Saturday, June 25, 2016

SPRING AWAKENING: Teen Masturbation, BDSM, Sex and Rape\Incest

Broadway's Spring Awakening musical is based on Frank Wedekind's bawdy play, but the musical is more raunchy. The musical made what the play implied more explicit, which is revealing when one realizes that the main characters, Wendla Bergman and Melchior Gabor, were fourteen-years-old.

For example, in the play Hans Rilow masturbated to a picture of Venus of Palma Vecchio which he described as having “plump, youthful breasts”. And asked, “Maiden, maiden, why dost thou press they knees together?” But his autoeroticism was implied.

Venus of Palma Vecchio

In the musical, Hanschen masturbated to Antonio da Correggio's Io. The stage directions read “[...] Slowly and steadily, Hanschen begins to masturbate – building steam as the scene continues.” And on Broadway, Jonathan B. Wright, playing an early-teen, energetically simulated masturbating first with his right then lift hand.

Antonio da Correggio's Io

In the play, fourteen-year-old Wendla asked Melchior, “Would you like to beat me with it once? […] Please---please.” But when she didn't feel Melchior's switch she said, “Oh, Lord, I don't notice it in the least! […] Then strike me on my legs!” Finally, feeling the pleasure of the pain she exclaimed, “You're stroking me! You're stroking me!”
In the musical, additional stage directions were added. “She offers him her backside. He considers, then strikes her lightly.” But Wendla said, “I don't feel it.” Melchior replied, “Maybe not, with your dress on.” Consequently, the stage direction read “Wendla hikes her skirt, offering Melchior the prospect of her somewhat more exposed backside." And that's exactly what Wendla (Lea Michele) did at the Eugene O'Neill Theatre on 49th Street in Midtown Manhattan.

In the play, it was implied that Melchior raped Wendla when she pleaded, “Don't---don't, Melchior! […] Oh, Melchior!---Don't, don't---” But in the musical Wendla says, “”No […] Don't it...[...] Wait...[...] Now, there---now, that's...[..] Yes […]” After which the stage direction read “Melchior penetrates Wendla” to which she responds, “Melchior---oh...” On the stage, Melchior (Jonathan Groff) exposed Wendla's (Lea Michele) left fountain before he lowered his trousers, mooned the Broadway theater goers and simulated breaking Wendla's maidenhood up to climax.

In the script's preface, Steven Sater admitted that shifts were made when he wrote the book “As others have noted, the two biggest shifts we made to the tale occur at the ends of Act One and Act Two---in the hayloft and then in the graveyard. In Wedenkind's script, Melchior “date-rapes” Wendla. We wanted to see him make love to her. More: we wanted to show how this [fourteen-year-old] young man […] first uncovers ineluctable sexual feelings; how he begins to own his sexual identity; how he helps [fourteen-year-old] Wendla awaken to hers.”
And just in case you're thinking that Sater updated the ages from Wedenkind's play, Sater shared that the characters were “adolescent”, Wendla was “a nineteenth-century [fourteen-year-old]” and Bronx native Lea Michele (Wendla) joined the company when she was fourteen.

While watching the Youtube clips of Spring Awakening, I normally skipped through the songs, but Melchior stopped me hot as he rubbed Wendla's fountains through “The Word of Your Body” and thankfully my frozen Samsung tablet forced me to listen to “The Dark I Know Well” where Martha and Ilse shared their stories of sexual abuse by their fathers.

You say all you want is just a kiss goodnight,
And then you hold me and you whisper,
"Child the Lord won't mind.
It's just you and me.
Child you're a beauty. "

I don't scream. Though I know it's wrong.
I just play along.
I lie there and breathe.
Lie there and breathe...

I wanna be strong-
I want the world to find out
That you're dreamin' on me,
Me and my "beauty"

The bawdy teen musical won a number of awards including the Tony for Best Musical and Best Direction of a Musical.

Spring Awakening 2007 Tony Awards and Nominations

Tuesday, June 21, 2016

WHAT MR. MATTERO DID: Sexually Harassed and Abused Nymphets?

In Priscilla Cummings' What Mr. Mattero Didthree seventh-grader, Jenna, Suzanne and Claire, informed their principal that Mr. Mattero, the music teacher, had molested them.

I was immediately suspicious of their accusations, because most victims of sexual abuse never report being harmed. They may mention it to a friend but rarely to their parents or to the authorities. In addition, according to Joan J. Johnson's Teen Prostitution, in most cases, sexually abused nymphets are victims of incest. In other words, nymphets are most commonly molested by their fathers or step-fathers, but in some cases their brothers, uncles or cousins are the abusers. 

That is exactly what happened in What Mr. Mattero Did. Phoebe, another middle schooler, confessed to Claire that she was sexually abused by her step-father. Phoebe confessed to Claire, because she thought that Claire was a victim of sexual abuse as well. 

"You're the only person I've told," Phoebe said. "'Cause you've been through it, Claire. So you know what it's like. It's one reason I wanted so bad to be your friend. Because, like you'd understand."

But Phoebe begged Claire not to report the abuse to her mother or to the authorities. 
"Please don't tell anyone, Clair. Please don't." Phoebe said.

Of course, all reports of sexual abuse should be aggressively investigated, but just like in Mr. Mattero's case, the accused should be considered innocent until proven guilty. 

In addition, students who falsely accuse teachers of sexual harassment or abuse should be disciplined (i.e., expelled). It's not enough for a falsely accused teacher to be allowed back into the classroom. 

Furthermore, teacher's should be able to send students to "Rubber Rooms". For example, the next time a student commands a teacher to suck her dick, which is something that occurs quit frequently in underprivileged schools in New York City, that student should be disciplined the same way that a teacher would be disciplined for telling a student to...

Saturday, June 4, 2016

Mary Louise O’Murphy: Boucher’s Muse & Casanova and Louis XV's Nymphet

François Boucher's Girl Reclining

I’m currently reading Nabokov’s Ada and the following excerpt led me to Brian Boyd’s Ada Online annotations:

“Of the many ancestors along the wall, she pointed out her favorite, old Prince Vseslav Zemski (1699-1797), friend of Linnaeus and author of Flora Ladorica, who was portrayed in rich oil holding his barely pubescent bride and her blond doll in his satin lap.”

According to Boyd’s annotations the bride being referred to is Princess Sofia Temnosiniy. And per to Ada’s family tree, Princess Sofia Temnosiniy was approximately fourteen-years-old when she married seventy-one-year-old Prince Zemski. 

The Prince’s son, Peter Zemski, married Mary O’Reilly. Boyd wrote that “John Rea [NABOKV-L, 30 November 2004] suggests that Mary O’Reilly may also echo Mary Louise O’Murphy (or Marie-Louise or Louison Morfy or O’Morphy, 1737-1814), who became mistress to Louis XVI of France [...]. She is said both to have been [Giacomo] Casanova’s mistress first, or to have been noticed by him, and to have been at fifteen the model for [François] Boucher’s famous painting, Girl Reclining [...].”

Casanova shared in Histoire de ma vie that upon seeing thirteen-year-old O’Murphy in the nude when he visited her sister's house, he found her so alluring that he commissioned a nude portrait of the nymphet. 

It’s not clear how King Louis XV discovered O’Murphy. One theory he that he saw the painting and requested to see the original and another theory is that she was recruited by Madame de Pompadour, the king’s official chief mistress. King Louis XV impregnated O’Murphy but she had a miscarriage at fifteen but gave birth at sixteen to the king’s illegitimate child.

King Louis XV                     Giacomo Casanova

Lastly, Prince Zemski liked tape recorders and "[...] had one for every bed of his harem of schoolgirls" This may remind one of Lolita’s Humbert Humbert who said, “Idiot, triple idiot! I could have filmed her! I would have had her now with me, before my eyes, in the projection room of my pain and despair!”

Sunday, May 29, 2016

LAZY HAZY CRAZY (2015): Hong Kong Teen Prostitutes and Lipstick Lesbians

I good source for films that contain the theme of hebephilia\ephebophilia are film festivals. I follow the Twitter accounts of the Film Society,  Film Comment and MoMA  for news about independent films and festivals. The Film Society recently did a post about the upcoming New York Asian Film Festival. 

The Film Society of Lincoln Center's website posted "a list of 15 key titles that shape the themes" of the 15th anniversary edition of the festival. Lazy Hazy Crazy (2015) [Cantonese: 同班同學] "in which schoolgirls explore the city’s heart of greed by charging for sex" is one of the films listed. 

Elizabeth Kerr of The Hollywood Reporter wrote that "Lazy revels in its bubble baths and experimental lesbianism, yet ties the characters’ growth to how they relate to men [...], [t]he drama, which also dabbles in a smattering of semi-explicit situations [is] designed to give the film a raw, shocking edge [...] [but] [t]he film is also smart and somewhat blunt [...]"

In additional to graphic teen prostitution and ephobophilia, like Kerr mentioned, there were at least two lipstick lesbian scenes. In one scene, Chloe slyly told Alice that her tampon was lost. To the utter pleasure of Chloe, Alice deeply and thoroughly searched Chloe's treasure, until Tracy discovered the tampon in the bathroom.

Chloe shared that she was initiated into prostitution at the age of fourteen after her friend's approximately fifty-year-old father leered at her and insisted on driving her home before he gave her 5,000 Yuan for sex.

Lazy Hazy Crazy, which was interestingly written by a female, Yee-sum Luk, was nominated for the Asian Future Best Film Award at the 2015 Tokyo International Film Festival and nominated for Best Film at the 2015 Stockholm Film Festival.

Friday, May 20, 2016

TAN Digest: Pre-Teen Seducers, a 15-Year-Old European Prostitute and NYC Teen Prostitutes Provided by The Catholic Church

I got up to page 153 of Orenstein's Cinderella Ate My Daughter that I (momentarily) abandoned for Boyd's Nabokov's Ada which I  (momentarily) abandoned for Nabokov's Ada. 

In the chapter "Sparkle, Sweetie!"  that was about preteen beauty pageants, Orenstein wrote that the prepubescent beauty contestants reminded her of 18th century European museum portraits of "[...] European princesses - little girls in low-cut gowns, their hair piled high, their cheeks and lips roughed red - that were used to attract potential husbands, typically middle-aged men [...]" And she overheard an overeager mother advise her six-year-old, "[O]ne of the judges is a man, so be sure you wink at him!"

I received a tweet from The Paris Review that linked to an article about John Cleland’s "[...] two-volume novel called Memoirs of a Woman of Pleasure, or Fanny Hill, published when he was in debtor’s prison between 1748 and 1749 [...]" I've had the novel in my Amazon Wishlist for some time. But I didn't know that Fanny entered the brothel when she was fifteen, which preceded her "sexual initiation" that involved lipstick lesbian sex with a seasoned prostitute. And her first customer was a "[...] debauched elderly caller “with a yellow cadaverous hue”."

Episodes seventeen and eighteen of this season's Law & Order SVU  were about a teen prostitution ring that was organized by the Catholic Church that provided nymphets to New York City elected officials. I posted a question on Ask MetaFilter about any possible origins of the topic, but I was promptly banned. The only other instance of the Catholic church and nymphets that I'm familiar with is a post that I wrote titled "15-Year-Old Nymphet Kidnapped for Vatican Sex Parties?"

Sunday, May 8, 2016


The Guardian's Sophia Martelli said of Frank Wedekind's Mine-Haha, or On the Bodily Education of Young Girls "This slim volume is fresh, perverse and disconcerting."

Here's part of Amazon's plot summary

[...] Mine-Haha describes a unique boarding institution for girls—part idyllic refuge, part prison—where pupils are trained only in the physical arts of movement, dance, and music, before issuing them into an adult world for which they have (unwittingly) been prepared.

It states in the novella's introduction that Wedekind recorded in his diary that when he visited London's Middlesex Music Hall in 1894 he saw "a dancing girl, no more than a child" appear "in a 'brief white princess frock, with bare legs, short white socks and little shoes gilded morocco leather', revealing her 'white lace knickers up to the waist'." And that "[w]hen she came off stage there was a 'bawling, screeching and whistling as in a zoo when meat appears in front of the cages'."

In the novella's text, the nymphets habitually practice walking on their hands for their theater performances of the lustful and brutal The Gnat Prince, which "[..] is an erotic fantasy, since, provided the girls are in dresses or skirts [...] it promises the viewer, or voyeur, a sight of the forbidden as gravity takes its course"

Hidalla, the novella's narrator, played one of five peasants in the play. The peasant's customs, which were put on after the girls undressed, "were very simple, short skirt, blue or red,which stretched from the waist to the knee." When the peasants weren't walking around the stage on their hands, while their pigtails dragged as the audience leered at their budding bottom-grass and hillocks, Hidalla narrated, "During the second act we peasants had nothing to do but lie on the steps and display our naked upper bodies and calves." 

In terms of the brutality in The Gnat Prince, the youngest girl had to receive "good beating". One could hear the full house's "cheering anticipation" as the scene began. After the lashing, the nymphet was "crowned queen and carried around in the most precious raiments on a golden throne."

Lastly, the girls, who ranged in ages from seven to thirteen, were forced to suppress their lesbian urges, which is why their housekeepers were banned from leaving the walled residence. "When she was here as a child, she went to another girl. That's why she's still here." 

Mine-Haha isn't Wedekind's only play. His first major play was Spring Awakening [German: Frühlings Erwachen]. Sherwin Simmons wrote in  '"A suggestiveness that can make one crazy": Ernst Ledwig Kirchner's Images of Marzella'  that Spring Awakening is "a story of how repressed adolescent sexuality in a small town leads to tortured experiences and tragedy." I know what you're thinking. And yes, the successful Broadway musical is based in Wedenkind's 1891 play. (More on the play and the musical in a subsequent post.)

John Irvin's The Fine Art of Love (2005) was inspired by Mine-Haha and Lucile Hadzihalilovic's Innocence (2004) is based on the novella, but I would watch them, if at all, only after reading the book.However, The Fine Art of Love (2005) warrants it's own review based on it's strong teen lipstick lesbian theme. 

Unsurprisingly, Wedekind was an acting ephebophile. According to his Diary of an Erotic Life, Wedenkind used to "pick up" Parisian women "usually cocottes" but "occasionally juveniles, to whom he was strongly attracted." And in 1906, he married Tilly Newes, an Austrian actress, who was twenty-two years his junior. 

Saturday, April 9, 2016

LOVE & POP (1998): Japanese Nymphets for Hire

Love & Pop (1998) [Japanese: ラブ&ポップ] was adapted from Ryū Murakami's novel Topaz II which is about enjo kosai [援助交際] or the practice of Japanese high school students accepting payment to go on dates with men. 

The first "date" took place after two teens were paid 10,000 yen to have lunch with a middle-aged businessman. Subsequently, the nymphets were approached by a man who offered them 7,000 yen to have lunch in his apartment. In an effort to raise money to buy a ring, the girls accepted 50,000 yen to go to karaoke. After singing and eating with the nymphets the man fetishly collected the girl's saliva covered muscats. And the next to last ephebophile forced one of the nymphets to give him a hand-job while they were on a "date" in a video rental store.

Love & Pop (1998): Nymphets for Hire

I briefly wrote about Stop The Bitch Campaign (2001) which is another enjo kosai film, and I have a number of other Japanese films to review, but I haven't come across any films about joshi-kosei osanpo [Japanese: JKお散歩] which is where the men frequent JK cafes to "chat for half an hour" with nymphets for approximately $30.

Of course some of these dates lead to more than just lunch, karaoke and even hand-jobs.

Friday, March 25, 2016

Alberto Moravia:Italy's Most Famous Writer (About Nymphets)

Clyde Haberman wrote in the New York Times' Obituary section that Alberto Moravia “[...] was Italy's most widely read author in this century, his works having been translated into some 30 languages and selling in the millions around the world.” Haberman related that “[m]any literary scholars argue that Mr. Moravia was not only his country's best-selling modern writer but also simply its best, on the strength of his starkly worded studies of emotional aridity and his blunt openness about sex.” “[H]e endured as a national monument and was considered almost an institution in his native Rome.” “The President of Italy, Francesco Cossiga, issued a statement in which he praised Mr. Moravia as a 'biting but also highly sensitive narrator of Italian society in the 20th century[...]''' And Haberman shared that Moravia lectured at Columbia University. Frank MacShane, a writer and a professor in the School of the Arts at Columbia University, said, ''Moravia was a very daring writer. He was one of the first European authors to write honestly about sex [...]”

Let us review one of Moravia's translated novels and short stories to see what all the fuss was about. 

In The Empty Canvas [Italian: La Noia], Dino, an extremely bored painter, lived in his Via Marguttag studio that was three doors down from Balestrieri. Although, they often briefly met and spoke, Balestrieri exuded an “extreme, almost insulting coldness” which may have been due to Balestrieri perceiving Dino as a potential rival. Dino shared that “Balestrieri's studio was continually visited by a large number of women” which included young girls. Dino was so fascinated by sixty-five-year-old Balestrieri's life that he spied upon him and learned that for ten years the elderly painter had approximately five different females per month, a new one about every six weeks which averaged two visitors of the opposite sex per day until Balestrieri died a sudden death. Rumor had it that he died while having anal sex with Cecilia, his mistress, who was no more than seventeen, but looked fifteen due to the “slenderness of her figure and the childishness of her face” and “childish lips”. However, she had a “magnificent bosom, full, firm and brown” and “curly brown hair”. The only confirmed information about Balestrieri's death was that he “had been found half-naked on the bed, and that the girl herself had run out and called the caretaker, wearing a dressing gown with nothing underneath”.

Cecilia met the elderly painter when she was fifteen at the home of Elisa, her seventeen-year-old friend. Balestrieri had been giving Elisa drawing lessons. Cecilia repeatedly requested that Balestrieri give her drawing lessons too, but to the nymphet's dismay, he refused her pleas for over three months until she “[...] resorted to a trick.” Cecilia, who had fallen in love with Balestrieri, invited Elisa to lunch and informed her that Balestrieri canceled her lesson. Cecilia went instead and she and Balestrieri made love. 

Dino asked Cecilia why she had fallen in love with Balestrieri, a man old enough to have been her “father's father”. Celicia replied, “There's no reason for falling in love with someone. You just fall in love and that's that.” When pressed for a reason, Cecilia shared that Balestrieri reminded her of her father whom “she had a real passion for” and “dreamed about at night.” 

Until he died, Balestrieri was constantly in “need” of Cecilia. Initially, they only made love “[...] once or twice a week, then every other day, then every day, then twice a day.”

Subsequently, to thirty-five-year-old Dino's eventual dismay, he and sixteen-year-old Cecilia began a sexual relationship. The crux of Dino's frustration came from the illusion that since Cecilia allowed Dino to consistently make love to her, as much as he wished, every way he wished, and every time he wished, that he possessed her. But it was merely a physical possession – not mental, because the indifferent, quiet and mysterious nymphet had no qualms about having multiple sexual relationships with other men which almost drove Dino to an early death.

As usual, the novel is superior to the 1963 film adaption. For example, Cecilia was played by eighteen-year-old blond Catherine Spaak instead of a sixteen-year-old actress and she was erroneously portrayed as being venal which the novel clearly showed that she was not.

“The Devil Can't Save the World” is a short story in Moravia's Erotic Tales [Italian: La Cosa]. In the story Gualtieri, an approximately thirty-year-old famous scientist, makes a Faustian bargain. Gualtieri is described as being “tall, thin, and elegant, with a charming face […] penetrating eyes set in the shadow of thick black eyebrows; silver hair; a large, hooked, imperious nose, and a proud, noble mouth.” And with “the gentlest voice and the most persuasive manner imaginable.”

In an effort to get the scientist to sign over his soul, the devil decided to disguise himself as a female before approaching Gualtieri because “it combines the temptation of success with the often irresistible temptation of desire.” The devil appeared “as a girl studying at the university”, “as a married woman at some social gathering or club”, and as a prostitute but Gualtieri displayed an “indifference” that was both “relaxed and effortless”.

However, after “beginning to despair” the devil happened upon the scientist in “the public gardens. He was sitting on a bench with a book in his hand, but the book was closed. He seemed to be watching something very intently […] With an air of profound attention he was watching a group of twelve-to fifteen-year-old girls a little further on who were playing [hopscotch] […] the game they were playing lifted their skirts bit by bit  above their knees.” Consequently, the devil “had discovered not only the disguise in which to approach him but also the way to make him sign the infernal pact immediately”. 

The devil “got up from the bench, went into a thicket of trees , and transformed […] into a little girl around twelve years old with a thick head of hair, slender bust and long, muscular legs.” She joined the game, but she hitched up her dress to improve her jumping but cunningly “a great deal more than necessary.” Gualtieri immediately noticed that the nymphet was not wearing any panties. He suddenly buried himself in his book, “gripping it tight in his hands.”

The devil was certain that she had “hit the bullseye of his most intimate target [on the] first shot.” And with “a typically cheeky little girl's voice” asked, “I'm collecting signatures. Will you sign my book?”

Who would have thought that a former president of PEN International would write such salacious material? Only the naive. Lastly, for some reason I was not surprised to learn from Boyd's Vladimir Nabokov, The American Years that Nabokov met Moravia. Boyd wrote that “[t]he day after Lolita's English publication, the Nabokovs set off from London for Rome.” While in Rome they “dined” with Moravia.

Saturday, March 19, 2016

Famous Teleiophile: Charlie Chaplin's 16-Year-Old Lillita

Lillita (Lita) McMurray first met Chaplin on April 15, 1914 - her sixth birthday. After Lita's mother spotted Chaplin sitting in the rear of a restaurant, she asked the owner, “Do you think it would disturb Mr. Chaplin if my daughter were introduced to him?” The owner replied, “[...] I'm sure it'll be all right. He's very flattered when the children want to meet him, but he's shy of grownups” And it was all right. Upon meeting Lita Chaplin opined, “Hasn't she lovely dark eyes and hair?”

By the time Lita was twelve, the “incredibly shy” Chaplin had become one of the most famous men on the planet and arguably the most famous man in the United States which is why when twenty-nine-year-old Chaplin married six-teen-year-old Mildred Harris he only “drew gasps and condemnations only from a small section of the public.”

Lita met Chaplin again six years later after Chuck Riesner, Chaplin's assistant director, offered Lita a small but controversial part in The Kid. When Lita visited Chaplin's studio to the sign the contract, she was offered the opportunity to meet Chaplin. In anticipation of meeting him, the previous day Lita stood “in front of her full-length mirror, melodramatically posing and admiring [her] developing breasts.” Chaplin, in his mid-thirties, opined to twelve-year-old Lita, “You're an extremely pretty child, my dear and I'm glad Mr. Riesner found you.”

After Chaplin had a company artist paint a likeness of Lita similar to the girl in Sir Joshua Reynolds' 'Age of Innocence', Lita began to “catch” Chaplin looking at her with a “rapt expression”. She wrote “It was an expression I couldn't define, but it made me feel strange.” After Chaplin showed Lita the painting he confessed, “I've been peeking at you, my dear, when you haven't been looking. I've been more and more drawn to those fascinating eyes of yours. They're so very young […] And only twelve years old! Amazing!

Using a seduction technique that Royal encouraged in The Pimp Game, one that Robert Beck shared in Iceberg Slim, The Lost Interviews and one that the Milner's discovered in Black Players, The Secret World of Black Pimps, Lita wrote that Chaplin “had a reputation for hibernating after a picture” and that after The Kid was completed she “[...] saw Chaplin rarely or not at all.” She shared “I discovered myself missing him, missing the fuss he made over me […] I had developed a twelve-year-old's crush on him and I could hardly wait to see him again.”

Chaplin and Lita

On the first day back at the studio after the New York premier of The Kid, Chaplin invited Lita, unchaperoned, to a birthday party for Mae Collins at his home; however, Lita's mother overheard the conversation, rejected the invitation and “steered” Lita home. Subsequently, Chaplin gave Lita and her mother the “cold shoulder” and at the end of the year, Lita's option on her contract was not picked up.

Lita shared that as she was nearing her fifteenth birthday, sex was “uppermost” in her mind “a great portion of the time”. Thus, Lita was enthralled by the stories that her good friend Merna Kennedy shared. Merna who was approximately five months younger than Lita had “brick-red hair, fair skin and blue eyes” Lita pleaded with Merna “Gee, I'm hardly fifteen!” Merna replied, “If you're big enough, you're old enough.” Merna shared with Lita that she had lost her virginity at the age of thirteen and had subsequently had sex with “five boys and one man”.
Merna and Chaplin

By fifteen, Lita, although still a virgin, had become self-assured enough to pursue a role in Chaplin's The Gold Rush. After Lita got the part, she had “wishful daydreams” of Chaplin making love to her. She was certain that it would never happen since her mother was “zealously against” it. However, she was “[...] consumed by the fantasy of being held and kissed and protected by Charlie.”

Lita recalled the moment that it became “incontestably clear” that Charlie was sexually attracted to her as well. It was “at lunch in the dining car on the way to Truckee [to shoot scenes for The Gold Rush].” She wrote “Charlie was lunching with two studio workers at his table, and Mama and I were lunching at the table directly across the narrow aisle. He glanced up and saw me, and from the way he looked at me I suddenly got the feeling that he was seeing me for the first time – and that he very much approved of what he saw. All the guardedness, all his reserve was stripped away, and his distinctly intimate gaze sent erotic waves across the aisle that a shiver tore through me.”

While in Truckee Lita was told by Henry Bergman, “Charlie wonders why you haven't dropped by to say hello.” Fifteen-year-old Lita, with her mother bedridden with the flu, almost immediately sauntered to thirty-five-year-old Chaplin's room. Here is a summary of what took place after some bantering:

Chaplin's hands circled Lita's waist and pulled the nymphet closer to him. Then he “roughly” pushed her onto the bed before he kissed her mouth and neck and caressed her body. Lita asked Chaplin, who was in a pair of red silk pajamas, to, “Please...stop...”, but he covered her “mouth with a deep-drawn kiss.” and clutched her breast “with almost brutal force.” Lita pleaded with Chaplin to stop, which he did, but forwarned Lita, “I'm going to make love to you. When the time and the place is right, we're going to make love.”

Despite Chaplin's aggression and Lita's (dis)pleasure with Chaplin's hour of “erotic scrutiny”, Lita decided that if she and Chaplin were alone again, she would be “ […] ready for him. Eagerly ready.”

After they arrived back in Los Angeles, Chaplin convinced Lita's mother to allow Lita to be seen with him in public as her protégée for publicity purposes. He assured her that they would not be attending “premieres and dinner parties alone” but that his fiancée, Thelma Morgan Converse, would be the third wheel. Lita's mother agreed, but even Lita knew that her mother “was making a big mistake”.

Consequently, Chaplin was able to get Lita alone at the Santa Monica Swimming Club, where he went to relax. He brushed Lita's ear and neck with his lips before he lowered Lita's bathing suit straps and palmed her “tingling breasts in his palms.” Lita “aggressively” threw her arms around Chaplin and hugged him - “bringing him closer”. Chaplin then “peeled” the bathing suit completely off of Lita and muttered to himself, “Beautiful, incredibly beautiful...” However, after Chaplin lowered himself and began “moving with small, steady increases of force”, Lita pleaded, “No. Oh, I can't, I can't!” But after Chaplin informed Lita that the pain would have quickly ceased after her hymen broke, Lita asked, “Why-didn't you keep on, then?” Charlie sympathetically replied, “Because you were so fearful.”

After dinner at Musso Frank's Restaurant, in the back seat of Chaplin's large limousine, Chaplin's “soft hand dug into the bodice” of Lita's dress, “[h]is other hand darted under” Lita's skirt and “danced” up her thigh until it found her “underpants”. Chaplin “found his way to the top of the elastic banded underpants, and wordlessly he yanked them down”; however, the pain was still too intense for Lita. Thus, once again Chaplin mercifully stopped.

But three days later Charlie announced that he had a “blistering headache”, dismissed everyone except Lita and (fully) took her virginity in the steam room of Chaplin's Cove Way mansion. Lita wrote “The pain blinded me far more than the encircling steam, but I writhed wildly, as though in ecstasy […] I was fifteen, but I felt younger than fifteen.”

Lita wrote about Chaplin's ephebophilia. She shared “It's hardly a secret that Charlie had a penchant for young girls. He approached them as projects, and indeed, cared for them. He liked to cultivate them, to gain their trust, to be their first-never their second or third lover, and to create them as scrupulously as he created a motion picture. To me he admitted his preference for the company of inexperienced girls over experienced women. '[…] The most beautiful form of human life is the very young girl just starting to bloom [...]'”

Minutes after Chaplin unsuccessfully attempted to have Lita perform fellatio, Lita “heard the doorknob squeak in turning.” Lita's mother “tottered weakly into the room” and found them in the nude “in each other's arms”.

Lita defended Chaplin by “insisting” she was the one who aggressively pursued him. She resented “being treated like a put-upon little angel who'd had no part in the seduction”.

However, Lita's mother insisted that Chaplin marry her daughter or she threatened to alert the authorities. In an effort to avoid going to the penitentiary for statutory rape, “prematurely graying” Chaplin fled to Mexico in 1924 with pregnant Lita for an impromptu weeding that would be his second marriage to a sixteen-year-old. Lita wrote that after the ceremony she overheard Chaplin say to a lieutenant, “Well, this is better than the penitentiary, I guess, but it won't last.” And on the train ride back to California, Chaplin matter-of-factly yet almost compassionately told his new bride, “This would be a good time for you to put an end to your misery. Why don't you jump?”

Chaplin was correct. It didn't last. Two years, two children, four affairs with Ed Purviance, Peggy Hopkins, Marion Davies and Lita's young friend Merna and two children later, Judge Walter Guerin awarded the children a $100,000 trust fund and Lita $625,000 in the divorce settlement.

(Mildred Harris, Chaplin's first nymphet wife, did not write a book; therefore, there are not many details about their marriage but it appears to be similar to Lita's marriage. Chaplin and Harris were married after Chaplin was under the impression that sixteen-year-old Harris was pregnant. However, two years, one baby, who died three days after birth, and two accusations of infidelity later, Harris was awarded a $100,000 divorce settlement.)

Mildred Harris

Saturday, March 5, 2016

Famous Ephebophile: Bowie "De-Virginized" 15-Year-old Maddox

David Bowie and Lori Maddox

Nikki McWatters shared in the Huffington Post article “Predatory Teenage Girls” that Lori Maddox, a famous teenage groupie from LA, is alleged to have lost her virginity to David Bowie at the age of 13. [And s]he was Jimmy Page's steady girlfriend while still underage."

In a Thrillist post titled "I Lost My Virginity to David Bowie, Confessions of a 70s Groupie" , Maddox, who related that she was actually fifteen when Bowie "de-virginized" her, described the "beautiful" event as follows:

We got to the Beverly Hilton and all went up to Bowie’s enormous suite. I found myself more and more fascinated by him. He was beautiful and clever and poised. I was incredibly turned on [...] He focused his famously two-colored eyes on me and said, “Lori, darling, can you come with me?” Sable* [another fifteen-year-old nubile groupie] looked like she wanted to murder me. He walked me through his bedroom and into the bathroom, where he dropped his kimono. He got into the tub, already filled with water, and asked me to wash him. Of course I did. Then he escorted me into the bedroom, gently took off my clothes, and de-virginized me. 

Two hours later, I went to check on Sable. She was all fucked up in the living room, walking around, fogging up windows and writing, "I want to fuck David." I told him what she was doing and that I felt so bad. Bowie said, “Well, darling, bring her in.” That night I lost my virginity and had my first threesome. The next morning, there was banging on the door and it was fucking [Bowie’s wife] Angie. 

After Bowie passed away in January, Jia Tolentino wrote in a Jezebel article that "Lady Gaga paid extended, exhaustive tribute to him at the Grammys on Monday night; in the week following his death, there was a second line for him in New Orleans, a shrine outside his apartment in Tribeca, a series of farewells from his musical echelon, a million Instagrams, a segment on SNL." 

"However,] On Twitter, a search for “David Bowie rapist” pulls up hundreds of people expressing combinations of anger, smugness, contrarianism, righteousness, and sincere conviction that the Grammys should not be celebrating him, that Tavi Gevinson should not be writing about him, the “rapist” description is primary and exactly right."

But orthodox Muslims and Jews would argue that the twitterati are misdirected since the age of consent is a man-made secular law that was propagated by feminists in the early 1900s; thus, Bowie should be condemned for being an adulteress. And possibly for being a cross-dresser as well.

* I wrote about Sable in the soon to be released second edition of The Allure of Nymphets. But for now, here's what Sable's Wikipedia page relates:

[Sable] Starr first attended concerts around Los Angeles with older friends who had dropped out of school in late 1968. She lost her virginity at age 12 with Spirit guitarist Randy California after a gig at Topanga, California.[3] She had a younger sister, Corel Shields (born 1959), who was involved with Iggy Pop at age 11, although he was also acquainted with Starr.[4] Iggy Pop later immortalized his own involvement with Starr, in the 1996 song "Look Away":

I slept with Sable when she was 13,
Her parents were too rich to do anything,
She rocked her way around L.A.,
'Til a New York Doll carried her away…

Thursday, March 3, 2016

THE YOUNG ONE (1960): A Racist Rapes a Nymphet

In Luis Buñuel's The Young One (1960), Traver, an African American musician, fled the city via a stolen boat to a Carolina island after he was falsely accused of rape by a white woman. However, the island was inhabited by Miller, a racist beekeeper, and Evalyn (Key Meersman), an orphaned nymphet.

Initially, Miller attempted to capture Traver and hand him over to the racist authorities; however, Miller had a change of heart after Rev. Fleetwood discovered that Miller seized Evalyn's virginity.

Surprisingly, Evalyn was portrayed as being completely unaware of her sexual appeal even after Miller repeatedly caressed and attempted to kiss her and after Traver warned the thirteen-year-old about her sexual appeal.

Jonathan Rosenbaum wrote in his review of the film, which he titled "THE YOUNG ONE: Buñuel’s Neglected Masterpiece", that the film wasn't well received.

"The New Yorker accorded Buñuel’s film a dismissive paragraph, the big Manhattan dailies were hostile, and, according to Buñuel, “A Harlem newspaper even wrote that I should be hung upside down from a lamppost on Fifth Avenue….I made this film with love, but it never had a chance. American morality couldn’t accept it. It hardly did any better in Europe and even today, it’s hardly ever shown.”"

However, despite the film's eroticizing of a nymphet, it was (unsurprisingly) nominated for a Palme d'Or and received a Special Mention at the 1960 Cannes Film Festival. 

The Young One (1960) was loosely based on Peter Matthiessen's "Travelin' Man". And interestingly, Key Meersman played the seventeen-year-old wife of a middle-aged man in Arturo's Island (1962) [Italian: L'isola di Arturo].