#and he doesn't really seem to mind since I'm all over him worshipping his fat

[xbearfeederx]

I knew you were trying to lose some weight, as if I wouldn't notice you suddenly cutting back on your snacking. And you actually had some success until I came around and told you how hot you are when you eat. So now eager to please and happy to indulge you've gotten just as round if not a bit rounder as before.

[channiebelly]

Classmate

tropes: body worship.

ship: vernon/chan

wordcount: .9k

Vernon has a crush on the chubby boy in his class, Chan. He asks Chan out and everything seems to be going well until things start to get heated. Vernon needs to show Chan just how sexy he is.

There's this guy in Vernon's class, Chan. He's cute, funny, talkative, has adorable chubby cheeks, a good butt, and, most importantly, an impressive, round belly. So, he's just Vernon's type.

Towards the end of the semester, Vernon finally gets up the courage to ask him out.

"Chan!" Chan has left the classroom already, and Vernon is racing to catch up with him (not that Chan walks particularly fast).

"Oh, Vernon?" Chan asks when Vernon finally catches up to him. "Is everything okay?"

"Yeah! Everything's perfect!" Vernon cringes at himself. That was definitely too excited. "I just wanted to ask if maybe you wanted to go out with me sometime. As a date."

"Oh." Chan blushes, to Vernon's delight. "I'd love that."

"Great," Vernon says. They exchange numbers, and then Vernon's off, walking in the other direction to his next class, a grin not leaving his face.

The date goes very well. They meet up for coffee and lunch, and arrange another date a few days later. That date goes well too. Amazing, actually. Vernon likes Chan more than he thought possible after such a short amount of time.

For their third date, Vernon invites Chan over to his place for a movie night. He tries to make his intentions very clear: he tells Chan that they'll have the apartment to themselves, he arranges it for the evening and even drops a "netflix and chill" comment in their text conversation.

Chan shows no hesitation to the concept.

Which is why Vernon is a little confused when Chan suddenly switches gears when Vernon tries to take his shirt off. They had been making out heavily on the couch just a minute before, Chan's hand had been on the bulge in Vernon's jeans, and they were both very into it.

"Sorry!" Chan yelps as soon as Vernon's hands grip the hem of his shirt. "Wait."

Vernon backs away immediately. "Is everything okay?"

"I'm just worried you'll be disappointed," Chan says. "I'm not exactly ripped."

"...Yeah," Vernon says.

"I'm a bit chunky," Chan says. He's blushing again. Vernon ignores how cute he finds it, this is clearly important to Chan.

"Chan, I mean this in the nicest way possible, but I know. Your size is not exactly a secret."

"Oh," Chan says. He sounds upset. Shit.

"I like your size. I knew what your body looked like before I asked you out, and I liked it. I wouldn't have asked you out if I wasn't attracted to you."

"Really?" Chan says. Vernon wishes he could tell Chan just how alluring he found his size, how he had to stop himself from staring at the prominent swell of Chan's belly from across the room, how the time Chan's shirt had risen up and shown his soft underbelly hadn't left his mind for weeks, how he had fanaticised about what Chan looked like under his hoodies all semester. Vernon had been wanting to get his hands on Chan for ages. He hated the idea that Chan thought that he wasn't attracted to him.

"Absolutely." Vernon kisses Chan again, deep and slow. "I think you are incredibly sexy. Can I please take your shirt off?"

Chan giggles. "Well since you asked nicely."

Vernon doesn't wait any longer. He pulls Chan's shirt over his head, and there Chan is, shirtless and right in front of Vernon. He's hotter than Vernon ever could've imagined. Somehow, his belly looks bigger without the fabric obscuring it. It's rounded and enormous, with a pair of chubby moobs sitting on top. The sides of his belly turn into rolls of fat that wrap around his back and he has large love handles that are struggling to stay contained in his waistband. He's gorgeous.

Vernon must be staring too hard, because Chan gets nervous and starts to move away. "I'm sorry. It's too much. I'll just go."

Vernon grabs his wrist. "Don't. Please. You're absolutely incredible." He runs his tongue over his lips. "Can I touch?"

Chan nods and Vernon reaches out to place his hands on the distended sides of Chan's belly. He does it slowly, taking in every sensation. He'd wanted to touch Chan for month, and now he's right where he wants him. He's going to make the most of this.

He runs his hands over the full expanse of Chan's stomach, testing the firmness at various points. He's mapping out Chan's stomach with his hands. The top of Chan's stomach is incredibly firm, almost solid, and Chan lets out a little hiccup when he presses into it. Around his bellybutton and above is also very firm and taut, but there's a bit more give when Vernon presses into it. Underneath his bellybutton is pure softness. The skin there is buttery soft and smooth and supple enough for Vernon hold it in his hands. He takes two handfuls of it and shakes, watching the rolls on Chan's sides shake with it.

This whole time, Chan's breathing has been getting heavier and heavier, as Vernon continued his exploration. But when Vernon trails a finger gently over Chan's underhang, his breathing gets rapidly heavier. He likes being touched there, Vernon learns.

"Fuck," Vernon says. "you're so hot." He starts kneading into the sides of Chan's belly, more insistently now. "Please let me fuck you."

Chan must believe that Vernon isn't lying about finding him attractive at this point, because he nods.

Vernon can't wait any longer. He stands up quickly and offers a hand out to Chan to help pull him off the couch. Vernon is going to spend the entire night convincing Chan of just how sexy he is.

[dreamsister81]

"If  you listen to the lyrics of Hallelujah closely, you  notice  it’s a  song  about  sex,  about  love,  about life on Earth. The hallelujah isn’t a tribute to a worshipped person, an idol or a god, but it’s the hallelujah of orgasm. It’s an ode to life and to love."-OOR, August, 1994

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Why did you cover a Leonard Cohen song?

Because I find myself in Hallelujah, not because of Cohen.-Knust interview, September 13, 1994

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“Any of the covers on the album are there because they mean a certain thing in my life that I love and I miss. One day I was house-sitting for a friend and she left her whiskey out and I got into it and hit this horrible sorrowful jag. I went to the gig-Sin-É, in fact-weeping like a fucking animal. The whole time. I sang ‘Hallelujah’ that night and I got through the show just on the edge of tears. I don’t know why. It just wells up inside you."-Hot Press, October 5, 1994

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And this version of Leonard Cohen's "Hallelujah", does he know the John Cale version? "Well, actually, I'm playing John Cale's version, that's where I got it from, from that record "I'm Your Fan" that I listened to at a friend's house. I also know Leonard's original, but he doesn't sing every verse, the way John interprets it is so...simple."-Rock & Folk, October, 1994

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" 'Hallelujah' for example I learned in New York from John Cale after a year working at Sin-é on a day when I found myself crying like a baby and that song expressed exactly what I was feeling. A title like 'Hallelujah' makes one think of the church, of morality and instead there is a deep humanity inside, there is the idea of making love, losing love, being crucified. Leonard wrote ten verses for that song and I don't know why he didn't sing them all, I just chose the ones I felt were most mine. He has this extraordinary ability to grasp the fundamental element of a certain situation and to "steal" it, make it his own and build the text around it."-Rockerilla, October, 1994

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The artists you've covered so far are Van Morrison, Leonard Cohen, Alex Chilton, they're connected on a certain line. It's kind of cult people or like that. Do you select those songs consciously?

It doesn't matter who's song it is. I did it because each moment in my life matched the song so well. For example, Leonard's "Hallelujah." One day, I was intoxicated with so much sadness, I was totally wasted after drinking whiskey and practicing this song. Right after that, I went into the gig as I was, and I was screaming like an animal. I'm singing that song with those experiences in mind. I have to be myself before the song exists.-Rockin'on October 1994

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"Hallelujah, I was just housesitting for a friend, watching her cats while she was away and I got into her whiskey and got into her record collection and there was there was John Cale's version of Hallelujah on I'm Your Fan. And I'm not...there are Leonard Cohen enthusiasts...it's not because of Leonard that I did the song, it's simply because of the song and because of the verses. I'm just in there somewhere. I have no blood bound allegiance to Leonard, although i have an incredible admiration and real great love of his work you know? There's a difference between somebody who's a total Tom Waits freak and just somebody who just likes to listen to them, and you know, the Tom Waits freak will know everything: the demos, the back in the days when he used to sound like Billy Joel, blah, blah, blah...hear the European demos, well, he didn't used to, but back when he was a bit smoother. You know, just knows everything. And I don't know everything about Leonard Cohen, and I haven't read Beautiful Losers, and I haven't done that, but it was just a great song."-WBCN's "Nocturnal Emissions", October 23, 1994 in Boston, Massachusetts

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" 'Hallelujah' I didn't do it because it's by Leonard Cohen, but because I like the song. Based on that it was done for all the songs, including mine. The version that inspired me is a John Cale version with all ten verses, unlike the way it appears on Various Positions. The night I first proposed it at Sin-é was a special night, I had also been a bit of a jerk. You see, the word Hallelujah has its own definite sign, you connect it to the church. Instead, for me it is a word that celebrates something very human, it speaks of a deep connection between pain and the human condition. That word has nothing to do with being nailed to a cross: there's when you're hurting, but there's also when you're making love, when you're losing it."-Buscadero, November, 1994

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"The fact that I did Leonard Cohen's Hallelujah doesn't mean anything, Cohen is something you discover when you're discovering life, you don't get there when you're very young."-Rumore, November, 1994

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"Finally, Leonard Cohen's Hallelujah not for the meaning of religious purity that anyone can see, but for more earthly reasons: pain, sex, orgasm and the cruelty of everyday life. I believe in people, not in heaven. Without people God would not exist, he would not make sense."-Tutto, February, 1995

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I wanted to ask you about your version of "Hallelujah". I guess its based more on John Cale's version than Leonard Cohen's original?

Yeah. But I heard the one on (Cohen's album) Various Positions first. Then I was stuck in a room with that I'm Your Fan CD (a Cohen tribute album) and I listened to (Cale's version) and it was, again, very simple. Then I heard that version one time again in Tower Records, and I was just struck. There and then, I thought, "This is wonderful ."

But am I right in thinking you don't really rate your version, compared with Cale's?

Well, he's a man. Mine's too fast. I know the difference between myself in a totally empty situation-which is best, where anything can happen-and in a situation where something's expected. And I don't feel very good about that day, and the time I chose that song to be included on the record, it was between that version and another version that I really despised. All in all, there must 22 versions floating out there. It's just never the right time. It seems that the only right time is when I'm telling it to people. And I guarantee, I have mashed that version into the ground nightly on tour, just creamed it. And there's also a version on the master reel for "So Real" that, because I was so wiped out and exhausted after that day-we'd recorded "So Real" and I recorded one last "Hallelujah", and that was my best one-I just forgot about that "So Real", I was so tired. So it's just hanging around out there. C'est la vie. Part of making records is letting stuff go.-February 28, 1995 interview, published in Uncut, September, 2004

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 I tell him that Bono loves Grace and says that Buckley's cover of Cohen's Hallelujah is better than his own. (Buckley plays John Cale's slightly altered version of the song from the I'm Your Fan tribute album to Cohen.) Buckley slumps back in his chair, as he does when on the defensive, and curls his lip in a manner that accentuates his resemblance to Matt Dillon. "I don't think I did that right," he sighs, passing over the compliment without comment. "I hope Leonard doesn't hear it. The way I do it live is better. I did it all live in the studio, there's no overdubs at all, but I pop it in unexpectedly in the show and it works better. The way I did it sounded more like a child and sometimes I've sung it more like a man."-Mojo, March, 1995

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"It's a hymn to being alive. It's a hymn to love lost. To love. Even the pain of existence, which ties you to being human, should receive an amen-or a hallelujah."-Schwann Spectrum, Spring 1995

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"I found myself in that song and I performed it many times in solo shows. But I'd be neglecting something if I didn't say that I learned it from John Cale. John Cale was the one that brought it to recording first, on the tribute album I'm Your Fan and he used these lyrics, these verses, for the song that didn't appear on Various Positions, which was the first album that Hallelujah appeared upon. I was house-sitting for my friend Susan and she had some whiskey...I don't know, I just hit a big, really bad sorrow jag and put on the song, and it was so simple the way John sang it that the words went through me, and I learned the words that night, played it that night at my gig at Sin-e...I don't know, it just stayed with me ever since. I wasn't gonna put it on the album at first 'cause I didn't write it and it would be kinda cheesy but I thought better after a couple suggestions from a friend of mine, and I did. Unfortunately, I think people will ask for it until the day I'm grey and old and fat, which I don't like, so I'll have to write something better, and I will."-Sony promo interview

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"He has a unique talent for making everyday life poetic and surreal-the most difficult way to write. However, on Hallelujah, I much prefer the lyrics rewritten by John Cale for the I'm Your Fan compilation. It is this version that I have taken up, not Cohen's version."-Les Inrockuptibles, July, 1995

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"That's not a hallelujah of chasteness and piety," Buckley explains. "It's more menstrual. It has more to do with the hallelujah of orgasam, of pain, of joy, of flesh, of being tied to the earth. Not of invisible angels in heaven who may or may not come down to tell you how good or bad you are, or Santa Claus."-Sydney Morning Herald, August 25, 1995