Men in pointes

Craig Salstein ABT soloist with ballet photographer Gene Schiavone

(during the Guinness Most Ballet Dancers on Pointe (230) record set on August 2, 2010 in Central Park NYC )

Beef cake en pointe: I think Craig Salstein’s legs are just so awesomely well defined en pointe and the presentation of his package is so, well, masculine and mouthwateringly erotic (sigh!) in the photo accompanying this entry. Isn’t he gorgeous in his shortie purple unitard!

Male dancers in pointe shoes: I’m not going to go into the history of men in ballet and how women, once they found how to dance on their toes, gradually relegated men to a supporting role in ballet, though in recent years that has begun to change bringing more men to the fore in ballet. These comments are about how I see the relationship of men and the pointe shoe today.

All my male dancers take pointe to strengthen their feet and to broaden their dance perspective by experiencing what female dancers who routinely wear pointes experience. Men are routinely given the opportunity to take pointe class in most ballet companies and it is worthwhile. It makes guys far more appreciative of women ‘flitting around on their toes’ as one non-dancer man put it. And generally male professional dancer’s feet and ankles are so strong that they are up to speed very quickly. The tricky part is getting a toe protection regimen established of taping toes and using ouch pouches or other padding as women commonly do.

But unless a guy is a member of the ‘Trocks’, Les Ballet Trockadero de Monte Carlo, the St Petersburg All Male Ballet Troupe (Russian), Matthew Bourne's dance company (New Adventures), the New York based company Les Ballets Grandiva, or another all-male company there is usually no need for a male dancer to be on his toes very often for there are few roles for men en pointe in major classics. There are some ethnic dances where men in blocked boots will dance on their toes, but not in traditional pointe shoes. Puck in A Mid Summer Nights Dream and the wicked step-sisters in Cinderella are the main roles in which men wear pointe shoes in classical ballets that come immediately to mind, but there are a few others, for example in Matthew Bourne's Nutcracker.

Les Ballets Grandiva is an interesting Company. I think it is still performing, but the last advert for them was in March of this year. To me the interesting thing about Les Ballets Grandiva is that they have a ‘male pointe initiative’. More about that below.

Pointe shoes and men who aren’t dancers

Romantics: There are men so enamored of pointe shoes that they almost seem to attribute magical qualities to the shoes. This is not a new phenomenon; it extends back at least to the mid 19th century. Perhaps the start of pointe mania and worship of the women who wear them was during Marie Taglioni’s triumphal season performing in Russia, when her adoring fans cooked a pair of her ballet slippers and served them with a sauce.

For these men when a woman puts on a pair of pointes they transform her from a normal woman into a mythical all-powerful female creature of surpassing beauty, strength and ability. For men who have the romantic notion that pointes are transformative objects turning a woman who sweats and bleeds into a goddess may have some validity because standing en pointe with our calves contracted, buttocks clenched and breasts thrust out – the normal position for a woman en pointe – our bodies do look sleeker, curvier and generally more attractive. Not to mention that our pelvic muscles are contracted as well, thus providing the tightest grip on a penetrating partner when having sex while balanced on the platforms of our pointes. And women who have had enough ballet training to be en pointe professionally have enough steel in their spines to be independent, self assured and in many cases dominant over these romantically inclined men who are predisposed to believe the fantasy.

Men in pointe shoes: There are also a few men who with little or no dance or pointe training are very interested in wearing pointe shoes themselves. If this aspect of the male pointe shoe fetish only involves wearing them while sitting down or lying on a bed like so many women do when wearing ballet boots, the fetish is relatively harmless. It’s when men push themselves to try to stand and walk in pointe shoes without any strengthening of their feet and ankles that serious problems can occur. The likelihood of severely spraining or breaking ankles or toes then becomes a very real possibility, not to mention the discomfort of bruised nails and blisters. And some men in this category become very upset (you know who you are) when female dancers try to warn them about the dangers. I attribute this to the same male gene that causes many men to refuse to ask for directions when they are lost. Or, perhaps it’s too much testosterone.

I have several dancer-stallions who are really good at moving confidently en pointe and I have been taken by them while we both were balancing on our platforms. Being taken by a guy while he is balancing on his toes doesn’t do much for me erotically, but it’s a great test of the man’s ability to compartmentalize to keep from falling off pointe while staying focused to prevent his bone from wilting while he is trying to get me off ahead of himself. For my guys there was a learning curve even though they were motivated by competition to see which of them could get me off quickest. For couples en pointe we all wear Gaynors and I stand on an adjustable platform so our pelvises are at about the same level. I tried having them take me on a flight of stairs, but that didn’t work nearly as well since I had to be at least two steps up and then the distance between us was too great. Although, if we found a narrow stairway with hand railings on both sides I could hold on to I could lean back to close the gap and to brace myself for his thrusts. So under some conditions it is doable.

Male pointe challenges: There are several problems that non-dancer men wanting to wear pointes face. First is finding a dance shop that has a sympathetic fitter who will properly fit them in pointes because without properly fitting shoes the wearer will be in great pain and can cause permanent damage to his feet.

There may be reluctance on the part of pointe shoe fitters – especially in small towns – to fit untrained men. This is based primarily on the concern that the man is not strong enough to stand and walk en pointe in them and if injured will sue the shop and fitter who, he will claim, should have known better than to sell him the shoes in the first place.

A secondary issue in small towns is that a man being fitted with pink pointes – the color in which the shop has the most sizes for fitting – can freak out tweens and their mothers coming in to buy the daughter a new pair of shoes. It can also be embarrassing for the man as well if he is the least bit concerned about what other people (especially women) might think when they see him in pointes. And finally, finding a shop that has pointe shoes in sizes that will fit men can be a problem even in larger towns.

Some men are fortunate to have understanding sisters, girl friends or wives with ballet training to go to their local dance shop with them to lessen the likelihood of rejection and help with the fitting. Buying pointe shoes on-line may be an option, but the process of self-fitting is one of trial and error over a long interval and even when the shoes are discounted can be a costly proposition.

In my case I’m fortunate to be a dancer so I can enjoy wearing pointes during the day while I’m working. I know it is not easy for men who have a psychological need to actively wear pointe shoes. And I’m aware that the fetish can be driven by multiple and complex psychological needs. While pointes are my work shoes I love wearing them because I like the way being on my toes makes my body look and feel so ultra-feminine. I love the bondage aspect of having my feet tied securely into my pointes by their ribbons. And I love the feel as the weight of my body fluctuates pressing my toes into the blocks as I walk or bourrée en pointe and I like the pain. Being able to balance, run and jump confidently in pointe shoes is a sexually arousing experience for me and I fully expect that each man has just as complex a set of psychological needs – probably different from mine – that together make up his fascination with and need to wear pointes. Perhaps it is the fact that the shoes themselves are beautiful, that they are feminine footwear, that they take skill to wear and that there is pain involved. What ever the reasons are that are driving him I wish every man with a pointe-shoe fetish well in reaching the fetish goals he sets for himself.

I think it’s great that men want to experience the thrill of dancing, or at least standing, on their toes in pointe shoes. And as an additional benefit it certainly deepens their insight into the art of ballet. All I’m saying is that if the effort in time, money and pain is to be worthwhile the task needs to be planned for logically. Being in denial and believing that training doesn’t matter if you want to walk en pointe in toe-shoes can get you seriously hurt

I have at least one frequent reader (you know who you are) who has found supportive fitters and takes pointe classes. I hope he will stop by and share his experiences and tips for men who are serious about being able to wear pointe shoes confidently.

I mentioned above that there would be more about Les Ballets Grandiva’s Male Pointe initiative which I think is such a great idea. It is explained below, from information available by clicking on the outreach link on their website:

Les Ballets Grandiva
Description of our outreach and educational services

The Male Pointe Initiative

Male comedy ballet belongs to a special genre of dance, and it is Les Ballets Grandiva’s goal to provide support and education to those dancers who choose this particular art form as their occupation. We wish to give those dancers a serious option to conventional ballet companies, and make becoming a member of our company a choice they can be proud to make.

As The Male Pointe Initiative is the official training of Les Ballets Grandiva, it is our objective to maintain and improve each dancer’s male technique – including jumps, turns, beats, and partnering, while developing pointe technique – focusing on foot articulation, in-step and ankle strengthening, and weight distribution. Ballet and pointe classes are kept separate so each dancer can focus on correctly and effectively developing both male and pointe technique.

Along with the daily educational regiment for the company, members of our staff tour the Untied States during the summer months providing workshops for male dancers who wish to study pointe technique.

Male Pointe Initiative Summer Intensive Curriculum –
Ballet Technique
Pointe Technique for the Male Dancer
Pointe Variations
Partnering Male Dancers
Men’s Technique
History of the Male Dancer
Acting for Dancers
Injury Prevention
Nutrition

Qualifications –
Male between the ages of 18 - 23
Advanced ballet technique
Strong ankles
Stable trunk
Proper control of rotation

College and University Lecture Series

Our Lecture Series is geared towards all college level dancers who are seriously looking to dance professionally. We are committed to ensure a positive and nurturing learning environment where dancers can feel comfortable, reach their individual goals, and grow as artists. Along with ballet and pointe technique, our platforms consist of – Comedy in Ballet and Acting for Dancers.

Master classes

Intended for intermediate and advanced students, this two hour class is aimed towards proper technique and alignment to create the necessary classical lines and prevent injury, working with individual rotational capabilities, improving flexibility, hand to head relationship, and performance quality. Insight into the audition process and tips on getting a job is also provided. Every student is given individual attention.

Lecture demonstrations

Students watch technique class while a moderator explains the value of the exercises and their relevance in the process of going from classroom to stage. Excerpts from company repertoire are performed, and character development and comedy is explored to show how dancers and chorographers create. Audience participation is included where a number of volunteers are incorporated into excerpts with company members. Choreographic participation is encouraged where students can witness firsthand, with their input, how choreography can develop into a ballet.

Educational performances

Intended for schools and other community venues, this series showcases longer sections of company repertoire with moderator explanation.

Workshops

For schools who are interested in a more in-depth approach, our workshop offers a combination of master class, lecture demonstration and education. Workshop lengths and schedules can be discussed for the particular needs of individual schools. Workshops conclude with a performance of Les Ballets Grandiva.

Residencies

Les Ballets Grandiva’s residency programs combines master class, coaching, lecture demonstration, pre-determined lecture series, school performance, company performance, and post performance reception. While working, rehearsing, and performing alongside professionals, students gain the understanding of what is expected of them once they venture out into the dance world.

Physical Education Dance

An introduction to dance for non-dancers incorporating beginner ballet, modern, yoga, cardio activities, cultural dances, and popular dance. This program is designed for schools who do not have a dance program but would like to introduce their students to movement. A gym, performance space, or stage is required. Students should wear lose fitting t-shirts and sweats or shorts.

College and University Lecture Series Curriculum –
Ballet Technique
Pointe Technique
Acting for Dancers
Including Character Development and Pantomime
Lectures on Comedy in Ballet
Lecture Demonstration on Male Comedy Ballet
Choreography
Audition Process

For fee information and further inquiries, contact Noriko Miyazaki at (212) 875-0951

Pointe shoe quiz October 14, 2010

Who is the maker of this dancer’s shoes and what style are they?

How America Masturbates

Spilled seed: hundreds of millions of sperm & no egg McMuffin

About.Com Sexuality
Sexuality Blog
By Cory Silverberg, Sexuality Guide

How America Masturbates
Thursday October 7, 2010

This is the second in a series of blog posts about specific data coming from the National Survey of Sexual Health and Behavior (NSSHB). If you want to start at the beginning, start here.

Forgive the hyperbolic headline. It's not true, of course, that the data from the NSSHB, or from any other quantitative survey for that matter, can tell us much about precisely how Americans masturbate. Online surveys, statistical software, and the soft focus of a nationally representative sample all obscure the gentle (or rough) touch of a back of a hand, the swirling of finger tip or elbow in just the right spot, the heat we make between ourselves and our own bodies. How America masturbates will probably remain a mystery, and our sex lives may be better for it. But how often and with whom we masturbate are questions that researchers did ask, and when 5,865 people ages 14 to 94 responded, it's worth a look.

How Much, How Often?

The responses affirmed the idea that among the big ticket sexual activities (they only asked about masturbation, oral sex, vaginal, and anal intercourse -- I know, it's not fair, but no one surveys people about hugging, kissing, or earlobe roughhousing) masturbation is tops.

Overall 60% of adolescents (ages 14-17) and 82% of adults (ages 18-70+)say they have masturbated at some point in their lives, with more men reporting masturbating than women across all age groups.

Solo masturbation (both in the past month and past year) was more commonly reported than most partnered sexual behaviors for people 14 through 24 years and 50 years and older.

Participants were whether they masturbated, and if so, how often they did using several time frames (past month, past year, more than a year). In terms of frequency:

30% of women and 21% of men masturbated a few times a year or monthly
17% of women and 23% of men masturbated a few times a month or weekly
5% of women and 17% of men masturbated 2-3 times per week
2% of women and 11% of men masturbated more than 4 times a week

Masturbation Across the Lifespan

When responses are broken down by age the image of the constantly masturbating adolescent or teenager doesn't appear. Instead, people age 25-29 were the ones most likely to report masturbating in the past month (60%). 34% of 14-15 year-olds reported masturbating in the past month and 42% of 16-17 year-olds said they had masturbated at least once in the past month.

Who Masturbates Most?

Well it's not a contest. But 61% of women and 77% of men ages 25-29 reported masturbating in the past three months, which was the highest percentage across age groups (participants 70+ were least likely to report masturbating in the past three months, 16% of women and 35% of men).

Are You Lonesome Tonight: Do Single People Masturbate More?
Overall, participants who were single did not masturbate more than those in relationships. Among women it was those who were single and dating that overall were more likely to have masturbated in the past three months. Among men it was divided between those single and dating and those who were in a relationship but not living together.

Masturbating Together

Interestingly, the same age group of women who report masturbating alone the most, those 25-29, were the ones who reported partnered masturbation the most (35%). For men the group with the highest percentage reporting partner masturbation was those ages 30-39, 32% of whom reported engaging in partnered masturbation in the past three months.

As the authors note in the paper looking at the details of sexual encounters (they call them "sexual events") the results are likely influenced by them not being specific about what "partnered masturbation" includes or doesn't include. Other surveys have specified using fingers and hands to stimulate specific parts of the body (e.g. clitoris, penis, anus). Still, this survey lays interesting groundwork for future research on the details of what we do when we do this thing we call sex.

Personal comment: I love to masturbate! Especially when I feel like being alone. I’ll get my dive gear, slip into the pit, tether with ankle leashes at about 30 feet and get myself off with a Penetrator plug with a G-spot vibi ball in the tip; then have a short nap while I enjoy the afterglow. It’s awesome listening to the gas hiss through my DV as I inhale and the roar of the bubbles as I exhale and they rush toward the surface. When the vibi tips me over the edge, I love the feel of my vaginal muscles spasming, clenching around the shaft of my plug as I orgasm! As you can see from the statistics in the article above masturbation is a very normal part of human sexuality and is performed millions of times a week in the U.S. I feel sorry for those few people who feel masturbation is a sin and deny themselves the pleasures of masturbating. I wonder how they handle “nocturnal emissions”, wet dreams. Is having a wet dream a sin?

Pointe shoe quiz October 11, 2010

Who is the maker & what is the style & outer covering of these shoes?

The 2010-11 season ballets

Poster for the ballet Ondine by The Royal Ballet in 2000

Ballets for the 2010 – 11 season: I was asked how I chose dancers for my small company and how I pick dancers for roles so I’ll write briefly about the process as well as the ballets we will be dancing this season. Dancers join my troupe knowing that we provide erotic ballet using the classical idiom. We screen for willingness to push the creative envelope so we don’t have a problem with squeamishness about having sexual encounters in front of an audience. This is Vegas and the competition for job openings is intense. We have never had a problem finding dancers with marvelous bodies and exquisite technique and in the current recession competition for a single opening is enormous. We have great health care benefits – We have to with unprotected sexual activity on stage. We are all screened with a full STI panel every two weeks so we are sometimes referred to as the Vampire Ballet because of the frequency of blood being drawn.

Every dancer is responsible for her own birth control and there are very few jobs for pregnant ballerinas (we are all tested weekly for hCG) so the girls are very careful to use their birth control correctly. Though the Ballet Mistress has Plan B One-step available for the asking if a girl thinks she may have had a birth control failure. The only contraceptive device we insist a female dancer wear during some performances is a diaphragm which is used as a gas guard (during underwater sex) to prevent water and air bubbles being forced into her uterus by the hydraulics of her partner’s thrusts while underwater. We have submerged sex in our version of the ballet Undine, the story of a water sprite that falls in love with a human.

I rotate dancers in roles to give new ones a chance to shine and get different interpretations of the same role since some high-rollers come to the show every night during their stay. Looks and technique are important, but ultimately it’s a about onstage chemistry so if couples work well together I’ll go with casting them, especially opposites in a ballet like Miss Julie where the guy is a sadist and the woman a masochist so there is really rough sex with the audience splattered with body fluids. They love it!

The ballets for this season are:

Undine: The set for our version of the ballet is a tidal pool by the sea. We are fortunate that in the five venues we dance in the buildings were reinforced either to take the weight of filled swimming pools on the upper floors or because the building had been designed to add more floors so that allows us to have a glass walled water filled pool to perform in.

The story comes from Friedrich de la Motte Fouqué’s novella Undine, popular in the 19th C. It is the tale of a water-nymph who marries a mortal. Similar to other 19th century fairy tales, the plot is based on man (Palemon) encountering the supernatural (the water nymph Ondine), but the outcome is rather different than many of the 19th century classics: here, it is the man that dies, and the female character survives. Ondine makes her first appearance from a fountain, shivering in the cold air. She meets the hero, Palemon, and is astonished when she feels his heartbeat as she doesn't possess a heart. Palemon deserts Berta, whom he has been courting, and decides to marry Ondine. During a particularly strong storm while at sea, Ondine is lost overboard. Palemon survives the shipwreck created by the angry Ondines and believing Ondine is lost ends up marrying Berta. Ondine returns and is heartbroken when she discovers Palemon's unfaithfulness. When she kisses him he dies and she goes back to the sea losing all memory of him forever.

In our version we have revised Sir Frederick Ashton’s 1958 ballet Ondine which he choreographed for the Royal Ballet. We have kept the original novella name, Undine, and changed the ending. So that after discovering his unfaithfulness, in place of the fatal kiss Undine has sex with him and her desire for him is so great that she sucks the life out of him as he orgasms inside her. She swims off holding hands with another female water sprite having found another partner before her male lover’s body is cold. The dancer/divers breathe from inconspicuous air hoses descending from a surface supply unit. The female lead’s long hair is worn loose and she wears only a Reflexions latex diaphragm and weighted pool-pointes to keep her slightly negatively buoyant with her weighted feet on the bottom of the pool. The ending has been hugely popular with audiences, especially straight Dommes and butch lesbians because Undine is one of the few ballets where a woman survives and triumphs.

The Image used at the top of this entry is of a poster for a production of the ballet Ondine by The Royal Ballet at the Royal Opera House, London in 2000. This poster features former Royal Ballet principal dancer Sarah Wildor, who danced the title role.

Swan Lake: We have a very popular ending to a shortened version of Swan Lake where Odette (the white swan) gives herself to Prince Siegfried who penetrates her from the rear while she is en pointe. The male dancer uses Cialis as a performance enhancer and she wears a thong bottom tutu and crotchless tights. The high-roller clubs all have intimate venues so the audience gets to watch up close and personal as the Prince shoot his wad inside her. There is an onstage costume change for Odette as his making love to her turns her back into an almost nude (she is still wearing pointe shoes) beautiful princess. Is it real? Yeah, it is, this is Vegas. The female usually doesn’t have time to orgasm, unless she has been masturbating backstage, but the male does and as he pulls out there are usually still strands of semen dripping from his fading erection as the couple takes their bows. It’s all great fun and the guys who lose heavily at the tables have their minds diverted for a while.

Miss Julie: A ballet in one act with choreography and libretto by Birgit Cullberg. Based on Johan August Strindberg’s famous stage play (first produced in 1889) about sex and class, the ballet tells the story of the aristocratic Miss Julie who seduces the family butler and has to pay for her indiscretion with her life. The main characters:

Miss Julie: Twenty-five-year old daughter of a count. She hates men, thanks to her mother’s influence on her, and believes her high social station makes her superior to her servants. Nevertheless, her instinctual female sexual urges drive her into the arms of a valet, Jean, who is all that she despises–a man and a lowly menial.

Jean: Thirty-year-old valet of the count. Though of the servant class, he is articulate and even can pepper his speech with French phrases he learned while working as a wine steward in Switzerland. He seems to represent the lower classes of the late 19th Century in a world that was casting off class distinctions and allowing the lowly to become equals of the high and the mighty. When Miss Julie entices him with her charms, he invites her to his room—and the boundaries separating social classes, and Miss Julie’s clothes, droop to the floor.

The servants talk about the incident that caused Miss Julie’s fiancé to breakup with her. Miss Julie was “training” her fiancé as a master would train his dog, forced him to jump over her horsewhip. Twice he did it and twice the whip cut him. When he was supposed to jump again, he took the whip from her, broke it into pieces, and walked off.

Miss Julie, on the rebound, seduces Jean and after they have been sexually intimate he tells her that the other servants know about their affair and they need to get away. Their plans fall through when Jean finds that she can’t finance their escape. They argue and Jean gets the better of her. Miss Julie becomes despondent and kills herself with the razor that Jean just finished shaving with.

We have revised the story line to include Miss Julie being brutally taken and having her cervix repeatedly rammed while she screams and squirms as the couple enjoys rough sex. There are also several wonderful S&M scenes with Miss Julie whipping Jean with her riding crop and them both enjoying it before he inseminates her on stage. Then after he refuses for a second time to go away with her she beats him with her riding crop again and then slits her wrists. The long sleeved riding habit she is wearing hides the bladders of fake blood that pour onto the stage as she runs the razor over her sleeves. S & M fetishists as well as misogynists love our version of Miss Julie for the beatings and the heroine’s suicide at the end.

Pointe shoe quiz October 8, 2010

What maker’s shoes is the dancer in pink wearing?

And, what are your reasons for choosing that maker?

Barrier training and identity theft

All-Flex diaphragm compressed for insertion

The All-Flex as a training barrier: The 12-14 y/os at St Lucy’s in our Feminine Hygiene class are fitted with an All-Flex as their first training barrier because it is the easiest style to insert correctly. Every girl is fitted regardless of any other method of contraception she is using. For anyone reading this who says that 12 y/os are too young to be using birth control, I say, “Get Real!” It’s true that the age of consent in Nevada is 16, but we teach the use of a diaphragm as a method of flow control during a woman’s period. It just so happens that it can also be used as a contraceptive device and for URTP (upper reproductive tract protection) when she is old enough to have dive-sex. Most of the girls past menarche are on some form of hormonal or IUD method of birth control anyway because their parents have approved it. The usual reason given is ‘to regulate their cycles’ even when everyone is aware the teens are using it for protection while actively participating in horizontal sports.

Elke and Flibanserin – an update: Boehringer Drops Female Desire Drug. Germany's Boehringer Ingelheim said today (10-08-2010) it will discontinue development of its investigational compound Flibanserin for the treatment of Hypoactive Sexual Desire Disorder because of FDA requests for further support the efficacy and safety profile of the drug. “The decision was not made lightly, considering the advanced stage of development,” said a Boehringer executive. “We remain convinced of the positive benefit-risk ratio of Flibanserin for women suffering with HSDD”. Returning readers will remember that in my entries for June 17 and July 8, 2010 I wrote about Elke, Adolph’s pool assistant and German arm-candy, being on Flibanserin. Perhaps it had some placebo effect for a while but she is off it now as the improvement she seemed to have disappeared.

Fall pregnancies: Last week at the clinic we began to see the usual crop of Fall pregnancies. There was only one St Lucy’s girl. The other seven came from UNLV (3), local public high schools (3) and the last one a new showgirl at a rival casino who came from a casino in Atlantic City. This phenomenon occurs each Fall as young women switch from their Summer vacation or intern jobs to Fall back-to-school routines. All were within the 8 week maximum for taking Mifeprex but five of the six (the seventh miscarried) had menstrual extractions. The sixth, the showgirl, took Mifeprex.

Boned at the Barre: The St Lucy’s girl is a transfer student from Los Angeles who is taking ballet and was using Lybrel the estrogen/progestin pill (90 mcg levonorgestrel and 20 mcg of ethinyl estradiol) that is taken every day for 365 days. That dosing regimen is supposed to stop your periods, but break-through bleeding is common for 30% of users for up to 6 months while user’s bodies get used to the hormone levels. In June of this year the maker, Wyeth/Pfizer, repackaged Lybrel in a new blister package and the St Lucy’s girl had a hard time remembering to take her pill from a blister pack rather than the old ClickCase. She liked the ClickCase and thinks the blister pack is common. The psychology of that probably led to her not taking her pills correctly and eventually her pregnancy. Counting back it appears she had been inseminated when she arrived on campus. She tested negative for hCG during her mandatory pelvic exam the day she arrived and hadn’t had sexual contact with a partner for the next six weeks which means she conceived a day or two after she arrived.

Since she never had a period she didn’t have any warning that she was preggers until her breasts began to swell and the milk glands surrounding her nipples became prominent as they increased in size. Three weeks later during one of her first times being penetrated from the rear while en pointe, in the usual Boned-at-the-Barre position - feet a la seconde penetrated from the rear while bent over holding on to the barre - she had her cervix rammed several times by her partner and began to hemorrhage. She fainted and miscarried right in the studio bleeding all over a new pair of Gaynors she had just bought to have sex with her fave ballet teacher. She was rushed to the clinic and had a menstrual extraction to make sure that all the fetal tissue and placenta were expelled. She was put on a ten day regimen of antibiotics and told not to have any sexual activity that would cause her uterus to cramp for the next week while her endometrium was replaced.

Identity theft: I’ve mentioned in earlier entries that my women escort candidates and St Lucy’s students who are fitted for gas guards have RFID chips put in them so we can tell who is absent from class and ensure that they are wearing their gas guards before they enter the water for dive-sex labs where partners will finish inside each student during her dive. The RFID chips also help identify women when they are wearing DiveRubber or encasement suits where faces and identifying body markings (tats, scars, blemishes, etc) are hidden so from a distance it is almost impossible to know who is wearing the rubber suit. We have had instances where someone tried to have another woman take an exam dressed in the absent students DiveRubber or fetish gear. We are seeing gym-bag, dance-bag and reg-bag thefts in women’s locker rooms apparently to get their gas guards with RFID chips in them so they can pretend to be the student/dancer when dressed in fetishwear or dive gear. Wearing another woman’s diaphragm with her RFID chip it makes it much easier to get into some of the women’s secure areas at St Lucy’s and in the escort training areas at the casino. To combat that we have gone to biometric scanning of thumbprints as a cross-check to get into women’s secure areas.