The Sexiest Ballerinas of Virtual Reality Porn

I am sure that when most people think of ballet, they do not see any connection with VR porn. But to me, there’s a very strong connection between both art forms.

For one thing, on a very basic level, ballet dancers perform practically naked. But not only that, ballerinas are slender sexy creatures that I can’t help but picture naked every time I see them.

I have recently discovered that there are a few female porn stars who not only look like they could be ballerinas but they have also performed with ballerina outfits.

If you find ballerinas as sexy as I do, then join me as I go over the hottest ballerinas doing Virtual Reality porn today!

A Ballerina Called Ballerina

So far, she has only made one scene that’s available in virtual reality porn but what a scene it is!My first pleasant surprise was when I found out that there is a female porn star that goes by the name of Ballerina.

In Ballet VR, she makes my fantasy of having sex with ballerina come true.

In her solo scene, she spreads her legs as only a ballerina can and masturbates in full few of the camera.

Ballerina is certainly not shy. She just loves showing off her perky tits, her perfect ass, and her tight smooth pussy.

Ballerina In Black

As much as I love Ballerina, it is slightly disappointed that she doesn’t wear a ballerina costume in her scene.

Thankfully, the gorgeous Vinna Reed dons a sexy black ballerina costume in her hot scene Ballerina Vinna Reed.

I’ll admit that there is something slightly dark about this scene, her black costume and the fact that she wears a mask on her face, makes the scene a bit creepy.

But, having said all that, this scene is also a huge turn on. I don’t think any porn star could pull it off as well as Vinna Reed does here.

Shall We Dance or Shall We Fuck?

f you think that all scenes involving ballerinas as solo scenes, then think again.

In Naughty Dancer, pretty Euro teen Timea Bella gets horny during her warm-up session.

Luckily, she is not alone for long. Soon enough a semi-naked gorgeous stud joins her in the studio.

It’s not long before the stud is down on his needs licking her tight wet pussy. If you want to experience what it’d be like to fuck a ballerina, you just cannot afford to miss out on this scene.

What do you think makes ballerinas so hot? Is it their bodies? Is it their flexibility and physical fitness? Is it the fact that they are all very young? Or is it their revealing tight outfits?

BALLERINA SEX POSITION

The Ballerina sex position is one of those exotic ones that 95% of girls will just never be able to perform. This is simply down to the issue of flexibility. However if you can perform it, then it can be both very intimate and pleasurable, and it’s always fun to spice up your sex life. It’s okay if it’s not for you, though. There are many more options in our sex positions guide.

To pull the Ballerina off, you both need to start by facing each other while standing. You are then going to need to raise one leg upwards until you are resting it on your man’s shoulder, while balancing on your other leg. Your leg that is resting on your man’s shoulder is going to be almost straight, allowing you to be very close to your man.

WHAT THE GIRL DOES IN THE BALLERINA POSITION

When performing the Ballerina with your man, you’re first job is to get comfortable.

Remember If you are not flexible enough, then you will inevitably be in pain when doing it. So check out some of the many other great sex positions if you can’t perform the Ballerina.

You need to spend most of your time staying balanced on one leg which you need to keep straight while allowing your man to do the rest of the work. You also need to make sure that your man doesn’t squeeze you to hard when embracing you which will put a lot of extra pressure on your raised leg.

WHAT THE GUY DOES IN THE BALLERINA POSITION

Your man is going to going to be doing all the thrusting in the Ballerina. He needs to first set you up in position with one of your legs over his shoulder and make sure that you are not in any pain before he enters you. When he does enter you, he needs to start out by gently thrusting in and out.

Again, your comfort is the most important thing (especially the first time you try it), so your man needs to take things really slowly initially. If he is taller than you, then he will need to bend his knees a little and thrust up into you. He can also wrap his hands around your back and pull you in gently towards him with each thrust.

THINGS TO CONSIDER WHEN PERFORMING THE BALLERINA POSITION

Only a small number of students have reported being able to perform the Ballerina with their man. Some of their feedback has been very useful and insightful:

  • A great way to first test the Ballerina with your man is to try it when you are lying down on your back. That way you don’t have to worry about keeping balanced. Your man can also angle for G-spot stimulation.
  • When performing the Ballerina, your man can try thrusting his penis deep inside you and then keep it there while rubbing his pubic bone up and down your clitoris.
  • If you are very small and very flexible, your man can lift you up and hold you close to him while thrusting in and out.

SIMILAR POSITIONS

  • Stand & Carry – This position is easier on you, but your man has to carry your weight.
  • Piston – This pose is easier on your man than the one above because you can rest your feet on a surface.
  • Slow Dance – Standing and facing your man makes this an intimate position.
  • Dancer – You bend your leg and your man can hold and stroke it while you have sex.

Our other standing positions are fun to try the next time you have sex.

Drugs, drinking and one-night stands: the truth about ballet dancers

The Royal Ballet soloist Eric Underwood has admitted to smoking, drinking and partying – and he’s not the only one. Is it time to admit that ballet isn’t as saintly as it seems?

Imagine the world of a professional ballet dancer and it probably goes something like this: endless hours of gruelling rehearsals, painfully early starts and highly restricted meals.

It’s the kind of carefully-controlled perfection that we saw Natalie Portman’s character in Black Swan so desperately chase.

It was exactly this image of ballet that was recently shattered by the Royal Ballet soloist Eric Underwood (who is currently starring in Wayne McGregor’s critically-acclaimed Woolf Works) when he said, “People think we go home and lay in velvet and constantly stretch, which is not the case.”

Underwood described the portrayal of ballet dancers in Black Swan as, “so clichéd, and so far from the truth. We’re not so angelic.” Ballet dancers drink, smoke and have casual sex, “just like anyone else,” he said.

The hedonism of the ballet set has never been fully explored, or acknowledged – at least publicly.

“I know I’ve been portrayed as the ‘bad boy’ of ballet [because of my comments] but that’s okay,” Underwood tells me. “I like to have fun. I’m a good time guy – why are people shocked that I like to go out, and have fun?”

The reason people are surprised, of course, is because we think of dancers as clean-living paragons of self-denial, whose lives are dominated by backbreaking discipline and rigorous schedules.

“To say it’s physically strenuous is an understatement,” concedes Underwood. “A typical day starts at 10.30am, but I’ll have done Pilates before that. Rehearsals go on until 5.30pm, and the evening performance runs from 7pm to 10.30pm.”

But this, he says, is exactly why “unwinding” is so important.

“I don’t have much hair to let down,” he laughs, “But I still need to! I’ll have a few drinks, smoke or have a cheeseburger. People have preconceived notions of dancers – they think we’re ‘Godly’. But I want to dispel that myth – we’re absolutely not.”

Kate* has been a dancer with the Royal Ballet for eleven years. “Dance is an art form,” she says. “It’s like painting, or music – we’re creative people. Drugs, drinking and one-night stands happen because it’s all part of creative exploration.”

“We embody incredibly intense stories on stage, so it makes sense that we’d embrace that in our real lives too.” She compares a ballerina’s wild side as, “releasing a valve or taking a breath.”

This bad behaviour remains under wraps because, she says, “We’re role models for aspiring students – it would be unhelpful to publicise it.”

The work-hard-play-hard ethic is something plenty of dancers share.

James* is a retired ballet dancer from London who is now based in LA. “Partying was a big part of the industry when I was dancing in London’s West End – it always has been,” he says.

“Dancers are young – their bodies bounce back. I knew dancers who’d drink every night. Others would visit promiscuous gyms in Soho during the day and take drugs before performing.”

Amber Doyle, 34, trained at the Royal Ballet School and Central School of Ballet, and has worked with musicians including Calvin Harris, Franz Ferdinand and Jessie J.

She tells me she would never drink the night before a performance, but others have different limits. One thing they all agree on, though, is this: “nothing will stop us from turning up at the studio.”

“Ballet is our religion – and that means being back on the barre the morning after a heavy night.”

The dancer/choreographer-turned-osteopath, Leon Baugh (who won an Olivier Award for Best Theatre Choreographer for Sucker Punch in 2011), treats some of the world’s best-known ballet dancers, including Sylvie Guillem and Jennifer White.

“I think dancers have always been wild,” he says. Among the wildest was Patrick Bissell, leading Principal dancer with the American Ballet Theatre, who died aged 30 in 1987 from a drug overdose. His death prompted investigations into drug use within the industry, but little seemed to change.

Years later, in 2007, the New York City Ballet Principal Nilas Martin made headlines when he was charged with possession of cocaine.

According to Baugh, many dancers get away with hard-living because of “the work they put in – their bodies are incredibly efficient. They’re working seriously hard. In fact, most dancing injuries I treat are because of overtraining – they can be dancing for 12 hours a day.”

“But it’s not unusual for them to party – it’s not either/or.”

But, as in all walks of life, some people struggle. The Ukranian dancer Sergei Poluni (who recently performed in Hozier’s Take Me To Churchvideo, directed by the celebrity photographer David LaChapelle) became the Royal Ballet’s youngest ever Principal at 19.

Poluni has a well-publicised history of partying and famously walked out on two major productions in 2012. He later admitted to wild nights of clubbing and dancing while high on cocaine – and has since spoken of darker instances of self-harm and depression.

Speaking from LA, James also tells me about the anxiety and depression he witnessed in the ballet world. “It’s an incredibly pressured industry to survive in – some make it, some don’t’.”

Professor Robert Bor is the Clinical Psychologist and School Counsellor at the Royal Ballet School. “There are certainly obvious personality traits in dancers as a whole,” he says.

“They’re passionate, resilient, fastidious, and show huge attention to detail – often to the point of being obsessional. But that’s exactly what’s needed to become a professional dancer.”

“They gravitate towards the lifestyle because they feel aligned with the discipline it requires. There’s a very specific type of person who fits the role – and succeeds.”

“Young trainee dancers know they’re going to be exercising huge amounts of control by training all day and night, repeating the same movements over again. It can be mind-numbing.”

So perhaps it’s no wonder, then, that many let their hair down when they can?

“That can happen,” Professor Bor admits. “But dancers are so mindful they’re in public view – there’s such a lot riding on them, both financially and in terms of their reputation. If they fail, they’re not just letting themselves down, but their company down too.”

“They’re unlikely to want to risk losing everything they’ve worked so hard for.”

Another person who is less convinced by tales of ballet dancers gone wild is the makeup artist Kabuki. He has worked with everyone from Michael Jackson and Madonna to Rihanna and Lady Gaga and is now working on the Royal Ballet production, Woolf Works, that Underwood stars in.

“Compared to rock stars, dancers are world-class athletes – they’re so committed physically,” he says. “At a recent party, I noticed the ballet dancers walking around with glasses of water, instead of champagne. Can you imagine rock stars drinking water at a party?”

He laughs. “But when you’re invested in something emotionally, you can’t just go ‘whatever’ at the last minute and ruin it – your body is your instrument. They live by that, and I admire them for it.”

But others on the inside point out that this is precisely why a dancer can afford to push themselves to all limits. As James says, “When your body is in such great condition, you can abuse it.”

However, he concedes that’s a brief moment. The average retirement age for ballet dancers is considered to be in their mid-thirties – an event so traumatic there is an industry saying that, “A dancer dies twice.”

Sexual Exploitation Was the Norm for 19th Century Ballerinas

The star’s moment should be triumphant. She’s brilliantly lit, her leg lifted in a graceful ballet pose, and she’s clearly the star of the show. But in the wings lurks a black-clad figure—a symbol for the sordid backstage reality of the ballerina.

It’s not clear who Edgar Degas used as the model for the 1879 painting, L’Etoile, that depicts that tense moment. But it’s likely that she was a prostitute. Sex work was part of ballerinas’ realities during the 19th century, an era in which money, power and prostitution mingled in the glamorous and not-so-glamorous backstage world of the Paris Opera.

The Paris Opera Ballet, founded in the 17th century, was the world’s first professional ballet company, and continues as one of the preeminent outfits today. Throughout the 19th century, it raised the bar for dance—but on the backs of many exploited young women.

Women entered the ballet as young children, training at the opera’s dance school until they could snag a coveted position in the corps de ballet. Girls who studied at the school became apprentices to the Opera; only after years of militaristic training and a series of brutal exams could they get guaranteed, long-term contracts.

In the meantime, they attended classes and auditioned for small, walk-on roles. Often malnourished and dressed in hand-me-downs, the “petits rats” of the ballet were vulnerable to social and sexual exploitation. And the wealthy male subscribers of the Paris Opera—nicknamed abbonés—were often on hand to exploit them.

“The ballet is…what the bar-room is to many a large hotel,”wroteScribner’s Magazine in 1892, “the chief paying factor, the one from which the surplus profits come.” Men subscribed to the opera not for the music, but for the beautiful ballerinas who danced twice per show—and, behind the scenes, they bought sexual favors from the women they ogled on stage.

The abonnés were so powerful, they were part of the Opera’s very architecture: When Charles Garnier designed his iconic opera house in the 1860s, he included a special separate entrance for season ticket holders. The building also included a lavish room called the foyer de la danse. Located directly behind the stage, it was a place where ballet dancers could warm up and practice their moves before and during performances. But it was designed with male patrons, not dancers, in mind. The foyer was a place for them to socialize with—and proposition—ballet dancers.

At the time, women’s bodies were typically covered by lots of clothing. In contrast, ballet dancers wore skimpy and revealing outfits (though ballet costumes of the time, which included skirts, were much less form-fitting than today’s leotards and tights). Subscribers could, and did, go backstage to ogle women. Due to their social status, they were free to socialize with them, too.

“Epic scenes took place backstage,” wrote the Comte de Maugny, who described the foyer de la danse as a kind of meat market. For subscribers, backstage was a kind of men’s club where they could meet and greet other power brokers, make business deals and bask in a highly sexualized atmosphere.

For dancers, though, it was a place where they were subject to scrutiny and harassment. Dancers were expected to submit to the attentions and affections of subscribers,most of whom were nobleman and important financiers and whose money underwrote the majority of the opera’s operations.

Since subscribers were so powerful, they could influence who made it into coveted roles and who was fired from the ballet. They could lift a girl out of poverty by becoming her “patron,” or client, setting her up in comfortable quarters and paying for private lessons that could increase her cachet in the ballet. Often, girls’ own mothers—who acted not unlike entertainment agents today—helped set up and maintain these relationships. For many Paris Opera ballerinas from poor backgrounds, a relationship with a rich man was their only chance at stability.

Some dancers managed to advance without a rich patron, becoming celebrities on the merits of their own abilities, notes historian Lorraine Coons. But even those dancers who did succeed independently were looked down on as suspected prostitutes.

One influential Parisian couldn’t afford the expensive subscription that allowed special access to ballerinas: Impressionist painter Edgar Degas. During the 1870s and 1880s, he produced hundreds of drawings and paintings of Paris Opera dancers, relying on his friends tosecure backstage passes so he could sketch the dancers in their habitat. There, he recorded behind-the-scenes views of dancers practicing—and captured glimpses of the world of the lecherous male subscribers, too.

One of Degas’ best-known works is his Little Dancer of Fourteen Years, a life-sized statue of a teenage “petit rat,” or ballet dancer in training. To modern eyes, it’s the portrait of a child who eagerly awaits her next dance step. But when Degas exhibited it in 1881, it was panned by the critics, who called the dancer “frightfully ugly,” monkey-like, and “marked by the hateful promise of every vice.”

Degas’ subject may have been vulnerable, but for 19th-century observers, she was marked by the sordidness of the sexual harassment that was baked into ballet. Teenager Marie van Goethem, a Paris Opera petit rat who modeled for the sculpture, likely traded sex for money in order to survive—but even if she hadn’t, it’s almost certain Degas’ audience would have assumed she did.

How to do sex with anal dido

English to plug, connect, plug, butcher, the anal plug is still a sex toy intended to stimulate anal pleasure and possibly to prepare a penetration with a more important object like an anal dildo or an erect penis. It is an excellent accessory for all those who want to learn about sodomy or simply become familiar with this hidden and often unknown part of their body and all the intimate pleasures it offers them. Here is the complete anal dildo guide to make you understand all its uses and benefits.

What’s the point of an anal plug?

There are all kinds of anal plugs, of all shapes and sizes, but the plugs are always designed so that they can be inserted as easily as possible into the anus . Conical in shape more or less swollen and rounded, they usually have a thin tip, a wide part that narrows, then a wide and flat end that allows the plug to insert gradually, but prevents it from getting lost completely in the rectum (which would still be somewhat annoying!). The plug, once inserted into the anus, can stay in place for several hours and some will like to go out with and go about their business, under the naive and unsuspecting eyes of their peers, colleagues, passers-by, subway users, and other … The plugs can be used by men as well as women and all will find new sensations, to eventually decline later – if you really like – by buying different plugs, different shapes and sizes. different dimensions! In men, the plug stimulates the penis at its root and thus strengthens the erection. Moreover, when the plug is well adapted, it stimulates the prostate which is source of increased orgasms and more abundant ejaculations . Worn by a woman, the plug tightens the vaginal walls, which pleasantly increases the pressure on the sex of the man during a simultaneous vaginal penetration port plug. In both men and women, the anal plug is primarily to relax the anal sphincter to tame the anal pleasure and get acquainted with this area of ??our body that is still a little scary to some. In addition to a feeling of great relaxation, the contractions of the anal muscles will cause immense pleasure that will spread throughout the lower abdomen of users who really risk getting a taste!

When to use an anal plug?

The plugs can be used solo and combined with a masturbation session to enhance the pleasure. This allows to tame her anal area alone, without being rushed by a partner or too urgent, to familiarize gently with this pleasure so special and eventually to prepare slowly to receive later sodomy without feeling for the moment the pressure of an outside look. Some will appreciate for example to fall asleep with a plug and then wake up with this pleasant sensation of a stimulated anus. Others will like to hang out with it and the excitement will come from wearing a plug in the street without being noticed. Very popular in homosexual games, the use of a plug can also come to decorate the antics between men and women. You can ask your partner to introduce it or insert it into your partner’s anus. It can be very popular to give a few kisses or a few licks around the anus to lubricate the area and excite your partner at the same time! The anal plug can be left in place sometime in the buttocks of the girl while we will engage in other preliminaries, so that it relaxes and that his anal sphincters dilate to then engage in sodomy while sweetness. In the anus of the man or the woman (and even both at the same time!), theanal plug can also decorate a vaginal penetration by reinforcing the pressure of the vagina on the sex of the man, or while stimulating parallel prostate. In any case, intense orgasms are to be expected!

How to introduce an anal plug?

The technique is the same for solo or couple use. After gently preparing the anus, apply lubricant to the entire surface of the anal plug, and then gently insert it through the tip. Wait a few seconds for the muscle to relax and quietly adapt to the shape of the plug. Without pushing it further, rotate it slightly by gradually widening the circles. Gradually, the muscle will decrease its pressure and you can push the plug a little further. Then it’s according to each one. For some or some, this only penetration is sufficient. For others, a game of back and forth will be appreciated because it stimulates the anal crown, very innervated. Some will also like to rotate it in all directions, especially men, to reach and stimulate the prostate.

How to use an anal plug?

It is strongly recommended to use lubricant to introduce an anal plug without the risk of tearing the rectal tissues.

It is also recommended to be reasonable in choosing the size of the plug used. Huge plugs can cause anal muscle damage. And you should know that on the one hand a small plug can already allow optimal stimulation quality, and secondly some plugs marketed target sado-masochistic circles and are not intended to be introduced entirely. If you buy a cheap anal plug, also pay attention to the finishes of the object which are sometimes poorly made and can cause irritation during the introduction.

Finally, in contact with body fluids (blood, stool, vaginal secretions), the plug can be vector of sexually transmitted diseases. It is therefore important to clean it well with anti-bacterial soap after use or before exchanging it with a partner.

Anal plug: which one to choose?

As for many sex toys, you will find plugs of all kinds and at all prices: not always easy to navigate! We sell smooth, textured, more or less elongated, rounded or ringed, with a round tip or nipple. Some have a form specifically designed to stimulate the prostate and therefore more specifically for men. We also found pomegranate plugs for real guys and rose-shaped raspberry plugs, a lot more girly! We make more or less realistic, and for the visual aspect, it’s up to you to see, it’s really a matter of taste! The prices are incredibly variable: you can offer an anal plug to less than five dollars on a whim or wait for special occasions to make you offer a jewel plug more than one hundred dollars! For beginners, the best is always to start small, with plugs 3 or 4 cm in diameter. You can always buy bigger afterwards if you feel the need. Models that are too long may be good for standing, but become problematic to sit on, so if you want to wear it in the office, do not look too big either! The materials are very variable too (latex, silicone, pyrex, flexible PVC, metal, wood) and more or less rigid. Some will complain that flexible materials like jelly crushes too much at insertion, but that will surely reassure the most inexperienced. It is also reported that the softer materials are often more difficult to maintain and sometimes give off a strange odor. As for metal plugs, it is advisable to soak them in hot water before inserting them so that they are not too cold. These plugs are often jewelry plugs, also called Rose bud, and are intended to stay in place, especially for decorative purposes. They usually have a shiny stone at the end. And men can find it very exciting to undress a woman who wears this kind of jewelry to decorate her pretty buttocks! We also recommend testing vibrating plugs, which are often a little more expensive, but which reinforce the sensations. Or the inflatable plugs, connected to a pear, which allow going small and magnifying deliciously inside: quite clever!