Table of Contents
Introduction: Learn what the term The Of Course really means.
The Basics: The sex basics are applied to the Course. Some are important, then again, some are not.
The Secrets: These are the secrets moves that create sexual compression. The female learns how and when to squeeze; the male manages her selected tension.
The Course Complete: The exact moves are laid out line by line. This leaves no doubt in what is expected to complete the first course.
Final Course Thoughts: A few important things to think about after the first course is completed.
Advanced: Never before revealed Advanced Techniques to super-size your new course.
Galloping "V": This little known concept is applied to the deepest part of the Course.
The Of Course gets its name from the Latin word, currere, meaning to run, and the word of is a play on the word love. The phrase of course means: in the natural or expected order of things. A course designed for lovemaking. There is a more sarcastic meaning—of course you knew this! The author likes that one the best.
The Course can be compared to learning a secret martial art like Judo. Nobody will know unless they fight you, and in this case, nobody will know unless they have sex with you. Unique to this body of work, the practitioner masters the male compression cycle.
Sexual compression is analogous to holding a glass: too much pressure and the glass breaks, or not enough pressure and the glass slips and falls from the hand. The Course sets a contract between the male and female. Vaginal moves are set to create a "tightening of the screws" of sexual compression. Meanwhile, the male manages the sexual tension and seeks a dynamic course.
In accordance with this, the Course seeks a divergence of sexual character. Therefore a man has sex like a man and a female has sex like a female. The sex moves are also dissimilar, and in this sense, the male creates a tolerance to the female's selected tension. The resolution of these two diametrically opposed forces creates the compression cycle.
In his ground breaking work, Flow: The Psychology of Optimal Experience, Mihaly Csikszentmihalyi attempted to prove that flow was created when skill levels met challenges.1 In doing so, the brain achieved a sense of well being, happiness, or flow. The Of Course attempts to raise skill levels and challenges to likewise achieve mental flow.
There is no right way or wrong way to have sex, only a skilled and less skilled. If the skilled path is chosen then there are rules. The Of Course is possibly the only sex manual extant with discernible limits. If these limits are breached, then there are definite consequences. Therefore, the Course creates a person skilled in the boundaries of love play.
Unfortunately, sex is a game with nebulous borders, and a skilled tactician has an unfair advantage over a sexual neophyte. I am your Course master, and I mean you no harm. However, if you are a sexual predator that likes to ensnare your victims with devices, then I hope you are hoist with your own petard.
I set off the previous bomb to challenge your Course perspective. Most people are good though and just want to learn better things. I hope you're one of them—Good Luck!
In The Of Course, you will find the development of skills needed to complete your first course. The next chapter, THE BASICS, shows how the sex basics apply to the Course. Chapter three contains THE SECRETS. These are the secret moves used to control the limits of sexual compression. Chapter four lays out THE COURSE COMPLETE. The exact moves spelled out for you and your lover to adeptly finish the first course. Chapter five is called FINAL COURSE THOUGHTS. Once the first course is completed, here are a few important things to think about.
The ADVANCED Chapter is beyond the skill level of the Course novice. Omit that information from the first course. Those moves could cause the opposite of the desired effect.
Finally, the original Course creator hopes this is imparted to the course you create with others. The Of Course creates strength and competence not fear and apprehension. Build your lover as strong as possible and the reward will be great. Don't hold anything back and you will live a life without sexual want. The Of Course has paid me back a thousand times over and it's my pleasure sharing it with you.
The first question is: why do we need a sex basics chapter anyway? Why not skip this Chapter and go straight to THE SECRETS? There the Course will have terms that need to be defined as basics. Also, THE BASICS help shape Course perspective. Many of these concepts are essential, but some are not.
These sex basics are:
- The sexual response curve
- The female sex member
- The male sex member
- Sexual breathing
- PC muscle
- Pelvic rocking
- Stroke speed
- Stroke construct
- "The orgasm"
The sexual response curve
Sex produces elevated states of arousal, and sexologists measure that arousal on the x-y axis. The male curve has a consistent pattern. The line quickly rises from the x-axis and levels out. After a set period of stimulation the line quickly rises. The male passes "the point of no return" and has an orgasm. The line rapidly returns toward the x-axis.
On the other hand, the female sexual response curve takes longer to rise from the x-axis. Her response curve plateaus during sex, and takes longer to return to the x-axis. Sexologists have established a firm sexual fact, 75% of all women polled never climax during vaginal sex.
From the Course perspective the most important thing that can be gleaned from these two curves is: the male curve will always dominate the female curve. For if the male has an orgasm the female is left without a sexual partner.
The female sex member
The female vagina is defined as a muscle that can flex, twist and torque during sex.
The vagina has four well defined zones:
Zone 1: The labia, or lips
Zone 2: The vaginal barrel
Zone 3: The top
Zone 4: The tip
The female controls these four zones during sex to act upon the male's corresponding zones.
The male sex member
The male penis is defined as a ligament that can also flex during sex.
The penis has four corresponding zones:
Zone 1: The base
Zone 2: "The hump"
Zone 3: The foreskin
Zone 4: The penis head
The most significant of these four zones, from the Course standpoint, is Zone 2—"the hump". This erogenous zone centers male compression. The hump can be identified by pinching off Zone 1 and Zone 3. Move the pinch points toward the center. The bubble of blood captured in the middle is called "the hump". Mentally place a red "X" in the middle of the work. The Course admonishes the female not to impede the hump intra-course. The reason being:
The male has greater stroke rhythm.
The tension could cause the male to orgasm.
Moving faster now, sex produces elevated respiration and heart rate. In order to control the natural sex environment, sex texts propose sexual breathing exercises. The Of Course does not understand the nature of such teaching. Give into the forces within the sex environment: thrust and counter-thrust with a powerful Ugh and Oon! Don't try to parse, sublimate or otherwise raise these desires to a higher power, because there isn't any!
To improve the "natural" rocking motion, sex texts prescript pelvic rocking exercises. The basic pelvic rocking may be limiting from the Course standpoint. Therefore, the text offers a correcting solution.
The supine male is opposed by a prone female atop. The male fills a big barrel chest with air; the female arches her back and raises her nipples and pelvis. He issues a command—"Hips down, breasts down." The male begins to exhale, and the female pushes her breasts down to expel the air. Simultaneously, she presses her clitoris down and into the male body. The two repeat the process with the next breath of air.
The next exercise reverses the previous text. The male fills a large belly of air; the female presses her genitals and breasts into the male. He then expels the air with the command—"Hips up, breasts up." The female arches her back and pushes her belly into the male. Her breasts and pelvis move up. Again, the process is repeated with the next breath.
These are the precise exercises to control the spine and pelvis during the Course. They will serve you well.
The subtle argument with the PC muscle is: sex duration is not long enough for the female to reach climax. Therefore, a little known muscle on the pelvic floor is used as a panacea for many sexual ailments. Sexologists state firmly, "Strengthen the PC muscle for rock hard erections."
The PC muscle or pubococcygeus is a small muscle between the anus and the genitals. The Of Course uses the muscle differently. When the male twinges, he totally relaxes the muscle, and for that matter, every other muscle in the lower body. Consequently, the pumping exercises to strengthen the muscle—totally superfluous.
This one concept places gynecologist and sexologists at odds. The reason being, there is no consensus that the G-spot exists. The spot is named for a researcher in the 1940's, Ernst Grafenberg. He proposed: vaginal orgasms could originate from within the anterior wall of the vaginal barrel.
In terms of The Of Course, simply, no G-spot maneuvers are defined or practiced.
The precise act of mounting is a crucial step and requires technical skill. Therefore, the text spells out each move:
- The supine male prepares to receive the female; the female kneels tightly next to the male's torso.
- The female's down body knee travels to the other side and positions astride the male torso.
- The female kneels erect straddling the male.
- The male "pops up" his knees to receive the female's hands.
- He grips his penis base and presents his erection to her.
- The female places her hands on the male's knees and descends to grip the penis head with her labia.
- She slides Zone 1 over the male hump (Zone 2).
- The male removes his hand from his base.
- The female proceeds directly to CHAPTER THREE SECRETS—"strip the bone".
This is a perfect course mount. Don't change a word.
The Course has maneuvers staged at lesser stroke speeds while others are staged at much higher speeds. Therefore, THE BASICS must define exactly what stroke speed is. Speed one is about one second, or the duration of one heartbeat. One complete stroke cycle: the entry stroke, and the exit stroke. The heart beats lub, lub. Speed two has two complete stroke cycles per heartbeat (lub, lub). The fastest speed in the Course is speed three, and is staged at a portion in the Course called "Bounce".
The female sets an invisible pathway to send the stroke on its way. This is stroke construct. When done skillfully, the stroke construct can change instantaneously without missing a beat. Also, the penis will travel the path of least resistance; therefore, vaginal tension defines this secret pathway.
The male orgasm
There is one sex basic that all sex experts can agree upon: the point of no return. Once the participants have crossed this threshold then the male will orgasm.
This Course threshold should not be a surprise to the female because there are clear warning signs. The male has symptoms of "heaviness"—the muscles of the lower body tighten, his stroke rhythm changes, and the legs descend. After a few strokes of heaviness the male "twinges", an involuntary spasm of the sex organ. He soon crosses the "the point of no return". The Of Course stages two orgasms: a mini-orgasm and a powerful orgasm at the end.
The mini-orgasm is staged at the beginning of the Course and is used to bleed off early sexual energy. The female must adeptly ease the male into the mini-orgasm; meanwhile, the male must fight the urge to let go. She adeptly applies a wide vaginal barrel and waits; he ripples out the pre-ejaculate. After this is successfully accomplished, the Course can continue.
The Of Course is designed as a long compression count: it is continuous and uninterrupted. The second of these two orgasms is at the end, and there, the female desires to over-compress the male. Like written above, the male's lower body will tighten, his legs descend, and he begins to struggle to fight the effects. He twinges; she senses the initiative and continues stroking. He passes the point of no return, and she strokes two or three more times. The male explodes into a powerful orgasm.
The Of Course sine qua non is S.O. or strong orgasm. This is her reward. However, if the participants mismanage these two orgasms, then the male could have a "natural" or weak orgasm (W.O.). This is not the end of the world, be nonjudgmental, and correct the mistakes in the next course.
The female orgasm and conclusion
Firmly and unequivocally, The Of Course has nothing to do with the female orgasm. Foremost, sex success from the Course standpoint is derived from the powerful orgasm at the end of the male's compression cycle. The total of the female's vaginal efforts are directed to that end.
Unapologetically, The Of Course is a wham, bam, thank you ma'am western style of lovemaking. No attempt is made for extended love play. The PC muscle is not plumped so the male can achieve multiple orgasms. The G-spot is not located so it can be successfully stimulated. No effort is made to indirectly stimulate the clitoris.
Nothing stated within these lines will change this one immutable law: few females experience vaginal orgasms.
The strength of this text is founded upon the fact that men and women will produce earth shaking orgasms every time. These strong orgasms begin to accumulate over a series of courses. This leads to a psychological sense of well being and a permanent feeling—"you're good in bed." The previous is the best sex basic this chapter can impart.
The Of Course is beginning to take shape. The next chapter reveals the secret sex moves used within the Course. The female learns how and when to squeeze; the male discovers how to manage her selected tension.
The secret moves in this section act upon the male's sexual compression cycle. Once it has begun, it can't be turned off. Furthermore, the Course has set in motion two opposing forces. The female uses vaginal moves to increase male tolerance and create sexual compression; the male develops tolerance, fights off the effects of W.O., and drives toward a powerful orgasm. In other words, the female must squeeze and the male must create a level stroke construct.
To have a successful course, the female wants to influence but not directly act upon the male hump (Zone 2). Constricting the movement of "the hump" will affect the male's straight line stroke speed.
The male's compression cycle begins in foreplay. The female can use her hands to perform the next two items, but they don't slide nearly as well.
Fellatio is often performed before sex to get the male aroused. The Of Course fellatio technique is used to create tolerance. The first of the two techniques is directed into the penis ligament; the second is a shallow stimulation of the penis skin. The female alternates between the two moves until the male reaches maximum compression and tolerance. When she feels that her work is complete, and that the male can complete the Course, she moves to the next technique in the text.
Thumping the hump
Grip firmly the base (Zone 1) with thumb and forefinger. Next, press forcefully the lips into Zone 3 (the foreskin). Push the stroke down into Zone 2 (the hump). Release the grip and return the lips softly to Zone 3. Repeat the process until the male develops a "heavy" feeling. Discontinue the technique and move on to the next item.
This action unravels the previous text. The female desires to defuse the sexual energy and decompress the work she has just done. With long strokes and soft lips she keeps her action upon the penis skin. She does so until the male has released his tension. The move called "Zippa" (later in this section) can be inserted here now. When she is satisfied with the decompression count she returns to the previous item in the text.
Secretly the female has just begun the compression cycle. Decompression is extremely important: for if the male can't loosen up, he will reach a new state. Painfully erect or p.e. happens in the Course when the male is caught in a cycle of over-compression. This involuntary state invariably leads to W.O. or weak orgasm.
She switches between the two items of text until the penis is stiff and non-flexing. Then, even more pressure will be applied to the process.
Popping the top
The female makes an "OK sign" and applies it to the male base (Zone 1). This move immediately constricts the blood in the hump (Zone 2). She places another "OK sign" adjacent the first. Firmly, she tightens both OK signs. Now, with her top hand she tightens the middle finger, the ring finger, pinky finger—"Ouch!" The action forces blood into the penis head (Zone 4). Be mindful not to burst the capillaries, the blood is under extreme pressure.
She can now fluff out her work with her hands or lips. After this, repeat "popping the top" one more time. The penis is now ready for the rigors of the Course. Proceed to the Basics mounting technique and prepare for the next item.
strip the bone
This move has been successfully adapted from Margo Anand's book The Art of Sexual Ecstasy.2 There, it was used to get the male "back up" for extended love play. One hopes a Course female is never placed in that position.
The maneuver begins in Zone 1 (the labia). The female constricts her lips and pulls up against the exit stroke. The tension moves from Zone 1 (the base) toward Zone 2 (the hump). At the bottom of the exit stroke, she releases her tension and allows the entry stroke. Pull up, release, reset.
Strip the bone forces blood into the hump. That is the desired effect. The female continues the move until it has satiated itself (usually five to ten strokes). Then she moves to the next technique.
This is a powerful tool in the hands of a proficient Course female. "G" is staged in Zone 3 (the vaginal top), and adds top-down pressure. Like "strip the bone", "G" desires to act upon the approaching stroke.
The female constructs an imaginary ring within Zone 3. She tightens the ring and forces the tension from Zone 4 (the head) toward Zone 2 (the hump). The penis encounters the tense spot and foreskin is stretched. Lightly formed tension is a shallow stimulation of the foreskin (Zone 3).
When the female firmly increases the tension in Zone 3 a new stroke construct develops…
As the tension increases, the two bodies literally begin to Rock. The female's actions are now pressing toward the hump. The penis reaches the tense spot and has to ram through. This technique is used to develop a "heavy" feeling. When the female has created maximum compression she backs off with a lighter and longer fluffing technique.
What if the female is skilled enough to combine two moves during the same stroke cycle? One Course female did just that…
This is the only compound move in this section, for obvious reasons. The female sets her actions to "G" on the entry stroke; on the exit stroke she pulls up with "strip the bone". Easier said than done, this is a real "pat your head" and "rub your tummy" type of move. Maybe Scoop was sent from the devil to foil our day, but it does form a seamless transition between the two moves in this section.
Here are a few pointers for this complex maneuver. The female should attempt to briefly hit the top and bottom of the stroke. Then, when the timing is right, she can move her actions into the stroke. Next, the male maintains a deliberate stroke rhythm and locks the stroke into the top and bottom positions. This gives the female time to execute both moves. Also, the pressure is all on her, so be nonjudgmental. Finally, if the female is struggling, simply move to the next technique. She'll get it.
The attitude in the previous paragraph is the true meaning of The Of Course. After a few courses nobody remembers the difficult situations, instead, they say—"Of course I can do that."
This technique also originates in Zone 3 (the vaginal top). Make a cow milking hand: curl the index finger, middle finger, the ring finger in succession. Apply this visualization to the vaginal top. There, the action works upon exit stroke. The female is gently squeezing the foreskin on the way out. She then resets the action to work on the next exit stroke.
Zippa is adeptly applied after the mini-orgasm at the beginning of the Course. She waits, so the male doesn't W.O. Next, she gently zippas out the fluid, and allows the male to regain his prowess.
This stroke construct allows the female to actively deflect the male's straight line stroke. Remember that the penis's pathway is set by vaginal tension. In this sense, the male stroke will be deflected away from vaginal strength.
The first deflection is Zone 3 anterior (front wall) pressure. This tension deflects the penis to the back wall. With this thought implanted, the female applies Zone 3 back pressure to the next stroke, and the penis deflects forward. Certainly, the female can deflect the penis back and forth or side to side based upon her desired tension.
The simple Course deflect is at the top of many compound maneuvers. For example, the advanced decompression move Swivel is classified as a breaking maneuver. The female uses Zone 1 and Zone 3 pressure to bend the male hump.
That being said, the female should not attempt Swivel in her first course(s). The decompression could lead to disaster. Instead, practice the basic Course deflect and maneuver the construct back and forth. Allow the male to briefly decompress and continue with a compression count.
Tickling the chin
Building upon the basic Course deflect, the next move leads to a new tension. The female focuses Zone 3 back pressure on the same penis area. Underneath the penis head is a place called "the chin". The vaginal tension contacts the same spot on each entry stroke.
From this standpoint, the successive strokes can have a level tension, an increasing tension, or decreasing tension. This is a subtle form of stimulation and is favored by soft love makers. Tickling the chin directly leads to the advanced construct "When Two Become One".
Twist the cap
This simple maneuver adds twisting or torque to the Course. Moreover, the male is then convinced the vagina can actively twist around the entry stroke. The move develops in Zone 3 (the vaginal top). The female engages the depth of the male stroke by pushing vaginal tension down and then to the right. She resets the action for the next entry stroke, and applies tension down and to the left.
The tension should impart the feeling of twisting a bottle cap. In accordance with this, the female is giving the impression she is acting around the stroke. Twist the cap is used at the top of the compound move "Rock the Boat". Therefore, it would be unwise to omit this basic move.
This is the speed limit of the Course, and for that matter, any other sex course. The female positions her torso erect upon the male pelvis. She may also place her hands on his knees (quickly recall the mounting text). First, she strokes at speed one, then rapidly increases her speed. At speeds that exceed two she literally begins to "bounce". She continues the action at speed three. Also, her vaginal tension is light, so she does not over-stimulate the male. With that, Bounce allows the male to relax into vigorous stimulation.
When the male has reached the limit of his endurance, he gains the stroke lead and signifies the end of the session by thrusting as fast as he can. He then slows the action to speed one and the female uses a fluffing technique, zippas, or rocks back and forth with the basic Course deflect. The two bounce again.
If the female is orgasmic, she may wish to stage her orgasm here. However, and this is important, Bounce is not designed for that purpose. Over a series of courses, Bounce creates a tolerant Course male. In accordance with this, the female is testing the male's Course strength.
On the other hand, the male must fight the effects of the female's Course speed. Totally relax the PC muscle and the muscles of the lower body: avoid W.O.
Building on the concept of W.O., the female never desires to create an elevator. That would not be conscientious. She sets her resolve, if the male can't get through Bounce, then she takes him directly to S.O.
Finally, Bounce is a Course limit. Future courses are shaped by the success in this portion of the Course.
After the second bounce session the female dismounts. The male is allowed to decompress. The female's next sex position is the modified reverse mount. This position is similar to reverse cowgirl, but her legs are not straddling the male. Instead, she slides her legs under the male's upraised knees. She is facing away from the male, and his erection is bent toward her. The male's base (Zone 1) is bent, and this constricts the blood trapped in the penis. Also the female can better sense the tension in the man's legs. From this position she will administer her perfect closing act.
Continuing from the first sentence of the previous paragraph, and whatever the case may be, she only has about five seconds to get into the reverse mount. However, she does have these Course options:
- Rapidly move to the reverse mount.
- Begin a fluffing fellatio count, while her body travels toward the reverse mount.
- She places a loosely formed grip on Zone 3 (the foreskin), and rapidly tries to "toss him off". Then her body can travel to the reverse mount.
Both participants can realize this is a time sensitive situation. The entirety of their good work can be undone in a few fleeting moments.
The male pops his knees up to allow the female's feet to slide under. The female is in line with the male and facing away. She slides her feet under his upraised knees, and makes a "bird beak" with her thumb and forefinger. She applies her hand to spread her labia; the male grasps his base and presents his erection to her. She slides back on her haunches, and the male slides in. The female proceeds to "G" and her first compression count. She increases the tension to "Hard Rock".
She is searching for the male's limit to her actions. Namely, signs of heaviness and twinging. When she senses this Course limit she backs the male down (fluffing, zippa, basic Course deflect).
Her second compression count goes past the earlier Course limits of heaviness and twinging. In her current position, she can clearly feel the male's legs getting tight. She's searching for the point of no return. When she has found it, she rapidly dismounts and returns to a face to face mount.
She quickly mounts similar to the remounting text above. She reaches behind the male's head and pulls it forward. Her strokes become strong and the two bodies enter "Hard Rock". Only a few more strokes… One more…
She strokes past the point of no return and Bam! She opens Zone 3 and allows the male room to orgasm. His body begins to Rock! This is The Of Course S.O. or strong orgasm. Just look at how much effort went into it.
These are the secret moves that shape The Of Course. A stroke construct creates a consequence, then another stroke construct is implemented to take advantage of the resulting state. The female maintains pressure on the sexual compression cycle, and this leads to a logical conclusion—a very powerful orgasm at the end.
The next chapter spells out this course of action line by line. A master of these lines is a master of sexual compression.
The Course Complete
This section is laid out like a map. First, there is an aerial view, or a series of snapshots designed to implant the positions of the Course. Next, the terrain is traversed step by step and line by line. This leaves not doubt in what is expected to complete the first course.
Secretly, the participants are learning the hidden code of the male compression cycle. By utilizing the Course map, the male and female learn how to navigate subsequent courses. Soon, the lovemaking sessions mount up, and the participants master sexual compression.
In accordance with this, all great journeys begin with the first step…
Begin slide show:
Glimpse a vision of a naked woman and man lying in bed. They seem to be chit-chatting.
A supine male has a prone female on top of him. Her hips are rocking back and forth. She is pressing her genitals into his.
There is a vision of a female kneeling tightly between the legs of the reclined male. Her head is bobbing up and down.
The female is kneeling erect and preparing to lower herself onto the male's pelvis. Her hands are placed on his upraised knees. The male has presented his erection to her.
The female's breasts are viewed slack against the male's chest. She is using her arms and legs to force her bodyweight into the motion.
The female is motionless and rigid upon the male. The male seems to be resisting something.
In this photo, the female is smiling and enjoying sex. The reclined male is also enjoying himself.
The female has moved into an erect position. Her hands are on the male's upraised knees. There is an appearance she is moving fast. The male's brow has narrowed, and he seems to be fending something off.
This picture displays a dismounted female. She is beside the male and pushing her bodyweight onto her knees. She is moving to a new position.
The female is kneeling on all fours and facing away from the supine male. Her legs have slid under his. Her head is down and is looking between her legs. She is forcing her bodyweight into the motion.
The photo snaps a nimble move. The female is rotating on her right knee to face the male. It appears that she will place her other knee outside the male's leg.
The female has placed both hands behind the male's head and she is pulling him forward forcefully. Her chin is resting atop the male's head. The bodies are intertwined and tight. The male is under great strain.
The female has moved to one side of the male. Her hand is placed on the male's neck: she is checking his pulse. Also, she seems to be smiling.
View a woman slightly curled into the fetal position. She is watching the male intently. He is flat on his back, and appears satisfied.
This snapshot shows the male curled toward the female. His arm is across her body; she is on her back. His head is resting on her shoulder. Both look content.
With the visual representation implanted, each position is annotated. A male and female are lying in bed, and they are having a conversation. They have decided to make a special kind of love, The Of Course. The two are on their sides, face to face. The male moves his top knee toward the female's knee. She locks her top leg behind his top leg, and he rolls onto his back. She rolls atop the male.
She begins posting her genitals upon his, and the male is aroused. The female kisses the male and begins moving down. She desires to place her right knee inside her partner's leg; there, her weight pushes onto the knee. As her knee slides back, her face remains tight to the male's torso.
When her face reaches the male's pelvis, she moves her knees close together and positions her body between the male's legs. She grasps the male base (Zone 1) with thumb and forefinger and begins a fellatio compression count. Her sex strokes push down in a rhythmic fashion. The technique is called, "thumping the hump".
Whenever the male approaches heaviness, she backs her compression count down and switches to a softer technique: namely, fluffing or zippa. Now in control of the compression cycle, the female attempts to build a sturdy male hump (Zone 2). Again she compresses her work with the heaviest technique: "thumping the hump". After her motion has reached a pinnacle, she fluffs out her work.
Popping the top
Her work is not done until the male penis can withstand the strain of the Course. With manual dexterity, she applies two "OK signs" to the male's base (Zone 1). The top hand tightens the middle finger, the ring finger, the pinky finger. The desired effect is created. She fluffs out her work.
Once again she applies the tightening method. If she is satisfied with the male member, she proceeds to the mounting text.
The female will continue her next compression count from the mounted position. Therefore, she quickly moves to a tight kneeling position beside the male torso. Her down body knee travels across the male torso; she pivots ninety degrees on her weight bearing knee. Now facing the male, she kneels erect, and prepares to place her hands. The male raises his knees to receive her hands, and he grips his base to present his erection to her.
The female lowers her labia unto the penis head. She gently slides Zone 1 over the male's hump (Zone 2) and begins her first count compression count—"strip the bone".
The mini orgasm
Her action is forcing blood into the hump. Strip the bone is applied for no more than ten strokes. In due time, the top of the male penis requires attention. A great transition move can be inserted in the Course now, and that is "Scoop". If the female feels confident, the compound move can be used to bridge the gap between "strip the bone" and "G". Notwithstanding, "G" requires immediate attention, and Scoop can wait for later in the Course.
The female resets her vaginal tension to apply top-down pressure. She decreases her body angle and administers her compression count. The male is "held up" by "G" and Zone 3 (foreskin) is being stretched. Furthermore, the male must thrust harder through the tense spot.
The female bids him to thrust and so he does. She then increases the vaginal tension and judges her compression count. Both enter the stroke construct known as "Hard Rock". She is searching for the signs of heaviness and twinging. Three, two, one… one more, the female has found the male's mini-orgasm. She opens Zone 3 (the vaginal top) and waits, motionless. Her fingers are crossed hoping the male doesn't W.O.
After the male gently ripples his mini-orgasm, the female Zippas out the fluid. Her Zone 3 (vaginal top) tension soothes the foreskin on the exit stroke. Similar to the technique "popping the top", but her soothing tension is imposed top-down.
Between the hurdle of the mini-orgasm and the obstacle of "Bounce" is the main body of the Course. Put simply, this requires imagination and creativity. The female wishes to create an interesting and pleasurable course; the male wants to thrust and test the limits of sexual compression. That being said, both participants must maintain pressure at the top of the Course, or the male could rapidly decompress. This Course limit was warned about in the "strip the bone" text. Decompression is a devastating Course ender. Here are a few words of advice to avoid this Course limit:
- Keep the main body short.
- Don't apply compound moves until the participants "get it".
- Create moves that the other can anticipate.
- Stay on the heavy side of compression counts and with this,
- don't allow decompression counts to go too deep.
Therefore, a short good course is much better than a long bad one. In accordance with this, the text offers this short body text…
After Zippa, the female creates a compression count with "G". To signify the end of this compression count she "deflects". She then enters a quick decompression count. Her strokes are long and rhythmic. Also, her stroke length should be exacting in length (later known as Perfect strokes). She signifies the end of this short decompression with a few strokes of "strip the bone".
Again, she has an opportunity to practice "Scoop", but don't get hung up. Keep this compound move under control (only a few strokes). Scoop transitions into "G", and another compression count.
Sets of two
This is a fun technique that won't ruin a first course, and it is designed to teach stroke lead. The female thrusts "G" for two counts and gives up the stroke lead. The male gains the lead and strokes twice, and then the female takes over, and so forth. Remember, stroke lead changes in Bounce as well, so this is a good place to practice.
Tickle the chin
These quick switches must end some place, so the female takes over the lead and transitions to a soft technique—"Tickle the chin". She then increases her tension to "twist the cap".
Wrap it up
In the best Course advice the female should start her last main body compression count now. With her lead established, she proceeds to "G" and "Hard Rock". She then gives up the lead and allows the male to approach "heaviness". When the male hump is solid, she goes vertical.
The female will now impose another Course limit upon the male—stroke speed. She starts with a slower rhythmic decompression count. Then she gains speed. At speeds greater than two, she begins to bounce. She also releases vaginal tension so the male can reach maximum speed without signs of W.O. (heaviness, twinging, and the point of no return). When the male begins to tire, the female gives up the lead. The male strokes rapidly for about ten strokes, and then he decompresses. The female gently strokes at speed one. A back and forth basic Course deflect can be inserted here now.
When the male has regained his sexual prowess the two "Bounce" again. She is attempting to tire the male and impose her Course limit. After this is completed to her satisfaction, she dismounts and proceeds to the finishing text.
For the first course, the female should control the dismounted time intervals by moving rapidly. There are other ways, but time sensitivity is a good way to calibrate the Course. Whenever possible try not to crawl or scamper. Instead, push the bodyweight like the knees have roller-skates attached. This gives the subtle impression that the female has disappeared and has reappeared in a new position.
The female dismounts to the side of the male, and she slides down the side of the male body. She pivots on her inside knee and rotates to face away from the male. She repositions her knees and slides her lower legs under the male's upraised legs (the modified reverse mount). The male presents his erection to her and the female spread her labia. She remounts and proceeds to a compression count.
The participants create a strong rhythmic compression count and stop a few counts before heavy. The female fluffs out the work. The two start another compression count and the timing is critical. The female adeptly strokes one count past the point of no return, and dismounts immediately. She can remain in the reverse mount, but she definitely wants to see what will happen with her own eyes.
The next part of the text is more time sensitive than before. Furthermore, if these next lines are not executed properly the female will give the impression of scampering. Therefore the instructions are in a list of items:
- Dismount and clear the right knee.
- Pivot 180° on that knee.
- Travel the outside leg as far up the torso as possible, and
- reposition the pivot knee across the torso.
- Position the hands to slide both knees into mounting position.
- Reach between the legs and mount the male.
This is quick and efficient, but be mindful, try not to scamper.
The male is throbbing and the female must execute one final compression count. To add force to her actions she places both hands behind the male's head and draws him forward. Her chin rests atop his head. She executes her powerful "G" maneuver and her energy presses down into the hump.
Just a few more counts…
She can sense she has him and she keeps stroking…
Bam! The male's body begins to rock. The female opens Zone 3 so the male can orgasm. This is The Of Course S.O. and line by line instructions on how to achieve it.
The Course in not yet complete: the female seeks to isolate the male. She dismounts and moves to one side. Both participants should say nothing. The female permits herself one touch: she lightly places the first two fingers of her hand on the male's neck. His thyroid should be throbbing and pulse racing. She slowly removes her hand.
The female curls her body toward the male but keeps her distance. She's watching him intently. Allow him time and room to enjoy the orgasm that was created together. Soon the isolation will cause him to act: he will move toward the post coital hug.
The female receives his head to her shoulder, and his arm embraces her body. The two begin the most important part of the emotional bond.
The time interval for the post coital hug is variable. However, a good rule of thumb is: about fifty percent of the duration of the Course. After this time, say good words, caress each other, and kiss.
There are rules for the emotional bond that develops after a course or series of courses. Most lovers are honest, but then again, some are not. The reader of these lines is now in possession of a powerful weapon. Final Course Thoughts deals with two Course aficionados: one is honest, but the other is not.
Final Course Thoughts
In 1782 a scandalous book was published in France. It is said that Queen Marie Antoinette ordered a special blank cover copy so as to hide the title and author's name. The famous literary work is called les liaisons dangereuses by Pierre Ambroise François Choderlos de Laclos. 3
The story centers upon a sadistic game played by Marquise de Merteuil and her willing male accomplice, Vicomte de Valmont. Merteuil's wrath stems from an ex-lover who left her abruptly, and…
"no one has ever done that before." 4
Therefore, she has attracted Vicomte de Valmont, and his formidable sexual skills, to pursue the ex-lover's bride to be. The bride-to-be is a virgin, Cecile de Volanges.
To this, Valmont objects on the grounds that he has his reputation to think of. Cecile is far too easy…
"She will be on her back before you unwrap the first bunch of roses." 5
In substitution, Valmont proposes a happily married woman, Madame de Tourvel. She would be a true test of his sexual skills.
The satisfaction for this cruel game—The Valmont will receive one night in bed from the powerful Marquise.
In 1988, talented screen actors would bring the scandalous French book to the screen. Dangerous Liaisons won Christopher Hampton the academy award for best screenplay. 6
Soon The Of Course will create a master of sexual compression. However, this won't be true of sex opponents that have no Course influence. Therein lies the imbalance.
In a time when women are chaste, the Valmont triumphs over the sexually constricted. Likewise, the Course aficionado can toy with their opponent until more rounded feelings develop. When the feelings of attachment do arise, the master controls all avenues of escape.
The text would be naïve to state that advanced Course members won't try to gain an unfair advantage over the unskilled. Notwithstanding, the Course presents a valuable opportunity to create powerful lasting memories. The learned can guide the Course novice through the difficulties within the Course structure. Also, there is a chance to be nonjudgmental, a brilliant Course attribute. Being a good nonjudgmental teacher flows directly into the next Course concept.
The negative space
Masters of the art world wrestle with empty spaces. The way the artist deals with negative space is often the difference between success and failure. In the cited work, for example, the Valmont totally controls the unknown variables within the sex environment.
That being said, allow the text to advance ten courses into the future. At course ten, the novice has not only gained the experience of ten courses, but also the negative space within the master's courses. Therefore, the Course novice finds the master very attractive.
The compound move called "Scoop" was created by a female aficionado. She changed the "negative space" in her course and added "strip the bone" to "G" during the same stroke cycle. Consequently, the move has perpetuated into this work.
The negative space in the author's course has been shaped by powerful Course females. Without them, The Of Course would not exist.
The first aficionado
Cardinal Richelieu paid fifty thousand crowns for one night in her bed. She is, quite possibly, the greatest female lover to live on the planet earth. Ninon de l'Enclos lived in a time of strict moral behavior; nevertheless, she vowed to live independently and never marry. October 17th, 1705 she died a very rich woman.
Ninon was the most famous courtesan of her time. Her salon, l'hôtel Sagonne, received many rich and influential men from French society. They would pay just for the opportunity to sleep with her. The system she devised is recorded in Robert Greene's 48 Laws of Power (p. 256-258). 7
She divided her men into two groups: payeurs and martyrs. The second of the two groups were men with whom she refused sex. Instead, these martyrs were obliged to visit for conversation only. Occasionally, she would select from this group a favori, a favorite. For a short time, usually less than three weeks, she would unravel her lovemaking and devote herself completely to him. After the affair was over she would never sleep with the man again.
Ninon has appropriately defined two roles within lovemaking. The first is as mechanical as a learned course of action, perfunctory. This requires no emotional investment. The second is more difficult, and in her words:
"Much more genius is needed to make love than to command armies."
In the hands of a skilled tactician, like Ninon or the Valmont, The Of Course is a formidable weapon. However, only a true aficionado gives themselves totally to their lover. This makes Ninon the first, true aficionado.
Whatever the reasons for acquiring this course, don't fall short. Find the true meaning within these lines. Put pressure on the course created with others and the reward will be great. Pull back, or have evil intent, then there is always a penalty.
Tantamount, investing in oneself is not selfish. Ninon chose a favori for her own emotional well being. This power resided within her and she easily passed it on to others. To be as strong as Ninon, an aficionado must adopt a similar code.
Albeit perilous, a total commitment to another is the only answer. No matter what happens, the significant other realizes the investment was one hundred percent. Because of this, the emotional well being lasts a lifetime.
So then, does Choderlos de Laclos understand this important sex secret? Returning to the play, the Valmont is incensed that the mother of Cecile has sullied his reputation to Madame Tourvel. He decides to go along with Merteuil's original plan. Valmont is successful in taking Cecile's virginity. His second triumph of the play is at the expense of Madame Tourvel. With success under his belt, he returns to Merteuil to negotiate his night in bed.
The Marquise refuses on the grounds that Valmont has broken the rules: he has made Madame Tourvel happy. To this, Merteuil orders Valmont to break with Madame Tourvel abruptly. Valmont concedes, and does just that.
He returns to the Marquise again to negotiate, but Merteuil flatly reneges on the deal. According to Christopher Hampton, one word is placed in the text… 8
The aficionado Valmont has decided upon the ultimate sacrifice, and to do so, he picks a fight with Chevalier Danceny—a young beau of Cecile de Volanges.
Death to Valmont
The story has a tragic end for the participants involved. Valmont loses his duel with Danceny. Although culpable, he presents his letters from Merteuil. Valmont dies from his wound, and the powerful Marquise is brought down by the scandal that ensues. Only a Frenchmen could write such an extraordinary tale of sex, lies, and disaster. Bravo Pierre!
Sex is competitive, that's why The Of Course is so popular. An aficionado like Valmont can be a sexual wrecking ball. He leaves a wake of disparaged lovers behind. He's down-right sociopathic.
On the other hand, Ninon de l'Enclos is a good aficionado. She literally has the power to change the lives of the men she meets. She never compromised, lived independently, and transformed her world.
This chapter exists to give the aficionado two paths. The author hopes Ninon's path is the one that is selected.
At the end of the Course the female isolated herself from the male orgasm. The plan at that time was to bring the male to her. In this sense, an internal course dialog is set:
This is a subtle Course argument, and let the text explain. The next statement is an either-or condition. The female's skill level was greater and produced the powerful orgasm; or, the male's skill level was greater and his orgasm was not impacted by the female's actions. The argument is further parsed with a galloping "V", a device used by IQ test prompters.
The complexity now continues at the bottom of the galloping "V": how dependent is the male in the above equation? From the Course standpoint, this equation is rarely equal. The final part of the graphic adds a level or degree to the equation:
The lower numbers show a less dependent male. However, as the value increases, so does male dependency.
Therefore, the ADVANCED Chapter has an internal judge. Either the female or the male is more skilled at the concepts of sexual compression. Accordingly, the two aficionados in FINAL COURSE THOUGHTS exploit the above equation to their benefit. Ninon de l'Enclos had many powerful male friends; the Valmont toyed with his sexual opponents.
The basic Course can be likened to a cork in a bathtub. The cork is pulled under the water, but when released, the cork quickly returned to the surface. THE COURSE COMPLETE avoids deep decompression counts. This is done to protect the Course novice.
That being said, the ADVANCED Chapter makes no such promises and further affects the equation written above. This Chapter directly impacts how well the male and female can manipulate the width of the compression cycle.
Bring the left hand in front of the body. Place the right hand about twelve inches above the left. Two limits correspond with the hands in the text: p.e. and n.p. Both threaten to end the Course.
Breaching Course limits
Painfully erect or p.e. is a condition where the penis is over-compressed. Moreover, the male can't decompress, and this threatens the compression cycle. On the other hand, n.p. or numb penis is a cascade to inactivity. First, the hump rapidly decompresses. Then, the base crumbles. Last, the erection is lost. No amount of thrusting can return the penis to an erect state—hence the term, numb penis.
Manipulating the number of strokes within the compression or decompression phase is essential. If the count is disregarded, then problems could develop at the Course limits. Both participants must be aware of the stroke count, so that they can change the stroke construct. Therefore they can steer away from the threats of p.e. and n.p.
The Course has identified three different types of the painfully erect.
This condition may happen spontaneously at the beginning of the Course. The male could have had a long sex hiatus, or he is not accustomed to vaginal tension. Whatever the reason may be, he has a feeling of—"Oh Whoa!"
A more advanced stage of this phenomenon happens deeper within the Course. The male's penis turns rigid and non-flexing. No moves successfully decompress the p.e. Furthermore, the male has a constant feeling of "want to" (wants to have an orgasm) and can't fight it off.
The most extraordinary case of p.e. occurs when the male can't loosen up and shows no signs of twinging. It's like having on a pair of shoes that are two sizes too tight. What adds to the pain is that the male can't orgasm. He is caught in a predicament and is both painfully erect and numb.
Painfully erect could take more than one course to solve. Since ego is involved in every course, the text gives its best advice.
Each type is different in its own way, but there is one common thread: too much blood has forced into the hump. The female seeks to diffuse the tension within the hump with deeper decompression counts. The compression cycle has two phases: the compression phase and the decompression phase. Both are equally important. The next move creates a master of the decompression phase.
This compound move adds elements of the basic Course deflect and "strip the bone" during the same stroke cycle. Also, the move is classified as a breaking maneuver. Swivel attempts to break the hump and defuse sexual tension. Therefore, it is an elite decompression maneuver, and should be appropriately applied as so. Finally, the penis will travel the path of least resistance, so set the invisible pathway and send the stroke on its way.
Like Scoop, Swivel has Zone 1 (labia) and Zone 3 (top) elements. The female constricts the back of Zone 1 to send the stroke to the anterior wall of Zone 2 (the vaginal barrel). When the stroke reaches Zone 3 she deflects the penis head to the back wall. Implant a vision of the banana shaped stroke construct. From here, the female allows the stroke to exit on the same path.
Once the stroke reaches its lowest point, she resets her action. This time, Zone 1 front pressure is applied and the stroke deflects to the back wall of Zone 2. The stroke travels to Zone 3 and the penis head is deflected front. The banana shape has flexed in the opposite direction. The stroke is allowed to travel out though the same path.
Important to the Swivel maneuver is vaginal tension and control. The stroke should not slosh back and forth. That would be sloppy. Instead, control the penis and create the banana shaped curve. That is the desired effect.
Swivel is adeptly placed in the Bounce interlude. Also, whenever the female senses "heaviness", Swivel allows the male to decompress. The maneuver imparts the feeling of something that easily pivots back and forth, hence the term, Swivel.
Type two p.e. is directly combated intra-course, and Swivel allows the female to impose a strong decompression count. However, the next symptom of p.e. is just devastating.
The feeling of "want to" is not necessarily bad. Wouldn't it be nice to conjure the feeling anytime it was needed? In the case of p.e. though, it is not wanted and can't be defended against. To remedy the situation, the female plays into the "want to" game. She draws the male toward "want to", and issues a strong physical, "No."
After the male has successfully staved off his orgasm, she can draw him to the limit again. This time she says, "Oops!" The male has an orgasm and the Course is over.
She could draw the male to "want to" several times: that would be cruel punishment. That being said, why bother? The male will never get through "Bounce", so end the Course.
Don't let p.e. win
Placing egos aside, p.e. has destroyed the present course. However, in the next course, attack the problem early, allow the male to decompress, and start the compression cycle.
In terms of type three p.e., never reward aberrant tolerance. Bounce allows the male to relax into vigorous stimulation. He can not. Therefore, decompress the male as far as possible, and go directly to S.O.
Rock the Boat
The term is analogous to the motion used to rock a small boat. In this sense, the female will act upon the entry stroke in a side to side fashion. This is a show off type of move, and displays to the male that the vagina can twist, flex and torque during sex. There is a risk of decompression, so the action appears briefly and is seen no more. Therefore, keep the stroke count short (five to ten strokes) then move to another technique.
With the exception of "Scoop", Rock the Boat is the most difficult move in the Course to master. Let the text explain: the basic element "twist the cap" must be applied precisely at the top of the stroke. Again, the stroke must be controlled on its path, so as not to create the feeling of sloshing.
The female begins the motion with Zone 1 and Zone 2 pressure. On the entry stroke, she positions her right hip down and forward; meanwhile, her left hip moves up and back. This does start the rocking motion, but remember to adjust vaginal tension to control the stroke. On the exit stroke, reverse the action and return the hips to the neutral position. The subsequent stroke is met with the hips moving in the opposite direction: the left hip is down and forward, and the right hip is up and back.
Is that it?
The move seems simple enough, but that's not it.
The degree of difficulty is raised when "twist the cap" is added to the top of the basic stroke. Upon the entry stroke the female acts as before, and she moves around the stroke to the right. At the top of the stroke, she applies Zone 3 pressure (twist the cap) to the left. This starts her action toward the center.
She displays her mastery of the move by pausing ever so briefly: she shows the male that her body moved one direction and her vagina moved the opposite direction. Ultimately, every seam in the move is deleted and it becomes one continuous motion. Before she stops moving to the right, "twist the cap" starts the motion to the left.
The development should go as planned:
- Create Rock the Boat without "twist the cap"
- Use "twist the cap" at the top of Rock the Boat
- Display the seam at the top of the stroke
- Delete the seam and overlap "twist the cap" onto the opposite motion
Here are a few DON'Ts
- Don't practice the move over and over until you "get it"
- Don't allow the decompression count to go too deep
- Don't worry about it, every Course female, sooner or later, gets it
Operating loosely around the male's main line stroke could cause rapid decompression. Fundamentally, females who fail "Rock the Boat" end up in the decompression hurt locker. Although the move is essential to learn, many Course females find that the risk outweighs the reward. Those females are avoiding the next problem in the Course…
This sex condition is also known as a cascade. The blood in the male hump is rapidly deflating. Once the process has begun, no amount of thrusting can return the penis to an erect state. n.p.[sic] happens when the female loses contact with the top level of compression. Quickly recall the text at "strip the bone":
"One hopes a Course female is never placed in that position."
The reason for Margo Anand's maneuver is to get the male "back up" (for extended love play). In the case of n.p., the male has cascaded to sexual inactivity, and yes, the female is left without a sexual partner. Notwithstanding, the female can't allow the condition to defeat her. She initiates a vigorous "strip the bone" construct against the flaccid member. Once the male responds, she adds top-down pressure and the hump refills with blood. At this time, she bids the male to thrust the growing penis. Don't stop, and trigger the "want to" feeling. Take the male directly to S.O.
Because the male has undergone vigorous compression, there is always a danger of rapid decompression. The female can see how temperamental the male compression cycle is. If she over-compresses her work, the male could turn painfully erect. Therefore, she learns to change her vaginal tension to the task at hand: compression or decompression.
Skilled female tacticians have shaped the compound moves in this Chapter. Those females are controlling the negative space within their course. One move rapidly turns into another, and they are always battling the temperamental compression cycle. Time sensitivity leads to efficient movement. Those previous masters explain why…
This turns into this
The basic elements of the Course have undergone progressive improvement since its inception. For example, the basic Course deflect developed into "Swivel". To that, the Course female could easily turn the construct ninety degrees within the vaginal barrel. The resulting construct is called eS-ing.
When she adds a wiggle to the top of eSing, she imparts the feeling of "Snaking". The female used half of Swivel to transition to other moves. Her concentrated move became known as "Curving". When both male and female lengthened this curve, the stroke construct "Giants" developed. This previous curve was flexed the opposite direction, shortened, and pushed into the anterior wall. The male thrusting construct "Plowing" found its way into the Course.
The previous paragraph sounds amazing, but there is more. "G" and "strip the bone" rapidly became the compound move called "Scoop". However, when the Course male locked into the two tense spots—"Gun-locking" developed. These seams were deleted, and the exacting "Perfect strokes" appeared.
The first element to twist the vagina was known as "twist the cap". It wasn't long before the Course female was acting around the entire stroke: "Rock the Boat". "Twist the cap" was firmly moved into the hump, and "Torquing" took shape. If circling continues toward Zone 4, and the circles tighten, then "When Two Become One" develops. She ends the previous construct with a firm "Krunk", top-down pressure from Zone 4. Finally, a circular "twist the cap" is applied during fellatio. "Knobbing" imparts the motion of cleaning a door knob. That construct is easily adapted to the vagina.
Right when the aficionados seemed to have exhausted every logical move, the Course changed again. The art world controls space with lines, and those lines have values. A very light line has a value of one. Dark lines have a value of nine. Naturally, there is a value for each line applied to a medium.
Likewise, any given stroke construct can have a value: one being soft, and nine being heavy or tense. A different value can be applied within the stroke, or to the whole stroke. For example, the female could apply "Perfect strokes" at value six. Another stroke construct could have a firm seven entry stroke, and a light four exit stroke—74.
In accordance with this, the male could flex his penis opposite the stroke values, and create a 74-47 construct.
How about a 8-8-1-8 construct? An adept finisher could use this construct to allow the male to expand into the soft spot.
The "Perfect strokes" six could be "tickled" at Zone 3 with value 2—a 62 construct.
Truly, an unlimited number of different strokes and stroke constructs can be added to the individual course. Only imagination and the compression cycle place a limit on the Course creator.
The text quickly references the equation at the beginning of the Chapter. Male dependency increases as the female adds texture to her course. The opposite is also true: the male quickly notices if the female has no values to her course. Pursuant to this, the male may have many more values, or is expecting them. In that case, the male has an incredible advantage: many courses into the future, the female is still searching the male's negative space for the answers. Values create just another secret space to expand the individual course.
When Two Become One
Visualize a quarter or a large coin dropped onto a table top. The coin strikes and begins its circular pattern. As the distance between the edge of the coin and table decrease, the rotational speed increases. The quarter is slapped flat to the table before the coin stops moving.
The previous visualization is applied to Zone 3 (vaginal top). The male holds a deep entry stroke to the construct and the female creates a loose circular pattern. The female circles her movement from the foreskin (Zone 3) to the penis head (Zone 4). Like the coin on the table, her rotational speed increases, and the circular pattern grows tighter. Once her smooth circular motion runs out of space, she signifies the end of the construct with the next move…
The word could be a hybrid of two English verbs: to dunk and to crush. Dunk implies placing something into a cylinder; crush means to crumple or smash, sometimes in reference to metal. In the black English vernacular, wrapper Lil' Jon defined the term: "to give my energy to a place" or "to give my vibe to a place". He is also known as the King of Krunk so the text will take his word for it.
Barbara Keesling introduced her form of Krunking in the Super Sexual Orgasm. She proposed that a place deep within the vagina called the cul-de-sac hid the secret to vaginal orgasm. The female flattened her uterus and exposed the "tight bundle of nerves" to the male penis. Theoretically, as the female relaxed into the tension, she could cause herself to orgasm. 9
The author doubts the validity of the move to produce the desired result. The Of Course Krunk happens at the end of the circular movements of "When Two Become One". The female briefly flattens atop the male penis and after the male has felt her touch, she opens to a new construct. His timing is also important, once he has felt the ending move, he pulls the stroke away.
Begin this thought construct with a well oiled bolt action rifle. For people not familiar with guns, the bolt action rifle is a form of breechloader. The bolt is unlocked and pulled back—the spent round is ejected. A spring advances the next round, the bolt pushes the round into the firing chamber, and the action is twisted down to lock the firing mechanism.
The bolt action is smooth back and forth. Likewise, the male and female should mimic the mechanical nature of the bolt. The penis moves forward and locks into the top position. The stroke is withdrawn an exact length. The penis locks into the bottom position. Repeat the process until the length and locking positions are exact and perfect.
The halting positions of the previous text are now erased, but the exact distance between the points is still present. This is the thrusting construct known as "Perfect strokes". Each stroke is exactly like the first. The individual stroke can be perfect in its own way, just add a value. Six is not too firm and not too soft.
Since the stroke is captured in its own perfect world, the female can add a soft two at the top of the stroke. Often used during fellatio, sixty-two displays that two separate stroke values can occupy the same stroke space.
Pretend for a moment the whole Course was built on two separate layers. The base layer contained a move that needed special attention; the second layer was occupied by creative maneuvers. Whenever the special move was needed the person returned to the base layer. THE COURSE COMPLETE was built on a base construct called "G".
Artists are always concerned about layers within the artistic composition. Jackson Pollock, for instance, displays a deft application of layers. To many, Pollock paintings look like hideous creations. However, trained artists marvel at his unique talents. Jackson Pollock could very well be classified as a paint sculptor.
The problem in the advanced Course is that there are so many moves. To avoid words like segmented, boxy, clunky—the seams need to have smooth transitions. To do that, Curving should occupy a single Course layer. Build the advanced Course off of Curving until other combinations are discovered.
Quickly reference the second part of Swivel. The banana shaped construct bends away from the back wall (Zone 2) and the penis head is forced toward the anterior wall (Zone 3); simultaneously, Zone 1 pressure is held to create the hump breaking construct. Curving is similar, but no Zone 1 pressure is added. Instead, the entry stroke is shaped with gradual Zone 2 and Zone 3 pressure—the curve is long and smooth. With this, the properly shaped curve allows the male to stroke deeper into the vaginal barrel.
Curving is always shaped in the same direction, the shape is maintained during the exit stroke and the motion is controlled and gradual.
To create a long intra-vaginal stroke, the female must establish a long swing plane. Two complicated words are used to describe the movement: supinate and pronate. In the sports kinetic world the words are used to describe motion. Both share one distinction—they are direct opposites.
Supinate means upward and forward: lying on ones back, push the hips up until the buttocks move off the floor. This motion supinates the hips.
Pronate means down and back: in the seated position push the belly down and forward. This motion pronates the hips.
In the traditional spooning position (the male pelvis is facing the female buttocks), the male thrusts toward the female. She supinates, or flattens her posterior to lengthen the male stroke. This draws him deeper toward her. When the male withdraws, she pronates and rounds her buttocks.
Flipping the coin on the action shows the male stroke foreshortened. This time when the male thrusts: the female pronates her hips and rounds her buttocks toward the male stroke. Now the stroke has run out of room. Naturally, when the male withdraws, she supinates to pull away from the stroke.
Since the female can lengthen and shorten the stroke plane…
The first of the two maneuvers above is transformed into a long pendulum of motion. This forms the thrusting construct called "Rocking Chair".
With the long swing plane established, "Curving" is added to the "Rocking Chair" construct and "Giants" develop. Consequently, the term "Giants" is truncated from the gymnastic move called one arm giants—also, a long pendulum move.
In contrast to "Giants", the stroke construct "Plowing" seeks a short concentrated power stroke. The female has learned to shorten the stroke plane, and the penis is curved in the opposite direction. She applies substantial Zone 1 back tension: this breaks the entry stroke. The male flexes against the increased tension and the penis is forced into the anterior wall (Zone 2). He then plows the only horizontal ridge on his penis (Zone 4) into her vaginal tissue. When she has had enough, she relinquishes her Zone 1 tension, and lengthens the stroke.
This advanced move is used to combat the painfully erect. The female applies strong Zone 1 front pressure—the opposite of "Plowing". With this, the penis is broken backward. The female sits back on her work. The male could twinge, but he probably can't W.O. with his hump broken. If the move is unsuccessful, what's there to lose, it's a p.e. Course?
Pretend for a moment that there is a wheel belt-high parallel to the ground. The wheel opens a valve that is stuck. To open the valve the same motion is applied continuously: the hands push down and turn to the left. Just get the valve open. This is similar to the tension used to open the safety cap on aspirin bottles. The female applies the thought construct to her vagina. There, she uses top-down "torquing" pressure to act upon the male hump (Zone 2). Each entry stroke in the construct is met with the same movement: push down, turn, release.
The advanced fellatio technique has many constructs—this is one of the best. The previous sex movement "torquing" is loosely applied to the penis Zone 3 & 4. The construct resembles the action used to clean a door knob. In accordance with this, the circular pressure has more tension on one side. She can vary the tension to move into the ligament, or whatever seems fit. Although this is a fellatio construct, knobbing can easily be applied to the vagina.
Swivel has turned ninety degrees within the vaginal barrel. Right, Zone 1 (labia) tension sends the stroke to Zone 2 (vagina barrel) left. When the stroke reaches Zone 3 it is deflected again—that being to the right. Like Swivel, opposite Zone 1 (labia) tension can be applied on the next entry stroke—this creates the mirror stroke.
Notice that the advanced female can apply a similar fellatio construct. eS-ing uses a Zone 1 thumb and forefinger tension; meanwhile, the lips create the hump breaking tension. The technique is applied over and over again with the same curve—this allows the hump to flex. It can be "thumped" top-down, or a "strip the bone" construct can be employed toward the top.
Utility has left this construct with the advanced. Sometimes the female runs out of room at the top of the stroke, so she wiggles it into place. However, if the construct is overused, it draws a "quit wiggling" frown. Well, turn that frown upside down because one Course female had a "what did you just do?" moment.
When a quick back and forth wiggle is applied at the top of eS-ing, a new construct is felt. It feels as if the penis is "Snaking" through the vagina. The reason this deluxe compound move is last is because no less than six Course moves were used to create it.
Count them: 1.) "strip the bone"; 2.) "G"; 3.) Scoop; 4.) Swivel; 5.) eS-ing; 6.) Wiggling.
That is, of course, if the top elements of "Rock the Boat" and "When Two Become One" are excluded. For the Course female it just seems natural to place something at the top of the stroke.
Conclusion and final words
A plethora of compound moves have been added to this chapter. As the "V's" descend, the advanced notices that the aficionados are attacking the temperamental compression cycle. At the bottom of this upside down triangle is an internal judge: either the male or female is better at sexual compression. Ultimately, this leads to male dependency or dissatisfaction.
The advanced has learned how to lengthen the stroke plane, create a perfect stroke, and place a value on any stroke construct. Furthermore, one has learned to trigger "want to" and back away from "heaviness". These are hallmarks of a skilled Course tactician.
No longer will the Course limits of p.e. and n.p. baffle the Course novice. There are no deep dark mysteries within the male compression cycle that can't be managed with foresight. Suddenly fear is replaced with anticipation.
Ninon de l'Enclos was paid large sums of money for her Course. How else was she to live independently without the support of wealthy men? Quickly give Ninon a grade on the equation written above.… Her Course led to extreme male dependency—many men flocked to her salon just for a chance to have sex with her!
In the next few weeks or months the advanced will have a valuable opportunity. Choose a favori, and totally unravel The Of Course. Fearlessly give yourself over to your lover. Like Ninon and the author, then and only then, will you be a true aficionado.
CA-s, CA-t, CA-v
The letters written above identify three distinct Course personalities. CA stands for Course Aficionado, and aficionado means: an enthusiastic admirer, or follower, a devotee, or fan. Three style switches further modify the capital letters.
The top Course limit for this style is applied with lighter and softer tones. Transitions between moves are smooth and rounded. CA-s tend to stay in the middle of the compression cycle, and with that, they are rarely out of position. Attentive and kind, the soft rarely do the unexpected. Therefore, the soft course is easier to anticipate. That can't be said of the next Course style.…
The vigorous are testosterone driven, and the bottom part of the compression cycle is often ignored. Decompression counts rarely go too deep, they don't heed warning signs, and it's probably not their fault. The vigorous routinely over-compress the top Course limit. This is their boundary, and they physically make their presence known. Narrows one's brow just thinking about it.
The word implies a blending of elements, and the tempered have their own individual style. Sometimes the CA-t can be quite heavy, but other times the decompression counts can go quite deep. The tempered have a very wide compression cycle. They can take all the CA-v can dish out, and they are quite accommodating to the soft side. Many CA-s say they're CA-t but the tempered quickly put them in their place—"you're too soft!" The CA-v group has no intention in joining the tempered. They are happy where they are, and unapologetically so.
Choose a Course style
Alone in a desert, a distant wanderer happens to meet a mounted Prince. The wanderer pulls back his cowl to display a weathered face. He looks to the smooth rounded face of the Prince and says, "Who am I?"
The Prince retorts quickly, "Get lost CA-v!"
Immediately the Prince says, "Avant!"
He turns his steed and rides off. The wanderer stares at the cloud of dust—dumbfounded.
The story displays an important truth: don't allow others to define your Course style! In accordance with this, be bold and profess an individual style.
The reader has been studying the author for about an hour. As the "V's" of the text descend, what style is the author? The answer to that question is placed at the end of the book.
The Sex Positions Game helps to calibrate the individual Course. With a simple game, the thresholds and the boundaries are illuminated. Mind the subtext within the game and the learned will always know—"when to do that?"
Lying on the couch, in a minute or so, the male requires a coke from the ice box. The female has to get as close as possible to the threshold without the male tapping her on the head. Clearly the female has about a minute to cuddle and relax. Both the male and female thresholds are variable, but sooner or later something will have to give.
The main rule of SPG is simple: if the male taps the female on the head, she loses.
The game begins: the male will assume the Tutankhamen position and the female desires to operate around him. Like the king lying in state, the male remains motionless. He does nothing to deceive the female. Moreover, he remains an attentive judge. On the other hand, the female must complete ten new positions to win the game. She can not repeat a position. Furthermore, she must avoid the male genitals and she can not move him in any way.
In accordance with the temperament of the game, if the female goes over the time limit in any one position, then the male signifies by tapping her on the head. She loses. However, if the female completes all ten positions to the satisfaction of the male—she is victorious.
SPG has serious Course ramifications: every Course move and position satiates itself. Whenever the participants challenge these limits there is a threshold. When these thresholds are breached, there is usually a penalty.
Is conscientious a Course attribute?
One would think so.
The Speed Game
Stroke speed is one of the most important Course Basics. The Speed Game attempts to calibrate just the right amount of speed for each Course maneuver.
The male will be like a drummer in a rock‘n'roll band; he will set the rhythm for the game. The female is tasked with putting as many Course moves as she can remember in the allotted time.
The Game begins
The male begins stroking at speed one and the female throws everything but the kitchen sink at him. When he has judged that she has used up her time, or she just seems to have run out of moves, then he increases the tempo to speed two. Once again, the female must complete as many Course moves that she can remember. The male judges her limit again and increases the speed—that being, speed three.
The female is moving fast now and the Course maneuvers may get out of control. Notwithstanding, the male attempts to adjust his negative space and anticipate the female's next move; he is trying his best to balance the female during her fastest limit. [End calibration.]
After The Game
Many things are happening simultaneously during the Speed Game. Secretly the participants are learning what Course moves work best at each speed level. Next, the female is beginning to discover the transitions that exist within her Course; she is learning new Course combinations.
Meanwhile, the male is learning balance, anticipation, and to be a good attentive judge. He may also use his negative space to guide the female to the next best maneuver.
Both participants are learning Course tolerances and this can only advance subsequent courses. Moreover, mastering the Speed Game will create a dynamic and powerful Course.
A galloping "V"
Above is a sample galloping "V" from another one of the author's books. The book is called Meridian-running (also available at Amazon). IQ text prompters use the galloping "V" to create and solve number progression problems. In this instance, the matrix is used to create deeper and deeper levels of text.
At the bottom of the upside down triangle is the word "deltas": this means distribution. A distribution is a complex series of maneuvers designed to achieve an end. Most importantly, the concept of deltas was not mentioned within the Meridian-running text. However, in every example and instruction, deltas occupied a place beneath the surface of the text.
Likewise, deep within The Of Course text was an equation. It immediately surfaced in Chapter six, ADVANCED. The Course has many layers: sexual compression, compound moves, Course limits, negative space, values, etc. Nevertheless, at the bottom of the upside down triangle resides the internal judge. The female can quickly sense male dependency; meanwhile, the male has people to see, war plans to draw up, and places to go. If given a choice, he would rather not be that dependent.
The equation was displayed prominently in the 1980's Romance film called Pretty Woman. The story centers upon a local prostitute, Vivian, and a powerful financial tycoon, Edward Lewis. After a chance encounter, Edward hires Vivian for one week. His stipulation—he wants to avoid emotional entanglements.
However, as the movie develops, Edward clearly has feelings for Vivian. He also begins acting differently, and the equation begins to work. At the end of the movie, Lewis has a decision to make: go to Vivian or go to the airport. The movie had a different ending, but the test audience overwhelmingly disagreed.
Based upon Course information, it is much easier for the male to discard the female. In contrast, it is much more difficult to discard a favori who creates a high Course dependency. To answer one Course female's question—"Why do men do that?" There's the answer.
By the way, to answer an earlier question: the Course creator is unabashed, a CA-t.
Thank you for reading, I'm Colden Thorne, and of course, good luck in your Course!
Bibliography and Selected Reading
1-Mihaly Csikszentmihalyi. Flow: The Psychology of Optimal Experience. New York: HarperCollins, March 13, 1991. Print.
2-Margo Anand. The Art of Sexual Ecstasy: the path of sacred sexuality for Western lovers. Los Angeles: J.P. Tarcher, December 1, 1990. 177-178 & 183. Print.
3-Pierre Ambroise François Choderlos de Laclos. Les liaisons dangereuses. New York: Penguin, 1961. Print.
4-Christopher Hampton. Dangerous Liaisons: The film: a Screenplay. London: Faber&Faber, Incorporated, 1989. 5. Print.
5-Christopher Hampton. Dangerous Liaisons: The film: a Screenplay. London: Faber&Faber, Incorporated, 1989. 7. Print.
6-Christopher Hampton. Dangerous Liaisons: The film: a Screenplay. London: Faber&Faber, Incorporated, 1989. Print.
7-Robert Greene. 48 Laws of Power. New York: Penguin, 2000. 256-258. Print.
8-Christopher Hampton. Dangerous Liaisons: The film: a Screenplay. London: Faber&Faber, Incorporated, 1989. 70. Print.
9-Barbara Keesling. Super Sexual Orgasm. New York: HarperColins, August 22, 1997. 80. Print.