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A rape fantasy (sometimes referred to as rapeplay) or a ravishment is a sexual fantasy involving imagining or pretending being coerced or coercing another into sexual activity. In sexual roleplay, it involves acting out roles of coercive sex. Rape pornography is literature or images associated with rape and sometimes Stockholm syndrome as a means of sexual arousal.
Studies have found rape fantasy is a common sexual fantasy among both men and women[citation needed]. The fantasy may involve the fantasist as either the one being forced into sex or being the perpetrator. A 1974 study by Hariton and Singer[1] found that being "overpowered or forced to surrender" was the second most frequent fantasy in their survey; a 1984 study by Knafo and Jaffe ranked being overpowered as their study's most common fantasy during intercourse. In 1985, Louis H. Janda, an associate professor of psychology at Old Dominion University, said that the sexual fantasy of being raped is the most common sexual fantasy for women.[2] A 1988 study by Pelletier and Herold found that over half of their female respondents had fantasies of forced sex.[3]
The most frequently cited hypothesis for why women fantasize of being forced and coerced into some sexual activity is that the fantasy avoids societally induced guilt—the woman does not have to admit responsibility for her sexual desires and behavior. A 1978 study by Moreault and Follingstad[4] was consistent with this hypothesis, and found that women with high levels of sex guilt were more likely to report fantasy themed around being overpowered, dominated, and helpless. In contrast, Pelletier and Herold used a different measure of guilt and found no correlation. Other research suggests that women who report forced sex fantasies have a more positive attitude towards sexuality, contradicting the guilt hypothesis.[5] A 1998 study by Strassberg and Lockerd found that women who fantasized about force were generally less guilty and more erotophilic, and as a result had more frequent and varied fantasies. However, it said that force fantasies are not the most common or the most frequent.[6]
A male sexual fantasy of raping a woman may bring sexual arousal either from imagining a scene in which first a woman objects but then comes to like and eventually participate in the intercourse, or else one in which the woman does not like it and arousal is associated with the idea of hurting the woman.[7]
Numerous studies have found that fantasies about being forced to have sex are commonly found across all genders.[8] 45.8% of men in a 1980 study reported fantasizing during heterosexual intercourse about "a scene where [they had] the impression of being raped by a woman" (3.2% often and 42.6% sometimes), 44.7% of scenes where a seduced woman "pretends resisting" and 33% of raping a woman.[9]
A study of college-age women in 1998 found over half had engaged in fantasies of rape or coercion which, another study suggests, are simply "open and unrestricted" expressions of female sexuality.[10]
In a more recent studies among more than 4.000 Americans, 61% of respondents who identify as women had fantasized about being forced to have sex, meanwhile the numbers were 54% among men and 68% among non-binary.[8]
One form of sexual roleplaying is the rape fantasy, also called ravishment or forced sex roleplay.[11] In BDSM circles (and occasionally outside these circles as well), some people choose to roleplay rape scenes—with communication, consent and safety being especially crucial elements. Though consent is a crucial component of any sexual roleplay,[12] the illusion of non-consent (i.e. rape) is important to maintaining this type of fantasy. A safe word is therefore a common safety measure, given that words that would normally halt sexual activity (e.g. "stop") are often disregarded in these scenes. Continuing with the sexual roleplay after a safeword has been used constitutes assault, as the use of a safeword indicates the withdrawal of consent.
^ Arndt, William B., Jr.; Foehl, John C.; Good, F. Elaine (February 1985). "Specific Sexual Fantasy Themes: A Multidimensional Study". Journal of Personality and Social Psychology. Washington DC: American Psychological Association. 48 (2): 472–480. doi:10.1037/0022-3514.48.2.472.
^ Janda, Louis H. (1985). How to Live with an Imperfect Person. Issaquah, Washington: Wellness Institute, Inc. p. 334. ISBN 1-58741-007-9.
^ Baumeister, R.F. (2001). Social Psychology and Human Sexuality: Essential Readings. Philadelphia, Pennsylvania: Psychology Press. p. 125. ISBN 1-84169-018-X.
^ Moreault, Denise; Follingstad, Diane R. (December 1978). "Sexual Fantasies of Females as a Function of Sex Guilt and Experimenta". Journal of Consulting and Clinical Psychology. Washington DC: American Psychological Association. 46 (6): 1385–1393. doi:10.1037/0022-006X.46.6.1385. PMID 730888. Retrieved June 16, 2014.
^ Strassberg & Lockerd 1998, p. 405.
^ Strassberg & Lockerd 1998, p. 416.
^ Bader, Michael J. (2003). Arousal: The Secret Logic of Sexual Fantasies. London, England: Macmillan Publishers. p. 126. ISBN 0-312-30242-8.
^ a b Lehmiller, Justin J. (11 March 2020). "Why Are "Rape Fantasies" So Common?". Psychology Today.
^ Crépault, Claude; Couture, Marcel (December 1980). "Men's erotic fantasies". Archives of Sexual Behavior. Berlin, Germany: Springer Science + Business Media. 9 (6): 565–81. doi:10.1007/BF01542159. PMID 7458662.
^ Strassberg, Donald S.; Locker, Lisa K. (August 1998). "Force in Women's Sexual Fantasies". Archives of Sexual Behavior. Berlin, Germany: Springer Science + Business Media. 27 (4): 403–414. doi:10.1023/A:1018740210472. ISSN 1573-2800. PMID 9681121.
^ Gold, Steven R.; Balzano, Bill L.; Stamey, Robin (1991). "Two Studies of Females' Sexual Force Fantasies". Journal of Sex Education and Therapy. New York City: Guildford Press. 17 (1): 15–26. doi:10.1080/01614576.1991.11074001.
^ Klement, Kathryn R.; Sagarin, Brad J.; Lee, Ellen M. (2017). "Participating in a Culture of Consent May Be Associated With Lower Rape Supportive Beliefs". The Journal of Sex Research. Abingdon, England: Routledge. 54 (1): 130–134.
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Last Updated 05/08/2021 02:47 AM EDT
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KiNK returns with the second release on the still puerile label, Sofia. The second of many to come, Nagore features four tracks again that are incentive, innovative, and ingenious at the same time. Based on the incantations of KiNK and guests like Red Eye, Kei, and Sofia's guiding spirit, DJ Valentine, you get a mix of free-flowing techno, bass bumpers, rave-y IDM tropes and pitch-wheel house or four smart bombs, if you will. Graced with technical prowess and creative powers, this is once more proof that the man cannot set a foot wrong. Remember the future! Sofia was founded by Strahil Velchev and Konstantin Petrov. Sofia is not only the physical location where this music was made, the city where they met and developed as artists, but also a paradox that is reflected in the art and music that comes from the place. Beautiful and ugly at the same time, clean and dirty, brutal as well as romantic, it's a place where aesthetically seemingly incompatible styles come together in a twisted, yet unifying form. The photographs for the sleeves are made by influential local selector DJ Valentine, effortlessly capturing the local reality.
With unmistakably titled Piano Power EP, the Bulgarian hit factory KiNK does what it does best: infectious melodies, moving bass, and gnarly acid lines as well as the ill beats around. "To Love U" is a freestyle jam with regular collaborator, vocalist Rachel Row. "I Remember" on the other hand, is presented here as a "303 Mix" that loses the classic house sample of the first version, in favor of the squelchy sound that DJ Pierre invented. "Raw" is the kind of happy-go-lucky piano-bazooka that invokes the spirit of Baltimore's production outfit Basement Boys in todays' pagan parties.
On the occasion of the 19th year of Cocoon's residency on Ibiza, the location may have changed from Amnesia to Pacha, but the enthusiasm for perhaps the most enduring party on the Mediterranean island is guaranteed to continue. Actually, only the sun, sea and wind are more reliable! The celebrated live sets of Bulgaria's livewire Strahil Velchev aka KiNK have been a vital ingredient for the ecstatic nights over the years. With unprecedented regularity, the man from Sofia has been voted best live act by readers of Groove magazine for the last three years, and in 2017 he was also crowned best electronic music producer. As KiNK, together with Sven Väth, he now celebrates one of the most popular evenings of this year's season as well, and what could be more logical than to repurpose the famed Cocoon Ibiza Mix series into another live document of the event? No sooner said than done, here the Bulgarian offers a 70-minute cross-section of his skills. Well-known tracks, especially from Playground (RB 010CD/LP, 2017) meet exclusive, unreleased material in a spontaneous tour de force through the history of electronic dance music. There are distinctive nods to Chicago and Detroit, jazzy organs spiraling into string-drenched skies ("The Russian"), insatiable acid excursions ("Five") and heavy-duty discoid workouts ("Use The Rhythm", "Perth") as KiNK's irresistible nature strikes repeatedly at the heart of the dance floor. The message as always is "gute Laune!" (good vibes), if one is allowed to borrow that sacred phrase for just a moment.
Running Back presents the first of two volumes of remixes of KiNK's work, featuring Dusky and Radio Slave.
Running Back presents the second of two volumes of remixes of KiNK's work, featuring Matthew Herbert and Josh Wink.
Triple LP version. Say what you wanna say, but you have to give Strahil Velchev this: the man's a powerhouse. Recording and playing live under the KiNK alias, he went on to become one of finest purveyors of funk in techno and house. What it is, by definition, ain't exactly clear. And that is the beauty of it. KiNK's music is unifying in the best possible way. Channeling the spirit and feeling of a time where it didn't really matter who the faces behind the music were, KiNK plays with the elements of genres and sub-genres as if the future of it all is still wide-open. At the same time it could be accused of retro-fetishism, as much as the Pope himself is infallible. The pure need to recreate moments, feelings, and experience -- rather than carbon copies of existing designs -- was what started KiNK's production work. Hailing from Bulgaria, it was nearly impossible to get your hands on all the records and music that fed into a system of raves, clubs, and record shops that seemed far away from Sofia, and financially it might as well have meant another galaxy. Wanting to DJ without having access to the tracks that spun the carousel meant that you had to create them yourselves. So, here we go with a private bootlegger gone public mastermind and one of the loudest voices in house, techno, and beyond. From KiNK's early productions with Neville Watson to his smash-hit for Ovum, a cerebral album for Macro Recordings (MACROM 038CD/LP, 2014), tons of remixes and tracks and his mind-bending live act, Playground seems to take all that into a blender. Simultaneously a sound-summary, the harvest of a field of ideas, and the exhibition of an artist in his prime, it also works as a sort of KiNK dictionary: avant-garde soundscapes stand next to boisterous bangers, classic club tracks and peak time emotions find their idiosyncratic and contemplative counterparts -- all of it coming down like a torrent in a drought.
Say what you wanna say, but you have to give Strahil Velchev this: the man's a powerhouse. Recording and playing live under the KiNK alias, he went on to become one of finest purveyors of funk in techno and house. What it is, by definition, ain't exactly clear. And that is the beauty of it. KiNK's music is unifying in the best possible way. Channeling the spirit and feeling of a time where it didn't really matter who the faces behind the music were, KiNK plays with the elements of genres and sub-genres as if the future of it all is still wide-open. At the same time it could be accused of retro-fetishism, as much as the Pope himself is infallible. The pure need to recreate moments, feelings, and experience -- rather than carbon copies of existing designs -- was what started KiNK's production work. Hailing from Bulgaria, it was nearly impossible to get your hands on all the records and music that fed into a system of raves, clubs, and record shops that seemed far away from Sofia, and financially it might as well have meant another galaxy. Wanting to DJ without having access to the tracks that spun the carousel meant that you had to create them yourselves. So, here we go with a private bootlegger gone public mastermind and one of the loudest voices in house, techno, and beyond. From KiNK's early productions with Neville Watson to his smash-hit for Ovum, a cerebral album for Macro Recordings (MACROM 038CD/LP, 2014), tons of remixes and tracks and his mind-bending live act, Playground seems to take all that into a blender. Simultaneously a sound-summary, the harvest of a field of ideas, and the exhibition of an artist in his prime, it also works as a sort of KiNK dictionary: avant-garde soundscapes stand next to boisterous bangers, classic club tracks and peak time emotions find their idiosyncratic and contemplative counterparts -- all of it coming down like a torrent in a drought.
Toot toot, beep beep, out of the way! KiNK's taster for his forthcoming album on Running Back is here. "Perth" is a prime-example of the Bulgarian producer's unstoppable good times ware. Taken from "Playground", the three versions here are dripping with grease. Split between the original, a chord mix and a beat version, it's all you ever wanted from a single. Perfect house music for techno DJs and techno music for disco DJs.
Bulgarian hardware wizard KiNK kicks off the new imprint DGTL Records. KiNK has worked with DGTL for quite some time, including 2016's audiovisual installation "Transmission Tower", where the first track "Neutrino" was born. The melodic "Neutrino" kicks off with syncopating bassline. Its interconnecting layers organically jump over and under each other. KiNK on the B-sider "Dynamo": "I loaded my favorite element from 'Neutrino' in my computer and I tweaked the sound through various weird devices in my studio, till it sounded like a completely new track." Includes a few endless loops, exclusive to the 12". Cover art by Tim Buiting.
2017 repress. Chorus is a full multi-pack from KiNK and features hometown collaborator KEi. KiNK, aka Strahil Velchev, is based in Sofia, Bulgaria. KiNK is his house set while Cyrillic is his techno project. KiNK was named Resident Advisor's #1 Live Act in 2015.
The music Strahil Velchev aka KiNK creates for the 12" format is as playful and fanciful as it is functional and precise. His first outing for Running Back is no exception. Inspired by the hardware of the same name, his Cloud Generator EP makes the most use of that. Computer nerd symphonies and cyberpunk melodies for clubs, roofless raves and virtual racing games. Wilhelm Reich and William Gibson would enjoy this.
Bulgarian live specialist and techno innovator KiNK is known for his releases on labels including Ovum and Macro, who released his 2014 full-length Under Destruction (MACROM 038CD/LP). "Fantasia" is a brooding and slow burning track with a synth line that goes from rubbery to acidic. Around it, patient percussion, deep, warm kicks, and breathy female vocals add a sense of sexual tension before KiNK's trademark colorful synth freakiness finally takes over. Truncate's remix is more urgent and techno-leaning, with paranoid, siren-like hooks, scurrying basslines, and lots of ravey warehouse intent. B-side features ten locked grooves.
Lenin said: "Communism is Soviet power + electrification of the whole country." Hardly did Lenin suspect what an inspired take on these words could do: post-Socialist techno. A child of '80s late Socialism, KiNK grew up on the home computers Bulgaria's IT scientists had created by backwards-engineering Western technology. Fueled by nuclear energy on the edge of disaster, a whole generation of kids was trained to hack. Dance music gradually dripping in through early dial-up internet connections, the acoustic fingerprints of distant parties put Eastern producers from KiNK to Nina Kraviz to Vakula under a spell. Yet KiNK spent years of backwards-engineering the sounds of Detroit, Chicago and early Warp. Tweaking whatever software was available, he learned all the sideways possibilities of hacking into the sonics of analog classics with the beauty of digital degradation: alias noise, bit crush, noisy FFT grains -- his one-of-a-kind results have electrified dancefloors all over the world ever since. Now, all the elements of KiNK's live sets have been bundled like a laser beam on his debut album: Under Destruction was manufactured in the concrete tower blocks of Sofia. The album's core has been recorded in dozens of analog jam sessions -- capturing the moment of a sparking imagination just like KiNK's live sets, but then transformed in deep data penetration. The rough and the refined unite in disturbing balance -- from distorted tenderness up to club bangers such as "Sintezator" and "Melodia." A beauty in decay, just like Sofia's concrete slab housings -- synths rising from the ashes. This album tells the story of KiNK's sound -- the one that sparks the love everywhere he visits.
KiNK's heavyweight "Detunator" from 2011 gets three re-workings, courtesy of Mathias Kaden, Adam Port and La Force, who all add their own unique touches of genius to the package. Kaden sits in his pro-remixer chair and creates a soaring, melodic and soulful interpretation in his "909 the Drumqueen Remix." Pumping and full of energy, it's a prime-time moment for the positive dancefloors.
Sergej and Pytzek from Croatia's well-known club Sirup have started a label called Burek. The first release is from Strahil Velchev aka KiNK. Leko/Yako finds KiNK trying to step away from common club-oriented production and present himself in a totally different light. "Yako," especially, is a dance mutant somewhere between speed garage, house, rave and dubstep that rips the dancefloor apart. Includes a remix by Pytzek & Homeboy and a dub version by Duckbeats.

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