Ok if you are looking for a “relationship “ with me . I don’t do long distance period I may flirt but that’s it . I don’t give money to anyone

ROGER MOORE parodies 007 as ‘Seymour Goldfarb Jr.’ — a nice Jewish boy who thinks he’s James Bond — in the 80’s action-comedy that did very nice box office (at $160m off an $18m budget). THE CANNONBALL RUN (1981)

On this day in 1958: Pizza Hut opened. The name was chosen because their sign only had space for 8 letters After “Pizza,” they had 3 letters left.

"Where you from, son?" "Madison City, Missouri, sir!" "Never heard of it." 'The Dirty Dozen, starring Lee Marvin, Charles Bronson, Telly Savalas and Donald Sutherland in his first major movie role, was released on this day in 1967.

Just keeping it real on the highways and byways of the land.

🇫🇷 Paris, 1968 “Camille Poses for Me — The Private Room” — Video Version Camille never needed me to invent her. That was the first thing I learned about photographing her. Some women arrive before the camera carrying a role they hope the lens will give them. Camille arrived already complete. Leather, cuffs, blindfold, black satin, the little collar at her throat — these were not costumes placed upon her. They were doors she had chosen herself. This photograph came from one of those quieter evenings. Not the studio this time. No formal backdrop. No careful emptiness around her. Only a private room, heavy curtains, dark bedding, warm lamps, and Camille resting in the kind of stillness she loved most. She had asked for the blindfold. She had fastened herself into the mood before I even raised the camera. I remember how calm she was. Not passive. Never that. Camille’s surrender always had its own intelligence. She understood how to give herself to an image without disappearing inside it. Even with her sight covered, even with her wrists held together, she remained unmistakably present: composed, elegant, attentive, and quietly proud of the world she allowed me to witness. That was our shared language. She loved the leather because it gave shape to her desire. I loved the photograph because it showed that shape without needing to explain it. This is another page from my private archive of Camille. Not a scene arranged for strangers. A memory of trust, satin, black leather, and the rare happiness of photographing someone exactly where she wanted to be. ❤️ With discretion, Clotilde — Manager & Photographer, Vintage in Leather #VintageInLeather #LeatherGloves #Handcuffs #Blindfold

In Diamonds Are Forever (1971), Bambi and Thumper quickly became one of the most memorable female assassin pairs in Bond history, despite appearing in only a brief scene. The assassins were originally conceived as men, however director Guy Hamilton changed his mind after watching the US tumbling team. He said: “I thought ‘I bet one of these girls flip-flopping would kick Bond before he knew what had hit him, and being a gentleman, he’d be rather surprised’.”

We are very close to finalizing a Memorandum of Understanding with the Gorn which will be signed today. #StarTrek #Sisko197

I was entertained by these more than the live action. Take stories from the comics and adapt them to animated features

Stargate: SG-1 S1 Studio: MGM Television, Gekko Film Corp., & Double Secret Productions Aired: Jul 27, 1997 – Mar 6, 1998 #Stargate #SG1 #SaveStargate #SciFiTelevision #90sTelevision

Damn right we can take it lol

Is it pronounced Clay-2 or Claw-2?   Klaatu (In Skiff Guard Outfit) was first released in 1983 in the Sears Exclusive Jabba the Hutt Dungeon Action playset along with Nikto and 8D8, and came in a Kenner Baggie. He was officially released in 1984 on the second wave of the Return of the Jedi 77A cardbacks and comes with a force pike.  In the Return of the Jedi movie, this character was played by Corey Williams who is the son of Billy Dee Williams (Lando Calrissian). Klaatu was a male Kadas'sa'Nikto gambler who worked for Jabba the Hutt repairing the crime lord's skiffs. Klaatu also took enjoyment in Jabba's executions by rancor in Jabba's Palace. He was killed aboard Jabba's sail barge Khetanna on Tatooine during the failed execution of Luke Skywalker and his companions. #starwars #klaatu #jabbathehutt #returnofthejedi #actionfigures #toyscollecting

Thunderbirds Are Go!! FAB ! open.spotify.com/track/4mjWG…

And it took meca year to realize other movies at my age were cool too

Actor Bill Mumy first became known for his childhood appearances on classic series such as "The Twilight Zone," and later as Will Robinson on "Lost in Space." @JimAxelrod discovers how Mumy, now 72, avoided the dangers that other child actors faced while pursuing a Hollywood career, as an Emmy-nominated songwriter, touring musician and recording artist, and finds out what has kept Mumy grounded.

Congratulations to the Knicks

And me screaming FUCK!!!!!

ROBIN HOOD: PRINCE OF THIEVES was released 35 years ago today. Sean Connery’s surprise appearance as King Richard was filmed in just a couple of days. He delivered one of the most memorable cameo endings of the era.

Hayden Christensen at the Knicks v Spurs game

When the Rising Sun Commands, the West Remains Silent • Vol. IV • First Lessons for Two — A Second Rendering 👉 Manager Clotilde’s Notice — This image is from the collection When the Rising Sun Commands, the West Remains Silent • Vol. IV • First Lessons for Two — A Second Rendering, now available on our Patreon. patreon.com/VintageinLeather… 👉 Notice: This is an alternate interpretation of the "When the Rising Sun Commands, the West Remains Silent • Vol. IV • First Lessons for Two" project. The same moments. The same scenes. The same poses, clothes, and elegance. And yet — seen through a different lens. Project description: When the Rising Sun Commands, the West Remains Silent is a cinematic visual series set in Japan at the turn of the late 1970s and early 1980s. At its center are Western women who come to Japan voluntarily, with curiosity, trust, and a long-held desire to experience the calm authority of skilled Japanese Mistresses. This project is not about brutality, pornography, or coercion. It is about psychological dominance, emotional guidance, public tension, carefully negotiated surrender, and the quiet beauty of restraint. The visitors come by choice. They arrive with expectations, fears, fantasies, and private longings. The Mistresses meet them not with chaos, but with discipline, patience, structure, and precision. The world of this series is built on consent and preparation. Every encounter is understood as voluntary, negotiated, and emotionally intentional. Handcuffs, gloves, leather, rubber, public exposure, and controlled movement are not used as threats. They become visual and psychological symbols: signs that control has been handed over, that trust has been accepted, and that surrender can be elegant, intimate, and deeply personal. Across future chapters, the visitors may change. Some will be mature women seeking to rediscover themselves. Some will arrive alone. Some, as in this volume, will arrive as loving couples. But the root remains the same: Western submissive women entering a Japanese world of feminine authority, where the most powerful moments are often created not by force, but by a look, a pause, a rule, a pair of locked cuffs, or the simple knowledge that someone else is now guiding the rhythm of the evening. Vol. IV: First Lessons for Two With Vol. IV, the series temporarily leaves behind the mature clients of the previous chapter and turns toward a different emotional territory: inexperienced lesbian couples from the West who travel to Japan together. These women are not practiced submissives. They have imagined this journey, discussed it, feared it, desired it, and finally chosen it together. Their love is part of the experience. They do not come as isolated visitors, but as two hearts standing side by side at the entrance to a world they have only dreamed about. This chapter is structured as a story, a sequence of connected moments. Yet, as in other parts of the project, it is not meant to be read as strict documentary continuity with the same faces in every frame. Instead, the images form an emotional narrative. We follow the path of a couple through arrival, hesitation, first restraint, public exposure, changing clothes, hotel rituals, and the growing intensity of a night under the guidance of a Japanese Mistress. The story begins at the airport. A young Japanese Mistress welcomes two European women who have arrived as lovers and as beginners. Their visit has been arranged long in advance. They are excited, curious, and nervous. They have chosen this experience freely, but the reality of standing before a dominant woman in Japan is different from imagining it at home. Before anything begins, the Mistress sits with them in a quiet corner of the airport and conducts the first conversation. She asks what they hope to feel, what they fear, where their boundaries are, and how they wish to be led. On the table lie two pairs of handcuffs, placed there not as a threat, but as a deliberate emotional mirror. The Mistress is a professional. She understands that for submissive women, anticipation is already part of the experience. The cuffs work exactly as intended. The women look at them with uncertainty, fascination, embarrassment, and longing. Soon one of them feels the metal around her wrists for the first time. The other watches with admiration and envy. Then she too receives the same experience. The keys remain with the Mistress. From that moment, the visit becomes real. The Mistress leads them through the airport, still in public, still new to the feeling of being restrained. Their embarrassment is visible. Their heads lower. The eyes of strangers become part of the scene. Yet this is also why they came. Public space turns private emotion into something electric. Inside a discreet airport room, the first transformation begins. The women change into clothing selected for them by the Mistress. At first, the outfits remain elegant and almost modest: dresses, long gloves, and front-worn cuffs. The gloves become especially important, the first clear sign that they are no longer dressed only for themselves. They are being shaped by another woman’s taste and intention. Leaving the airport, they walk again through public space, now changed, gloved, and cuffed. A taxi waits outside. On the back seat, away from the eyes of the terminal, their nervousness softens. They sit close together, smiling, talking, showing one another their cuffed hands, and sharing the first private words about what the metal, the gloves, and the presence of the Mistress have awakened in them. The taxi takes them to a hotel prepared by the Mistress. At reception, the public tension returns. The Mistress calmly receives the room keys while the two women stand beside her, dressed and restrained, aware of the receptionist, the lobby, and the guests around them. Japanese politeness becomes part of the mood. The receptionist may notice the unusual scene, but professionalism holds the surface perfectly still. Once inside the room, the atmosphere changes again. The Mistress speaks with them, not out of idle curiosity, but because she needs to understand them. She asks how they have felt so far, what affected them most, and what they are ready to experience next. The women cooperate openly. They have discovered that her guidance is not random. It is precise, patient, and effective. So the Mistress increases the intensity. For the evening hotel bar scene, she gives them a sharper contrast. One woman is dressed in chocolate-brown leather, with matching leather opera gloves. The other is dressed in black rubber, with matching rubber opera gloves. The decision is not only visual. It is psychological. Each woman now inhabits a different material, a different sensation, a different kind of exposure. They look at one another and wonder what the other feels. Leather and rubber become two languages of surrender. The cuffs remain in front at first. In the hotel bar, they face the public again. They sit with the Mistress, speak with her, order drinks, and try to behave naturally while wearing outfits and restraints that make ordinary gestures feel newly charged. A waitress serves them with calm Japanese courtesy, perhaps understanding more than she says. The women blush, smile, speak, and slowly begin to relax. Their embarrassment is not negative. For them, it is part of the beauty. A submissive soul can find sweetness in being kept slightly unsettled. There are lighter moments too. They toast with their drinks while cuffed. Later, when the cuffs are moved behind their backs, they must learn how to drink through straws. What might seem awkward becomes tender, human, and strangely joyful. They are not defeated by their restraint. They adapt to it, laugh within it, and discover that helplessness, when chosen and guided, can become a source of intimacy. The final intensity of this part comes when the handcuffs are placed behind their backs. First one woman experiences it while the other watches, fascinated and already imagining her own turn. Then both share that deeper restraint together. At the bar, seated side by side, they look into each other’s faces and silently compare what words cannot fully explain: the thrill, the shyness, the vulnerability, the strange calm of being held within a rule they asked for. By the end of the evening, something has changed. The two women leave the bar behind their Mistress. Their hands are still cuffed behind their backs, but their earlier fear has softened into trust, warmth, and quiet happiness. The bartender waves goodbye. The women glance back over their shoulders and smile. They have not reached the end of their story. They have only completed the first evening. Vol. IV is a chapter about beginnings: the first touch of metal, the first public walk, the first clothing chosen by another woman, the first evening under guided control, and the first discovery that surrender can be frightening, beautiful, awkward, tender, and deeply desired all at once. #VintageInLeather #Handcuffs #Rubber #Mistress