Summary: The shocking truth of the old west finally told.
Note 1:
This is a special
western
themed story created by the lovely
Black Randi
.
Thanks to Tex Beethoven, Black Randi, thor_p, Robert, and Wayne for editing this strange attempt.
PS: Western is not my forte so please don't judge me too much on this story.
Cowboys & Big Cock Indians
History is written by the winners. Most of the time, they are also the oppressors.
The winners and the oppressors have been doing the recording (and the cover-ups) throughout recorded history, and perhaps no more poignant hidden history exists than the truth of the American frontier.
Although there is truth to many of the stories of the Wild West, there's one secret that's been kept hidden for over two hundred years.
This story has just finally come to light because of the paintings of a Canadian aboriginal artist. His work condemns the past and the treatment of Indians, First Nations, aboriginals or indigenous people (whatever politically correct or incorrect term you wish to use). The condemnation is sometimes complex, such as the abstract paintings like "Hope," "Love" and "Struggle for Balance," or bluntly honest about the long term negative impact of the white man on the red man in his heartbreaking depictions of children stolen from their families by church officials and Canadian Mounties in "A mother's Grief," or "Study of the Removal of Children."
It was his provocative artwork about the western frontier (in both Canada and the United States) that opened the floodgates of curiosity about our hidden past.
The works of this artist illustrate decades, even centuries, of a hidden truth recently coming out (pun intended) as ancestors speak of and reveal a history long forgotten in North American society.
I speak of the truth of the gay and merry old West, as well as the truth of cowboys and Indians and the true nature of the games they often played.
These paintings are provocative, and yet clearly tell the untold story of Cowboys and Indians, where the cowboys were the bitches and the Indians the dominants, including "Pilgrim's Progress," where an Indian with a substantially large cock is clearly unimpressed by an effeminate white man with a much smaller but erect dick, a symbol of the true hierarchy of the red man's superior cock size (This comparison foreshadowing the 21
st
century, where the inadequate white man has now become completely obsessed with black cock, big black cock).
The painter offers political statements such as "Cree Master," where a bare-assed Canadian Mountie is being spanked by an arrogantly naked Cree man, and "Portrait of the Artist as Hunter," where an Indian is on the hunt for buffalo and white ass, and the taboo-breaking "Sacred Vows," where a white cowboy who is naked from the waist down, with an obvious white substance coating his buttocks, is begging his Indian stud to stay instead of leaving on his white horse (the message being that once you've been sodomized by a big-dicked red man you will do anything to continue on as his white bottom).
Then there is the shocking, "Red man teaches white man to ride bareback," where a white cowboy is on a horse while an Indian rides behind him on the horse, astride two mounts (if you get my drift).
Equally shocking, is "Ceci n'est pas un pipe," where a cowboy is bent over a tree with his pants around one ankle and his rifle resting beside him as an Indian anoints him with bear grease in preparation for sodomizing him.
There were others, too, but none sparked more controversy than the visual of American hero, Daniel Boone, on his back, his legs spread wide open by a dominant Indian who is slamming his dominant cock in his ass, and seems to be in heaven, in the painting, "Daniel Boone's First View of the Kentucky Valley."
Once these paintings were released at an exhibit in Toronto, the truth (and the outraged denials) went viral.
Secret histories of cowboys fucking other cowboys were already out there: almost every gang of desperados had what they called their
pussy boy
, the youngest recruit, whose purpose was to serve as a girl substitute and take cock after cock in his man pussy.
No one knew, except the ancestral Indians who had been silenced by treaty and threat.
This exhibit changed everything.
Questions were asked.
A consistent theme emerged.
Here is the story.
*****
Although there were widely scattered towns in the old West, they were few and far between.
These towns were havens of sin as cowboys found a brief reprieve from the loneliness of the frontier.
They drank.
They fought.
They fucked female prostitutes.
When they spent night after night with no company except other men, or even existing on their own on the dry plains, well, things changed, standards dropped and bigger men found smaller men to utilize for their own personal pleasure (really, an early version of the hierarchy of modern day jail life, except the perp was then known as Tex, instead of Bubba).
Although in today's society, white men are often submissive cock suckers and/or bottoms for big black meat, the truth is that in an earlier century white men were submissive bottoms for big red meat (back then only irrefutable sluts would ever stoop so low as to suck cock. Getting your cock sucked cost more than vaginal or anal sex), but men taking it in the ass was very common, although not talked about.
Also untold, the red man was the dominant man of the old west.
The white man was trying to gain control and eventually would succeed, due strictly to sheer numbers, better weapons, measles and influenza, but in the early days of the Wild West it was obvious the white man was unable to resist the glorious beauty of a red man's cock.
This is the story of one of these men.
John Bullet was an old school cowboy and gunslinger, heading west. He was very good looking and made the ladies swoon whenever he passed through a town, often sleeping not only with the virginal daughters of men of importance, but sometimes even with their wives. John had learned early on that good looks, a reputation for a quick finger and a big dick were all you needed.
When on the trail between the towns, as he had an insatiable sex drive, he would often end up fucking other cowboys. The bigger the cowboy he could bend over and fuck, the more enthralling. The only activity more exciting than seducing a man's wife or daughter was topping a virgin man's ass, and the ultimate thrill was tapping a sheriff.
That's what John was doing at the moment, ass fucking a sheriff twice his size, really slamming into him, loving when he could transform a masculine man into a whimpering girly girl. They always protested at first, but then always ended up squealing like hogs in heat.
John was so into the girlish sounds coming from his latest conquest, not to mention his tight fucking virgin asshole, he didn't notice when he was suddenly surrounded by Indians.
Chief Red Bird was amused. For all the power white men tried to assume, their weakness was always the same: sex.
White men were led by their tiny dicks, and that made them vulnerable.
White men also had an inferiority complex that always emerged whenever they participated in a cock size contest with an '
inferior'
red man, a contest the white man always lost.
Hidden beneath the bravado of the white man's manifest destiny, beneath the big weapons they usually couldn't handle, was the truth: to a man they shouldered a massive insecurity about who they really were.
The truth, so obvious, was that white man's slavery of black men and his attempt to eradicate the red man were all based on his fear that the truth of his inferiority to other races would one day be discovered.
John loved a tight virgin ass, especially when the muscular guy who originally screamed in pain eventually began to moan like a little girl and enjoy the rugged roundabout.
Chief Red Bird nodded to his tribe and they raised their arrows at the two white men. The chief then made his menacing war cry, one that sent fear through many white men and women, a war cry that usually meant death and scalping to white men.
