A tea-bagging accident

A tea bagger wannabe; Estrogen, alcohol and the wrong anatomy

Tea bagging at Splash: One of the towel girls at Splash was helping a club member with his needs when there was a bizarre accident. The guy was into domination and one thing he enjoyed was to tea-bag his female partner. He had helped her into a zippered leather D-suit with hood – a catsuit with D-rings to restrain the wearer – and strapped her to a wide leather covered encounter table leaving only her arms free to pleasure him while he had his way with her. He had taken her twice vaginally and was tea bagging her while recycling to enter her anally when the accident occurred. The towel girl had a fellatio guard with her and asked if he wanted her to wear it and the client said no because he liked to feel his partner’s teeth on his testicles.

While he was positioned on the table squatting over her face – facing away from her - with his scrotum in her mouth she played with his testicles with her tongue. His stamina began to fade and he asked her to insert one of the medicated silicone butt plugs he had brought with him in his man bag and he handed her an individually wrapped pre-lubricated clear silicone butt plug. She said later that she didn’t really look at it closely and just stripped off the wrapper and had him lean forward as far as he could w/o coming out of her mouth. She spread his cheeks with one hand and pushed it in with the other. To prevent him slipping out of her mouth while she inserted his plug she had tightened her jaws on the soft folds of tissue of his scrotum and he had leaned forward enough that the skin was stretched tight and his little men were pushing against the backs of her front teeth. Her client asked her to make sure the plug was pushed in all the way so the sphincter notch would engage his anal sphincters and braced himself as she pushed it harder until she felt his sphincter pull the plug deeper as it gripped the notch. She gave it another push and felt a slight thump and didn’t think anything more about it.

Suddenly the client gasped and tried to stand up out of the squat and the frightened girl reflexively clamped her jaws tighter on his scrotum which was enough to throw him off balance and he fell off the table. Her head strapped to the table in the BDSM hood didn’t move nor did her jaws open. So when he fell off the table he castrated himself, though at that point it didn’t really matter. That’s because he had accidentally given her the wrong plug, one that had a syringe filled with very high grade cocaine and the last push on the head of the plug had emptied the syringe into his colon. Since he had snorted 2 lines of high quality snow just before they started their encounter he took a massive overdose and was dead shortly after he hit the floor. He also broke his neck when he landed on his head. The TG spit out his sack and screamed for help.

The accidents commercial aspect: If it hadn’t been for the coke they could have called 911 and reported the accident. The client, a single 33 y/o Canadian, had started his own import/export company selling erotic toys. He had been in town from Montreal attending a convention which had ended that day. Splash management made the best of the situation and had his things removed from his hotel room and checked him out electronically and he disappeared. He had used a credit card for services at Splash but the transaction isn’t processed until the client leaves. His charges were canceled so there is no record of him being at Splash and his rental was driven back to McCarran and parked in the long term lot.

The video of the encounter rather than being just another porn vid turned into a far more marketable product, a snuff video. Taryn has an agreement with Adolph to distribute videos taken at Splash and at The Well, his deep water training facility, so as soon as they clean up and master the video it should start distribution in Europe. The manipulation of his facial features to avoid recognition takes the most work and the TG’s features were hidden by the hood she wore so identity security is good. Members purchasing copies of the encounter will get the entire 48 minutes showing the TG being fucked vaginally and her being suited up in her leather D-suit as well as the Tea bagging portion and the insertion of the medicated butt plug and the fatal result. This should be a top selling snuff DVD.

A reader asked: “Are Jill-straps useful in female sports?” That question must have come from a man or perhaps a girl who has never played contact sports. A Jill-strap is a female pelvic protector, the female equivalent of a male’s athletic cup, and any woman who has had her clitoris mashed or twisted by getting a knee or foot in the groin knows the answer to that question is a resounding YES! Any girl curled into the fetal position crying and moaning in agony on a studio floor or a sports field after getting kicked in her unprotected crotch will never forget her pelvic protector again. That’s why it’s a bit chancy working with a new dance partner who may kick you if you are practicing w/o pelvic protection. That is one of the great things about a properly fitted Penetrator plug it provides maximum pelvic protection while being almost undetectable even when wearing a thong. A Penetrator is also fun to wear to a party if you aren’t into being finger fucked that night.

Pointe shoe quiz 05-19-2010

Who is the maker of this dancer’s shoes?

This pic shows a very distinctive maker’s logo

Backstage at ballet school

The grimy platforms of a student’s shoes

The bonding of pointes: I imagine men have something similar, perhaps military training that combines hard work, pain and the satisfaction of overcoming difficulty to do something well. For women, from the age of 10 or 12 when a girl gets her first pair of pointes until she hangs up her last pair of toe-shoes she is part of several hundred years of tradition of suffering for her career in the art of classical ballet. Her training starts much earlier of course with the strengthening of her feet, ankles legs and really her entire young body to provide the proper support and line when her bones harden enough to support her weight en pointe. A year or so before a girl is officially allowed to wear toe-shoes she is fitted with demi-pointes. Demi-pointes have blocked toe boxes but are shankless. The purpose of demi-pointe shoes is to accustom the student to the restrictive feel of the blocked toe box and to sewing and tying the ribbons on her shoes w/o giving her the support to stand en pointe that would have the potential to damage young bones. Of course in ballet boarding schools the girls are wearing a friend’s dead pointes around the dorm long before they are officially allowed en pointe in school approved and correctly fitted toe-shoes.

Over the years of a girls schooling and career in ballet hours and hours are spent sitting in groups on studio floors, stages and in dressing rooms sewing ribbons and elastics and darning platforms and gossiping about faculty, administrators, guest teachers and male partners as well as celebrity dancers who are guest artists. If it isn’t school or company politics its sex, who are making or breaking up with whom. A circle of dancers working on their pointes is an amazing source of gossip and rumor some of which may even be correct, but it spices up the boredom of waiting to dance and the time until we can be alone with men.

Platform traction: There are a number of ways to increase the grip of pointe shoe platforms on the surface to be performed on. One is to trim the satin off the platforms to allow the weave of the under-fabric to grip the floor. Another way to increase the grip on most floors is to moisten the platform. When doing that water from any source can be used; a fountain, the dancer’s personal hydrator (her water bottle) or saliva or even sweat. One of the ways to retain a boyfriend’s interest in a student’s pointes during her training is to give him a hand-job and then smear the semen on the platforms of her shoes. That can be a great bonding experience if she uses a dance partner’s ejaculate, but they do have to be practicing in private. A guy having his ejaculate used that way is a sign the girl thinks he’s wicked hot! And, there is the traditional method of stepping into a rosin box filled with powdered rosin, but that can be messy if wearing pointes around the house or while out partying.

Other methods of increasing traction if dancing on polished surfaces are: coating the platforms and soles with rubber cement or using poured rubber sole and toe caps which are sometimes called cabaret plates. On wooden studio floors and stages the surface is sprinkled with water before class, rehearsal or performance. To hold the backs of pointes on the heel, in addition to elastics, wetting the backs and tights with water or applying a bit of Elmer’s glue between a tights covered heel and the back will help keep the heel from slipping out.

The right and left of pointe shoes: Once they start breaking in new pointes most dancers mark a pair of pointes with an L and R to designate the left and right shoes since most pointe shoes do not come footed from the maker, so initially can be worn on either foot assuming the dancer’s feet are the same size, which is not always the case. The only asymmetrical pointe shoe (left & right) that I’ve worn is the Repetto Willis # 505 that has a full carbon fiber shank. It’s a personal preference as to whether to mark the shoes on the outer or inner sole and usually if the marking is on the outer sole it’s done unobtrusively with a blue or black ballpoint pen. Then there are young students who get carried away with a red felt-tip marker. Sigh! If a girl in my class is marking her shoes that way (it shows a gap in her training) I soon set her straight, but I rarely teach girls that young unless I’m teaching a special class at St Lucy’s and she is a transfer student in the class. Marking pointe shoes is covered in the classes on preparation and maintenance (taught when a girl gets her first pair of pointes) including sewing ribbons, platform preparation - which includes darning and crocheting - breaking in the shanks and boxes w/o destroying the shoes and with the new technology shoes (Bloch and Gaynor’s and Gamba among others) adjusting the arch of the shanks with a hair dryer and refrigerator.

Pointe shoes as weapons: I also teach basic self defense in pointe shoes as a last resort. The first thing is to try think ahead so you don’t get caught in a dangerous situation. If a girl finds herself in trouble she should try and get away w/o becoming physically involved. However, if the girl is wearing pointes shoes her running speed will be limited and when running in pointes it is easy to slip and fall so she will almost certainly be caught. So what I recommend is for girls taking pointe to practice kicking hitting with the platforms of their pointes. A well placed kick can disable an attacker, but accuracy is crucial because after the first kick the element of surprise is lost. So it’s important that a girl practice kicking to put he platform exactly where she wants it. Ballet training increases accurate placement of the feet so if she isn’t too shaken the chances of hitting what she aims for is pretty good. As a last resort it’s certainly worth a try.

Graduation pregnancies: It’s that time of year. In some high schools there are girls with low self-esteem, who think it’s cool to get pregnant by someone, usually, but not always, a steady BF. They think when preggers they can sweat the guy, scandalize their parents and get attention for themselves all with a single medical condition. The girl’s intention is almost always to terminate within 8 weeks so they can take Mifeprex, but young minds change and a very few carry to term and give the baby up for adoption. That way they can start college after a gap year and get on with their lives.

I’m pleased to say that while sexually active none of the students at St Lucy’s are interested in becoming preggers before completing their education, establishing a career and finding a life partner, not necessarily a husband, although, husbands come with a lot of important legal protections for wives who relinquish their careers to raise a family. Giving up a career in ballet (not just taking a year off to give birth) for 15 years to raise children effectively ends any chance of having a meaningful career as a dancer.

The male pill: In feminist publications there is a lot of angst about the lack of a male pill. I don’t understand what all the wailing and gnashing of teeth is about! Even if a male contraceptive pill was available today I wouldn’t trust men to take it. It might be ok in marriage or in a monogamous relationship, but any woman who is into multiple partners for recreational sex would be fooling herself if she trusted guys to take it correctly or at all. “Yeah sweetie, I’m on the pill. I’m shootn’ blanks hon!” Oh yeah! Right! You know that overall the pills that women take are only 92% effective, right? That’s because so many of us don’t take them correctly. And we are the ones who get pregnant! Go figure! For a guy who can just walk away from a birth control accident while his partner looses her bikini bod as his ‘gift’ grows in her belly there isn’t much motivation to use a hormonal contraceptive correctly, unless he’s really into her as much emotionally as he is physically and that’s a very stressful way for a girl to find out.

Natalia Makarova and La Bayadère

Mariinsky Ballet La Bayadère Alina Somova as Nikiya in Act 2 scene 5 ‘the Kingdom of the Shades’

The New York Times
Dance
May 10, 2010
By ROSLYN SULCAS

The Eternal Godmother of ‘La Bayadère’

ONE by one, clad in diaphanous white, they enter to a flowing adagio musical phrase. One arm is stretched forward toward infinity, one leg stretched back to create a glorious arabesque line; then each ghostly figure arches backward, arms framing the head like a halo. The phrase is repeated over and over, the line of dancers winding across the stage in seemingly never-ending serpentine progression: a poetic image of eternity, of order, symmetry, harmony, of classical ballet itself.

This famous sequence is the opening of the Shades scene in “La Bayadère,” originally choreographed in 1877 by Marius Petipa for the Mariinsky Ballet of St. Petersburg. The ballet — a tale of a young Indian temple dancer, or bayadère, betrayed by her warrior lover and poisoned by her rival —was an immediate hit. Through various stagings and revisions, it remained a Russian repertory staple over the next century, as familiar to audiences and dancers as “Swan Lake” or “Giselle.”

When American Ballet Theater gets its Metropolitan Opera House season under way with “Bayadère” on Tuesday night, the audience might well feel the same way; the ballet (and a one-act version, “The Kingdom of the Shades”) is danced by so many major ballet companies that it has become part of the pantheon of 19th-century works that, for many, define an idea of classical dance.

In fact it has been just 30 years — almost to the day on Tuesday — that the full-length “Bayadère” was seen for the first time in the West. It was staged for Ballet Theater by Natalia Makarova, the great Russian ballerina who defected to the West in 1970. Like Rudolf Nureyev before her, she brought not just her inimitable dancing but also a heritage: a trove of knowledge of the classics that she had danced throughout her Kirov career.

Remarkably, since Ms. Makarova’s sole experience of staging was setting the “Shades” act for Ballet Theater in 1974, she mounted the elaborate production for Ballet Theater, where she was a principal dancer, almost single-handedly.

On the opening night she danced the main role of the bayadère Nikiya for the first time, with the British dancer Antony Dowell as Solor, the warrior who loves her but is compelled to marry the Rajah’s daughter Gamzatti.

“When I was dancing in Russia, I never prepared for this,” Ms. Makarova said this month after rehearsals at Ballet Theater’s studios near Union Square.

“But I had come to America, I was dancing all these modern works with Ballet Theater, and I looked at the company, at the people, that eclectic repertoire. At that time dancers didn’t know the differences in port de bras, épaulement, the right line, using the whole body in harmony. I had a desire to give to them what I know.”

Ms. Makarova, has lost none of her stringency about that heritage over 30 years of Bayadère rehearsals. (Her version is by far the most popular, with 14 productions worldwide, including the Royal Ballet, the Ballet de Santiago, the Australian Ballet and the Tokyo Ballet. But there are others, including Rudolf Nureyev’s lavish 1992 production for the Paris Opera Ballet and stagings by Vladimir Malakhov, Patrice Bart, Florence Clerc and Stanton Welch.)

“No, no, no,” she said, shaking her head during a rehearsal of the corps dancers, as they began a phrase for the umpteenth time. “Don’t like.” The pianist stopped abruptly, the dancers slumped, looking weary. Ms. Makarova walked over to the first row. “You are doing too much,” she said, imitating an overly lifted chin as she framed her head with circled arms. “It should be spiritual, not emotional.”

They tried the phrase again. “Better,” she said. “But not good yet.”

As the dancers filed out, she explained: “I don’t want to be too hard on them. They have just come back from a week’s break.”

Later Ms. Makarova, who at 69 still looks every inch the ballerina (and who casually lifted her leg above her shoulder while demonstrating in rehearsal), recalled how hard it had been to teach the dancers the nuances of the style she wanted. “We really started from the beginning,” she said. “How to hold a finger. It wasn’t a technical issue, but one of expressiveness. It was a revelation for them, the moment they got it. Of course there was a lot of emotion, because I demand a lot.”

Cynthia Harvey, who danced Gamzatti at the premiere, remembers Ms. Makarova as a tough, but inspiring coach.

“There were times when I wanted to burst into tears, but I understood that this was an education of a whole new kind,” she said, speaking from her home near Norwich, England. “How she used point work was a revelation to me, the way she rolled through her feet both up and down. How you carry your arms, where the head goes. It was a whole other level of refinement that isn’t even necessarily appreciated today.”

Ms. Makarova based her “Bayadère” on the original Petipa production, which included a final act that showed the gods’ destruction of the temple as Solor and Gamzatti are married. The 1941 version that she had danced at the Kirov, staged by Vladimir Ponomaryov and Vakhtang Chabukiani, had omitted this scene, as had all post-Petipa stagings.

“From my point of view there was not enough logic and conclusion without the final scene,” she said. “There is a crime, and there must be punishment, dramatically it must work that way.”

Her research on the ballet was hampered, she said, by cold war politics; she managed “with great difficulty” to acquire the Minkus score (later arranged by John Lanchberry) and found reviews of the original ballet in the Sergeyev Collection at Harvard, which gave her an idea of the atmosphere of the Petipa era.

Ms. Makarova was no purist, however. She pared away a number of dances, moved the Bronze Idol solo (a post-Petipa interpolation) to the last act, and choreographed a new solo for Gamzatti, and a new scene for Solor, just before he sees the vision of the Shades.

“Sometimes those old war horses need adjustment,” said Mr. Dowell, in New York to rehearse the company last month. “Natasha’s version really works because of its economy — the scene changes, the way it moves. She used what she knew, but she was able to let go of the past too.”

“La Bayadère” was a huge popular success at its May 18, 1980, premiere. “La Bayadère,” Clive Barnes wrote in The New York Post, "is the culmination of Ballet Theater’s 40 year-old history.”

Anna Kisselgoff wrote in The New York Times that it was “a superspectacle in the grandest of grand opera house traditions.” She didn’t mean this in an entirely positive way. “This “Bayadère” sets ballet back by 70 years,” Ms. Kisselgoff commented later in the review.

Critics have continued to feel the same mixture of love and annoyance with “Bayadère”: “No matter which production of this full-length ballet you see, at least 60 percent of it is trash,” Alastair Macaulay wrote in The Times in 2008. “Alternately entertaining and pompous, invariably spectacular, generally formulaic, musically trite and (the setting is India) an anthropologist’s nightmare.”

Audiences apparently don’t care. And Ms. Makarova offers a spirited argument for why not.

“The story is Shakespearean,” she said. “About eternal things: love, jealousy, betrayal, retribution, the choice between love and duty. As humans, we are always interested in this.”

the Millennium trilogy legacy

Noomi Rapace as Lisbeth Salander

Time
May 24, 2010
By Lev Grossman

The Legacy of the Dragon Tattoo

On Nov. 9, 2004, Stieg Larsson arrived at the Stockholm offices of Expo, the antifascist magazine he founded. The elevator was broken, so he had to climb seven flights of stairs instead. When he reached the top he collapsed. He was having a massive heart attack. He died before he reached the hospital.

It was a sudden, shocking death — but not a completely surprising one. Larsson was only 50, but he was a 20-Marlboro-Lights-a-day smoker with a legendary junk-food habit, and his family had a history of heart problems. The truly surprising part is what happened next.

Larsson had spent most of his life documenting the activities of fascist groups in Sweden, but at the time of his death he'd also written three unpublished crime novels, now known as the Millennium trilogy: The Girl with the Dragon Tattoo, The Girl Who Played with Fire and The Girl Who Kicked the Hornet's Nest. They went on to become best sellers, and then international best sellers, and then a global phenomenon that has generated a fortune in royalties.

But whose fortune? With Hornet's Nest set to be released in the U.S. on May 25, Larsson's legacy remains the focus of a protracted legal dispute between his family and his companion of 32 years, Eva Gabrielsson. It's become a public soap opera in Sweden, with all the elements of a literary thriller: a star-crossed romance, a missing will, a house divided and a mysterious manuscript. It's the sort of story Larsson might have written — except for the ending, which is likely to be something out of Tolstoy, maybe, or Chekhov: sadder and less satisfying.

The Boy Who Died Too Soon

Larsson was born in 1954. His father and mother were shopworkers in Umea, a small city in northern Sweden. In 1972, when he was 18, Larsson went to a demonstration against the Vietnam War, where he met Gabrielsson, a fellow protester, also 18. Two years later they moved in together, and in 1977 they left Umea for Stockholm. Larsson signed on as a reporter with a news agency, and Gabrielsson began studying the history of architecture. They were still together 32 years later when he died.

But they never married. Larsson proposed in 1983, but shortly after their engagement he was hired as the Swedish correspondent for Searchlight, a British antiracist, antifascist magazine. From that point on he was forced to keep a low profile. Fascism is a live issue in Sweden, and fascist groups have been known to attack reporters who investigate them. But informational transparency is a point of national pride there too, and married couples must make their addresses public. To stay under the radar, the couple put off their wedding indefinitely.

His résumé notwithstanding, Larsson wasn't a humorless, steel-jawed crusader. By all accounts he was a man of large and joyful appetites who loved to drink and smoke and, above all, to talk. "He wasn't at all driven," says Graeme Atkinson, Searchlight's European editor, who knew Larsson for 20 years. "He was easygoing. His curiosity about things was just so immense."

In 2002, Larsson and Gabrielsson took a vacation on an island in the Stockholm archipelago. "Stieg had nothing to do," Gabrielsson told the Los Angeles Times in late 2009. "That's when he picked up a short story he had written about an old man selling flowers who gets murdered. And that became the first chapter of Millennium."

Over the next two years he wrote 2,000 pages, with Gabrielsson kibitzing and editing. Ultimately he hoped to run the series to 10 novels in all. A Swedish publisher offered him a three-book deal. Larsson delivered the manuscripts in a plastic shopping bag. Six months later, he was dead.

Life Imitates Art

The first hint of trouble arrived in early 2005, in the form of a big brown envelope from the Swedish government. It informed Gabrielsson that Larsson's entire estate, including half of their apartment and the rights to his books, had gone to Larsson's father Erland and younger brother Joakim. She had inherited nothing.

The government's position was simple. Larsson and Gabrielsson never married, and Sweden has no common-law marriage. Larsson had asked his publisher to help him draw up a will, but it was never executed. When Gabrielsson asked the Larssons for the rights to Stieg's novels, they declined — although they did offer her a share in them. Gabrielsson refused to discuss it: it was all or nothing. Standoff.

The irony here, or one of the ironies, is that embattled, disenfranchised women are Larsson's fictional specialty. His books have two heroes. One is Mikael Blomkvist, a Larssonesque journalist, middle-aged and unmarried, like Tintin grown up and gone to seed. The other hero, and the series' salvation, is Lisbeth Salander, a young computer genius whose abusive childhood has left her a misanthropic nihilist.

Larsson's writing has a slightly robotic affectlessness — conveyed in part by his, or his translator's, apparent lack of interest in contractions — but Salander burns through the Nordic languor with her electric rage, her incandescent cleverness, her principled refusal of all emotional ties and her determination to think the worst of everybody. Much of the pleasure of reading Larsson lies in getting righteously angry on Salander's behalf.

Joakim and Erland Larsson hasten to point out that Gabrielsson wasn't cut off completely, but under the circumstances their generosity doesn't play particularly sympathetically. "When Stieg died, he had a little bit of money" — about $20,000, says Joakim. "We gave Eva that money. If you take away the books, Eva got more money when Stieg died than if they were married."

It isn't much when you look at the outlandish scale of the books' success. They've sold 3.5 million copies in Sweden alone, all the more impressive when you consider that Sweden has only about 9 million people. They were the three top-selling novels in Germany last year. They've outsold Harry Potter in France. The first two have sold 4 million copies in the U.S. The Swedish film of The Girl with the Dragon Tattoo was the most successful release in Europe last year, and a Hollywood remake is in the works, with the role of Blomkvist reportedly offered to Brad Pitt. The Larssons say Stieg's estate is worth $15 million, although that is a very low estimate based on the many millions of books sold, not to mention the movie rights.

It's not all about money. Each side has accused the other of being incompetent in managing Larsson's legacy, and the extent of Gabrielsson's contributions to the books has also been debated. But the most hotly contested point is the nature of Larsson's relationship with his family. Gabrielsson's tale is that of a man all but estranged from his brother and father, who as soon as he was dead swooped down to loot the corpse. "I had no idea they had it in them to behave like this when money and power came along," Gabrielsson told the Daily Mail in January. "Stieg really disliked his father ... They blew the last 50 years and they still don't get it." But the Larssons tell a very different story. "I loved him very much," says Joakim. "He was a sort of hero for me. My father would speak to him once or twice a week on the phone."

Gabrielsson has little legal ammunition in this fight. Her only points of leverage are public opinion — a fan has set up a website, SupportEva.com to raise money for her — and Larsson's old laptop, which is still in her possession. On its hard drive are 200 pages of an unfinished fourth Millennium novel, which the Larssons, and most of the rest of the literate world, would love to get their hands on. In a bizarre negotiating gambit, the Larssons offered to trade her their half of the apartment for the manuscript. Gabrielsson declined. (See the top 10 news stories of 2009.)

The Larssons have made concessions. Two years ago they caved on the apartment, where Gabrielsson still lives, and last November they offered her $2.6 million to settle the matter once and for all. "I don't have a dispute with her," Joakim says. "She does with us. We want her to have a good life. If we can help her with that, then we will do it."

Gabrielsson declined again, but the conversation isn't over. "We've met a few times and discussed some issues," says Sara Pers-Krause, Gabrielsson's lawyer. "We will probably go on doing that as long as we think it's worthwhile."

Fans hungry for the missing Millennium novels have seized on the legal drama surrounding them as a substitute. But it's a poor one: if Larsson were writing the story, Gabrielsson would emerge from the fray in a satisfying blaze of vindication, re-enfranchised by some yet undreamt-of legal wrinkle or computer hackery. But the reality will probably be slower and messier, and it's unlikely to leave anybody completely satisfied. It's a strange afterlife for a man who never cared much about money. "If he saw his pictures around the world's airports and underground stations," says Atkinson, "he would have given his characteristic response: a rather wry and slightly mischievous smile." —Reported by Carla Power / London

Personal comment: I found the Millennium Trilogy an awesomely compelling read! I couldn’t wait for Hornet’s Nest to be published in the U.S. so I bought a copy from Amazon.UK before Christmas. I’m hoping to see the Swedish films of the stories. I’m not sure Hollywood will be able to capture the Scandinavian flavor of the books. Mikael Blomkvist is the male hero but the other hero, Lisbeth Salander, a near anorexic introverted computer genius and computer hacker is for me the character that makes the books come alive. As for the real world, I hope Larsson’s companion of 30+ years, Eva Gabrielsson, who helped him write the books gets her fair share of the profits from the books and films.

Hormonal birth control side effects

Different types of hormonal contraceptives

The New York Times

May 10, 2010
Risks: Birth Control Linked to Sexual Problems
By RONI CARYN RABIN

Young women who rely on hormonal birth control like the pill are at significantly higher risk for sexual dysfunction than those who use nonhormonal methods, a German study suggests.

The researchers, who questioned more than 1,000 students at six German medical schools, found that one-third of them experienced one or more forms of sexual problems associated with desire, arousal, lubrication, orgasm, satisfaction or pain. The study appeared in the May 4 issue of The Journal of Sexual Medicine.

Students who used hormonal contraception had the lowest overall sexual function scores, and they had lower scores on desire and arousal compared with those not using any birth control or those using nonhormonal methods.

The highest scores were among those using nonhormonal contraceptives. The lowest were among users of non-oral hormonal contraceptives like injected formulas or birth control patches.

An author of the paper, Dr. Alfred O. Mück, a professor of endocrinology at University Women’s Hospital of Tübingen in Germany, suggested that contraceptive hormones might reduce circulating levels of testosterone, which is needed to stimulate sexual desire and regulate genital blood flow.

But, he added, “The biological mechanisms remain unclear so far.”

Personal comment: Some of us who have used hormonal contraceptives already knew about the annoying side effects of hormonal birth control. Doctors, mostly males, will tell you that the side effects aren’t bad or that you can get used to them, but if you have once experienced an orgasm while cycling naturally and then go on the pill or other hormones the difference in the two experiences is startling. When I was on Ortho Tri-Cyclen the first year wasn’t too bad after getting used to the hormones while the breast soreness and the irregular bleeding went away. But after another year I had no libido, it was very difficult to become aroused and even when I felt as though I was aroused mentally my body wasn’t. I didn’t tent and was very dry. It was terrible! It took me a while longer to realize it was my pills that were suppressing my desire and arousal.

After coming off hormonal contraceptives it can take some women months or in a few cases years to recover from the side effects. Fortunately, after I stopped taking hormones my sex drive came roaring back and I began to cycle naturally again almost at once and I began to use an Oves cap as my primary protection and a diaphragm for flow control and contraception during menses. I’m fortunate to have very regular cycles and comfortable periods – I’m CD5 today – and enjoy the cycling of my female hormones, especially the days when I’m fertile or menstrual.

Anal nozzles, Lab-finals and Oxytocin

An aluminum anal nozzle

Anal irrigation nozzles and the prostate: Our clinic is offering ‘Colonic irrigation’, an enema, for medical purposes. In my Advanced Sexual Techniques class I teach Colonic irrigation as a BDSM technique which is of interest to women not only because some of us may enjoy getting an enema ourselves but because it is especially effective on males as it can massage the prostate. Nozzles are made of metal, aluminum or stainless steel, Pyrex glass, latex and silicone. The aluminum one shown in the image accompanying this entry can be heated, cooled and vibrated to massage the prostate as well as deliver recreational drugs and fluid to hydrate the user during prolonged sexual activity and/or while the user’s face is covered by a breathing mask.

I’m not sure how effective irrigation nozzles really are as it seems to depend on the needs of the user. So I think that there is a big psychological factor in their effectiveness. I say that because I have been with guys who are techie-freaks (really, really heavily into using equipment) who swear by having the right nozzle inserted while drilling me and guys for whom having a nozzle inserted didn’t seem to make much difference except to get them off faster when the vibi massaged their prostates. I think it helped the techies because I’m wicked tight and even wearing a cock ring and using performance enhancing pharmaceuticals the guys (there have been two of them) with a chilled nozzle inserted and forced hydration during a marathon session to increase their stamina almost didn’t finish. The other guys with inflatable plugs just used for hydration during long sessions so they could keep up their rhythm could keep me in orgasm most of the time. I smile just thinking about having a water cooled man plunging in and out of me.

I think anal plugs and nozzles are more of a guy thing, except for the few of us who enjoy the cleansing effect of enemas. However, they are especially useful for women escorts as an important part of encounter preparation if they know they are in for a long session or several encounters because a full bowel and bladder are things to be avoided during prolonged sexual activity.

Lab finals results for AST class: Paul, a good friend and returning reader asked if all the students in my Advances Sexual Techniques class passed their lab final, pointe sex in dead shoes. The short answer is yes. Of the 14 students who started class in the Fall five had dropped out for various reasons by the time finals were to be taken. Seven students wore Gaynors for finals and two wore Freed Classics. The Freed girls are masochists who enjoy the discomfort and can compartmentalize the pain and savor it while orgasmic, rather like me. One of the Gaynor girls sprained her ankle while orgasmic when she lost focus and strayed off her center - slaying over her platforms - and began to wobble. But she recovered well enough to clamp down mightily on her partner during an extremely intense orgasm and bring him to a quick finish filling her with semen. After he withdrew she turned and collapsed into his arms sobbing with relief and the joy of being finished with finals. I think she has the hots for him which could present a problem because as an escort he isn’t likely to want a stable relationship regardless of how she feels, but student crushes on lab partners are common so we will have to see what happens. I warn the girls about the bonding effect of Oxytocin which flows so freely in women during sex. That’s another life lesson taught by AST, that some hormones can make a woman bond with a man whether she intends to or not. How she handles her attraction to a man can determine how she will handle other challenges as she enters the adult world.