it went up and became indistinguishable from my skin.  And then again, and again, so I now knew that I could distinguish my wall, but where did it come from and why is it so damn strong?  I mused aloud, more reflective than actually expecting a reply.  “You built it to keep from feeling people too much,” she replied, simply, clearly.  Bam.  In an instant I was back in my early teens remembering the feeling of my internal world being chaotic and the world outside me, people, being chaotic.  I was this thin strip barely hanging on between forces inside I didn't understand and the forces outside I didn't understand, and in that instant I got it.  In One Taste, we speak of being semipermeable.  As that teenager, something was wrong:  I was too permeable, too much information was coming into my system from the people around me.  I could feel so much suffering, and in the background there was this beautiful glow that was the essence of people.  And the dissonance between the suffering they experienced and the core I saw men to be was excruciating, deafening, heart-rending.  And somewhere along the way I learned how to build a wall, and I put my heart and soul into it.  I was going to build something solid, dependable, something impermeable.  Six-foot thick walls of granite comes to mind.  I did a good job, then I rested.  I was safe.  And now, thirty years later, being permeable is now “in.”  Being able to connect and be nourished by others is something that is good and can be safe.  But by now I forgot about building the wall.  That wall of granite had been upgraded, refined, until it was undistinguishable from my very skin.  “What wall?” I asked, impervious, when the people in my life complained and asked to be let in. “There's just me, my body, my skin, no wall here.  You are mistaken.”  And Beebe had shown me my wall, and then she showed me its origins, and original value.  And lastly I saw that being connected with her was worth lowering my wall, and that I could connect to the world through her exquisite, nourishing, joyful presence.  She has been an amazing spring in my life, mysterious, miraculous stroke from life itself.  I can lower the wall.  I can be open.  And this realization wasn't tenuous or fragile.  The strokes had landed cleanly at my very core, and I have found that I can notice in a moment that my wall has gone up, and drop it simply by reminding myself that I can open.  I have drunk from Beebe's spring, from her well, I know that joy is in the world and that it is protected and strong and will not abandon me.  I can open.  And suddenly the deadly storm has passed.  An hour later I'm having dinner with Katrina, as her guest.  I am animated and open and alive and amazed and grateful.  And open.  Open.  I close.  I notice it, and I open again.  Two hours later, two friends who I have been disconnected from are giving me a lush, exquisite, four-handed massage.  I find a connection with one that I had lost nine months ago.  Only now it's deeper, richer.  She's open, I can feel her, I'm open.  Monday night, I'm out of the desert.  Alive, grateful, amazed, open.  Mr. Campbell would be pleased.

Marcie Prohofsky:  Nothin' like leaving the desert.  Dude, every time I see you close, I'm gonna say “Alutha, permeability is in!”  Alright, Lauren, to sing us a song.  Lauren creates these exquisite One Taste-inspired ditties.  I cannot wait.  This is a piece called “The Games I Play.”

Lauren:  So this was inspired by a good friend of mine who was helping to see all the games that I play, and also... so One Taste, for those of you who aren't familiar with it, they run a course called “The Man Course” and that is where women come out and sort of talk about the games that are being played in intimacy and relationships.  I didn't even know I was playing all these games until it was pointed out to me.  So, yeah.

Lauren:  I gaze into your eyes / you show me yours, I'll show you mine / Somewhere in that moment, I'm free / So, I tickle this fantasy / and I pounce on it with kitten glee / then I clench away in disease. / This is the game I play / forgive me, I know not what I do / This is the game I play. / You pay attention to those little things I've mentioned / I'm not used to being so seen. / I try to communicate, the cat turns my tongue to pate / real time spins by without a word. / This is the game I play / forgive me, I know not what I do / This is the game I play, oh oh. / You give me all I ask for / God I wish you'd take it back. /  Connect, cannot connect / Good night. / I can't really let you in because I'm busy mistrusting / and better I reject you before you do me.  /  This is the game I play / forgive me, I know not what I do.  /  This is the game I play, mm-hm. / How dare you see me and how dare you play this hand / You know the rules they keep on changin'. / How dare you see me and how dare you play this hand / maybe I should up the cards.  /  This is the game I play / forgive me, I know not what I do.  /  This is the game I play, mm-hmm.  /  I feel you turn me on and sometimes you come on too strong / in my head you only want one thing (or maybe that's me) / I shut in turn off check out, 'cause I want the future now / Read my mind, come here, go away.  /  This is the game I play / forgive me, I know not what I do.  /  This is the game of me / I'd love to see you navigate this sea.

Marcie Prohofsky:  So you've had a full experience, huh?  Now you believe we don't just write it, we live it.  I want to thank you for tuning in.  This radio show's been brought to you by One Taste Urban Retreat Center in San Francisco, and Personal Life Media.  To contact us, please send us an email at [email protected].  You can also find out more information by going to personallifemedia.com or check us out at onetastesf.com.  Thanks so much, thanks for staying tuned in, and thanks most of all for staying turned on.