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Femdom thrills over the last 200 years!

One of the things that particularly interests me is the evolution of art forms, such as how stories are told, throughout the years.

I particularly recall the fantastic paintings for the macho “sweat mags” of the 50s and 60s–periodicals like FOR MEN ONLY or MEN’S WORLD or ALL MAN, that often sadistically portrayed GIs and Nazis and gorgeous women in a pulp phantasmagoria derived from World War 2. The great site Men’s Pulp Mags is the resource for these images and info, and here is an example of a femdom cover image from 1959 that they also sell as a note card:

Doesn't look like

Doesn’t look like “pity” is her middle name…

In an interview I read at Men’s Pulp Mags, artist Mort Küntsler explained why those publications declined in popularity as “More and more advertising money was going to television rather than print, and a lot of people were getting their fiction over television rather than reading it.” (Boldface italics are mine.) The phrase “getting their fiction” stayed with me. Wisely, Künstler moved onto other venues for his considerable skills and has had great success. You can read his Men’s Pulp Mags interview here. (He didn’t do the image above, by the way, but you can see many examples of his work at the interview.)

Now, we all know that in 2015 dominatrices can express their spellbinding narratives to their admirers through websites, Twitter, video clips, and phone services like NiteFlirt; that’s how sub males are primarily “getting their [femdom] fiction” today, as well as through ebooks and hardcover works such as the British artist Sardax’s new translation and illustration of the classic VENUS IN FURS. But how did the submissive males of long ago get their entertainment thrills?

In 1937 they could enjoy the story “Tiger Cat” by David H. Keller in Weird Tales magazine:

This wild cover is by Margaret Brundage, Weird Tales' premier cover artist.

This wild cover is by Margaret Brundage, Weird Tales’ premier cover artist.

You can enjoy it today yourself if you go here. One passage in this story of a beautiful demoness who keeps men as her prisoners reminded me of some of the things you can hear dommes say online today, especially when teasing and denying their slaves the merest touch of their alluring flesh:

“She was more beautiful that night than I had ever seen her. Dressed in filmy white, her beautiful body, lovely hair, long lithe limbs would have bound any man to her through eternity. She seemed to sense that beauty, for, after giving out the first supply of rolls, she varied her program. She told her audience how she had dressed that evening for their special pleasure. She described her jewels and her costume. She almost became grandiose as she told of her beauty, and, driving in the dagger, she twisted it as she reminded them that never would they be able to see her, never touch her or kiss her hand.[Boldface italics are mine.]

I recently read an informative post on The English Mansion blog here, by the renowned British domme Mistress Sidonia von Bork, which discussed the origin of her unique-sounding nom de domme, from the leading character in a famous and huge-selling 19th century German novel SIDONIA THE SORCERESS based on the life of an historical figure. She also mentioned how H. Rider Haggard’s 1887 novel SHE, similarly imbued with femdom themes, was another gigantic seller in the late 1800s. It got me thinking about these other incarnations of the cruel female, like “Tiger Cat,” which must have thrilled the slave males of long ago.

So another thing that springs to mind is John Keats’ 1819 poem “La Belle Dame sans Merci,” (“The Beautiful Lady Without Mercy’)  which became the subject of many famous paintings like this one by Frank Cadogan Cowper in the 1920s:

The red of that dress reminds would entrance anybody...

The red of that dress would entrance anybody…

In both “Tiger Cat” and the Keats poem (which you can read here), the women have enslaved or subdued many, many men. This makes me think of the work of my colleague Sardax, who frequently portrays this classic trope of mass subjection in his art, as in his recently published image “The Stockroom”:

Before these tigresses, the blush doesn't leave men's cheeks, neither top nor bottom...

Before these tigresses, the blush doesn’t leave men’s cheeks, neither top nor bottom…

Be sure to visit Sardax’s Wordpress blog here for more information about his work and how he created his edition of Venus in Furs, his new translation of Leopold von Sacher-Masoch’s 1870 classic of femdom literature.

Of course these stories and poems are not sexually explicit the way BDSM videos or, say, audio files are today–but the femdom vibe is still there, and strong.

Although I’m not into the idea myself of being enslaved with an entire horde of other guys–I really am a one-on-one kinda sexual serf ;) –I even ended up using this trope in my own way at the climax of my supernatural femdom story THE DOMINATRIX WHO COULDN’T DIE, available on Amazon here. Perhaps mass enslavement by a few strong females is part of the collective male subbie unconscious?

She's a tiger in her own way, trust me!

She’s a tiger in her own way, trust me!

 

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Writing for Leg Show and illustrated by Sardax…

My friend and colleague, the great femdom artist Sardax, recently wrote a blog post about doing art for editor Dian Hanson’s Leg Show magazine back in the 1990s and early 2000s and creating some illustrations for my short stories there, among the many authors whose work he brought to visual life. You can read his post here.

I had been writing femdom fiction for other magazines like Leg Action for a few years before I started submitting stories to Leg Show, but once I began publishing in Dian’s publication, it became my favorite femdom venue. Two reasons for this are that there were fewer censorship restrictions on the subject matter–the strictness of restrictions varied from publisher to publisher–and Dian was also open to fiction that didn’t only emphasize eroticism but also the exploration of the psychological aspects of foot and leg fetishism and female dominance. Since my stories ranged from those designed mostly for stimulation to some very intense and dark tales about the ambivalence of submissive males toward their destiny to kneel before powerful women, Leg Show was a perfect showcase for my work.

One of the stories I wrote, designed primarily for arousal than for introspection, was “Enter the Governess,” about a young woman sexually in charge of a handyman at the New York City rooming house where she lives. Here you see the opening pages with Sardax’s illustration. This was in the December 1999 issue.

The young heroine teases the handyman with the encouragement of her landlady.

The young heroine teases the handyman with the encouragement of her landlady.

 

There were a number of other good illustrators who worked for Dian, but Sardax was always my favorite. The faces of his ladies especially reflect the teasing and often playfully cruel allure of the fictional dommes I write about…

She knows he loves to ache for her tantalizing skills!

In this detail we see she understands how much he loves to ache under her tantalizing power!

 

…and there was always a smile on my face when I got my complimentary writer’s copy of a new issue of Leg Show in the mail and saw that Sardax had illustrated my latest opus.

Check out his official website The Femdom Art of Sardax here and look for info especially about his illustrated version of Venus in Furs, which in his pictures and translation Sardax captures the atmosphere and essence of Leopold von Sacher-Masoch’s groundbreaking femdom novel. The rest of us femdom writers only stand in the shadow of Sacher-Masoch’s masterpiece, an essential read for any lover of erotica, much less any submissive male or dominant woman!

 

 

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Femdom attitude at the beach…

Here’s a shot I grabbed near Times Square, on 44th Street and Eighth Avenue, of an advertising poster for the big new H&M store near Macy’s in NYC’s Herald Square. Click on the pic to make it larger.

"I hope those maggot boyfriends of ours fetched the hot dogs."

To my mind, the brunette seems to say: “I hope those maggot boyfriends of ours fetched the hot dogs.”

 

Cold-eyed, almost robotic, suspicious, distrustful, judgmental, and holding hands as they join forces–judging by this picture, can these girls see guys as anything but slaves, chattel, or dupes of their considerable wiles?

I wonder…

I love how mainstream advertising sets off all sorts of fantasies, and I’m sure glad New York City didn’t REALLY clean up Times Square as well as they say they did!

 

 

 

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The dark nights of a stripper’s heart…

FATE OF A STRIPPER is a novel that takes you into the girlie joints of New York’s contemporary Times Square (yes, such clubs are happily still there despite the much-publicized gentrification); the hipster scene of the New Burlesque (a little further downtown in the East Village); and into some very dark recesses of the human heart…

In the tradition of the 50s noir paperbacks and films!

A story in the femme fatale tradition of 1950s noir paperbacks and films.

It’s available on Kindle and many other mobile devices at Amazon USAUK, Canada, Germany, France, Italy, Spain, Japan, Mexico, Brazil, Australia, India and The Netherlands.

So please click ahead to Amazon and explore the free sample chapters, and then experience…

FATE OF A STRIPPER.

 

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In the desert, you can’t escape who you are…

I want to take a time-out from my focus on erotica to briefly discuss a movie I saw on the channel Get TV, a 1931 Columbia B-western called Desert Vengeance, starring one of the top cowboy stars of the 20s, 30s, and early 40s, Buck Jones. It was written by Stuart Anthony, produced by Harry Cohn, and directed by Louis King.

The story starts on a steamship as Buck plays poker, then moves out West.

 

Actually, film criticism is something I’ve done throughout my porn career. (My other favorite genres include noir, westerns, 1950s melodramas, sci-fi and monsters, gangster pictures, and sword-and-sandal movies.) Although I started out professionally doing short essays about vintage and current mainstream movies, having studied film history and production in college, when I began writing for porn magazines in the mid-1970s I turned my understanding of cinema to the hardcore genre.

Obviously I had to primarily critique porn for its ability to stimulate, but I also looked for and noted qualities of craftsmanship and skill just as I would in other kinds of movies. For example, I once wrote a piece about how the early 80s porn star Veronica Hart was in some ways the “auteur” of her films just as James Cagney was the “auteur” of the films he starred in. I thought the concept of the “star as auteur” was just as applicable to Hart as it was to Cagney.

Anyway, if you plan on seeing Desert Vengeance, read the rest of this blog post afterward.

What I was struck by in this movie is how two people, played by Buck Jones and Barbara Bedford, pretend to be things they’re not–a “nice” girl and a mining mogul–and end up in a tragedy that seems simultaneously like a Biblical parable (vengeance belongs to the Lord, not us) and an existential fable (we make our own beds and then we have to lay in ’em).

When Buck–who’s really an outlaw (though a lonely one who sincerely craves love)–discovers that Barbara is a con woman bilking him of his money, he goes against that Biblical admonition about revenge. He is going to get even. Barbara and her male accomplice Hugh are not aware that Buck is onto their game, so after the initial scenes in San Francisco, Buck tricks Barbara and Hugh (played by Douglas Gilmore, who seems like a seedier version of Ray Milland) to come out to his desert hideaway to punish them. Buck and Barbara’s relationship has been based on dishonest roleplaying and when it gets down to reality in the desert setting, they see each other more clearly, closer to what they really are. Things turn bleak and painful.

The movie–which, by the way, has its share of shootouts and fisticuffs–doesn’t sugar coat its moral that if you act badly, you may well end up paying for it; but it concludes with a wordless, tender scene between Buck and Barbara that promises not necessarily escape from punishment for their sins, but at least the hopefulness of a sustaining love. After much suffering between them, this scene is unexpectedly moving.

Mostly set Buck’s hideout, an abandoned town called “Skyfields” that has a dingy saloon, a church, and just rooms to sleep in, Desert Vengeance seems to take place in a symbolic wasteland of souls as parched for human kindness as the desert would make them parched for water.

But when Barbara consoles Buck in the church at the end, after all is lost, we get a scene of a bad man embraced by a tawdry but loving woman which has a redemptive punch equal to the moment when floozy Gladys George holds gangster James Cagney in her arms at the end of 1939’s The Roaring Twenties.

Barbara discovers that Buck still loves her, despite his vengefulness.

Barbara discovers that Buck still loves her, despite his vengefulness.

 

I highly recommend seeing this unusual and undeservedly obscure western. And I’ve already set my DVR for more Buck Jones movies on Get TV.

 
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Posted by on March 21, 2015 in adult magazine business

 

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New femdom Goddess Vesper in focus!

In the last week I’ve had the pleasure of meeting via Twitter a dominant young New York City girl of Eurasian extraction who goes by the nom de domme Vesper Lynd and as @HeiressVesper for her tweets, and so far has made a couple of femdom clips for the Clips4Sale studio Deadlier than the Male. She is mesmerizing in her bestselling clip “Conniving Secretary,” which rocketed high on the Clips4Sale charts, and you can read more about it and the studio here.

What is especially interesting to me is how Miss Vesper enjoys my femdom ebooks Learning to be Cruel and Learning to be Cruel Part 2, and has said on Twitter how much she identifies with my creation Miss Meirong, the graduate student and bookstore clerk who enslaves freelance writer Lester Cronkberg in the two parts of the novella.

I have openly expressed my admiration for “Conniving Secretary” to Miss Vesper on Twitter, and these three screencaps I made show her at her beautiful best as she weaves her web around her slave in this video!

Her look of dominant skepticism quickly puts a submissive male in his place...

Her look of dominant skepticism quickly puts a submissive male in his place…

 

Miss Vesper knows the power of her legs & uses it to befuddle & subdue the male...

Miss Vesper knows the power of her legs & uses it to befuddle & subdue the male…

 

And in a matter of minutes, it's time for the male to kneel before her!

And in a matter of minutes, it’s time for the male to kneel before her!

 

When I told Miss Vesper (she allows me to call her “Miss,” which I like to do with dommes as a sign of respect and awe) that I had watched “Conniving Secretary” four times, she told me to watch it a fifth time and then report back which moments in the clip had struck me with particular force.

I readily did as she requested. (In the movie, she points to the floor when it’s time for the male to get down at her feet. Metaphorically, by requesting I watch the video a fifth time, Miss Vesper pointed me to the floor, and–metaphorically again–I kneeled willingly.)

It would be great to write femdom clips around Miss Vesper’s charismatic persona, as I am sure the results would be tantalizing. From 1987 through 2003 I wrote twenty-five full-length screenplays for all the top actresses and adult industry studios–Masseuse 3 with Taylor Hayes, an original script of mine with several femdom elements including forced housework and cuckolding, won the XRCO Award for Best Picture of 1998–so it would exciting to write sinema again, and this time totally with the femdom focus close to my heart and hard-on!

I’ll keep you posted…

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UPDATE, 3/4/15: Since the above was written, Miss Vesper has written a review of Learning to be Cruel Part 2 on Amazon, although it really discusses the impact of both parts. You can find it here.

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Meanwhile, I was chatting online with Lawrence, the head honcho of Deadlier than the Male studios, and we got into a discussion of classic femme fatale fiction. I’ve always believed that the noir spider ladies are the antecedents for the dommes of today. Mainstream paperback noir fiction of the 50s was a sublimated version of femdom. The women enslaved their men but they just didn’t use the overt dominant/submissive roleplaying we see in media today. Instead of having their men do naughty things in bookstores (as Meirong has Lester do in Part 2 of Learning to be Cruel), the noir gals would send their men off to ruination through crime or punishing adulterous trysts, just to use two examples.

Anyway, Lawrence asked me to tell him who some of my favorite noir authors are, especially with a femme fatale focus:

The first one I thought of was David Goodis: his book Behold This Woman is really full of femdom vibes. I haven’t read it in many years but I never forgot it for the scene where the femme fatale brutally hits some guy–I think her husband?–I’d never quite read a scene like that before. According to what I’ve read, in real life Goodis was into picking up big black ladies to verbally abuse him. And the novel was supposedly inspired by his commanding ex-wife.

This is the cover of the same paperback version I read.

This is the cover of the same paperback version I read.

 

This is the cover of the original hardcover version. What a vixen!!

This is the cover of the original hardcover version. What a vixen!!

 

If you to the site of Captain Ahab’s Rare Books you can see a personal note that Goodis gave with the book to a friend, and read more of the outrageous plotline as well as learn the price of this extremely rare edition.

Goodis’s books are so intense I can only read one every two or three years. In his novel Of Tender Sin, a female chides a male for enjoying housework! If that isn’t out of a femdom scenario, I don’t what is.

Another author I like is Charles Williams, and his novel A Touch of Death has one of the greatest final scenes of a femme fatale kissing off her chump in ANY book. Might be my favorite. Available through Hard Case Crime with a sensational cover by Chuck Pyle:

This is a rare instance of a modern cover being far better than any of the 50s originals. Google the others and see what I mean.

This is a rare instance of a modern cover being far better than any of the 50s originals. Google the others and see what I mean.

 

Another author I like is Bruno Fischer, whose work dated back to the early pulp days. His last novel The Evil Days is a very twisty book set in suburbia, maybe his best with some tricky female maneuvers.

John D. MacDonald, John McPartland, Lawrence Block, and Gil Brewer are other authors who have good noirish deadly or at least edgy and feisty females in their books.

And though not a 50s paperback writer, the Japanese novelist and short story writer Junichiro Tanizaki, in his fantastic Seven Japanese Tales, has many femme fatale femdommish motifs AND an explicitly deadly female tale called (if I recall correctly) “Tattoo,” about a nice girl who gets a spider tattoo on her back and “transitions” into her dark dominant power. Very erotic, although definitely NOT erotica–just juicy with intense insights into psychosexual issues. His classic novel Naomi, about a guy who creates his own dominatrix, in a sense, was so influential that a Japanese BDSM film actress, Naomi Tani, named herself after the title character. However, as far as I know, Naomi Tani ironically played submissive females in her movies, while the Naomi of the novel turns out to be anything BUT submissive. Tanizaki’s novels are loaded with foot fetishism, cuckold fantasies, and other kinks.

So these are a few of the authors I like, and who have helped set me on my own road of creating femmes fatale in my stories. Check ’em out, and again, take a look at the new femme fatale Vesper here.

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Although I made the screencaps, all the images of Vesper Lynd from “Conniving Secretary” are © 2015 DieForher.com.

 

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Eve Meyer hosts Rhapsody in Blue by George Gershwin

I was talking with my writer friend Phil the other day–he’s another fervent aficionado of beauty, as I am myself– especially of the beauty of actresses and models past and present. I was telling him about the late cheesecake model and early Playboy centerfold Eve Meyer, who was married to glamour photographer Russ Meyer for awhile and had a big hand in helping build his career as a softcore erotic filmmaker. And then the next day I went to a record collector’s show, just on a whim because I don’t particularly collect records, and I found this wonderful example of a cheesecake album cover featuring Eve.

Click on the photo to see it larger.

 

No photo credit is given, but the picture was most probably taken by hubby Russ, who did so many great pictorials of Eve. Those pictorials I do collect, in the often frayed old girlie magazines I find at New York City flea markets. I’d never heard of the Philharmonia Orchestra performing the featured symphonic pieces, but I figured what the hell, I’m buying it for Eve on the cover, not the music. Still, when I listened to it the next day while writing some website porn copy, I was pleasantly surprised that the interpretations were vigorous, and even the scratchiness of the old vinyl sound added a certain pleasurable “oomph” to the listening experience. Really, holding the album, taking out the disc and placing it on my turntable, it almost felt as if Eve herself were hosting the performance, ushering me into the concert hall in my mind, and inviting me to enjoy the timeless sounds of George Gershwin, Franz Liszt, and George Enescu (spelled the variant French way as “Enesco” on the album).

A delightful purchase indeed!

Look up Eve Meyer online; she was a real beauty, a great model, and an accomplished businesswoman.

 

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