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 [...]'”

Chaplin and Lita

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].


Friday, February 19, 2016

Nymphets Banned on Reddit





We often re-post links to Reddit (reddit.com/r/nymphets) from this blog; however, in a classic case of "kill the messenger", we've been banned.

Absolutely everything on The Allure of Nymphets is from the mainstream media and the arts.

And for Reddit to ban a mainstream blog has to be one of highest forms of hypocrisy. We admit that The Allure of Nymphets is controversial, but a number of the communities on Reddit are explicitly pornographic. And that's an understatement. 

Mustang (2015) is nominated for an Oscar, Bunin's Dark Avenues is the most read book of short stories in Russia, and Shakespeare's Othello is about a bi-racial age-discrepant relationship, but they're too bad for Reddit. While almost every hardcore sexual fetish under the sun is good for Reddit. Go figure...

MUSTANG (2015): The Eroticizing of Turkish Nymphets



Deniz Gamze Ergüven, Mustang's (2015) co-writer and director, stated in a Huffington Post interview, “For me, it’s very important to look at the world through the eyes of girls. In cinema history we have always been looking at the world through the eyes of men,” Ergüven  said. “For some men, if they don’t have sisters, they really can see women as objects.”

But that is exactly what Ergüven did in Mustang. She objectified the nymphets. Mustang reminded me of Sinclair's Hollywood Lolita and Kincaid's Erotic Innocence and Child Loving: The Erotic Child and Victorian Culture. Those books, like The Allure of Nymphets, analyze the eroticizing of nymphets in the arts and that is what, in part, Ergüven has clearly done.

For example, Lale, the youngest sister, who was played by thirteen-year-old Günes Sensoy, has her white cotton panties exposed while she frolics with her sisters. Later in the film Lale stuffs her satin and lace bra before she seductively parades her enhanced cleavage around the apartment. (See Vid.1.)

Just like the nymphet in La Niña Santa (2004), who had teen anal sex with her cousin to preserve her virginity, one of the girl's in Mustang informs her sister that she has anal sex with her boyfriend to preserve her virginity. 

In addition to the raunchy teen behavior, the film briefly explores the dark side of ephebophilia as the middle-aged uncle has sex with two of his young nieces late into the night. 

We weren't surprise to learn in the Huffington Post piece that Ergüven had the nymphets watch Lolita to prepare for their "sexually explorative" roles, that James Franco opined in his Indiewire review that the Turkish film was "the best film of the year" and that, due to the allure of nymphets, the film has won and has been nominated for a number of prestigious awards including an Academy Award nomination for the Best Foreign Language Film. (See Fig. 1.)

The plot summary on IMDB states "When five orphan girls are seen innocently playing with boys on a beach, their scandalized conservative guardians confine them while forced marriages are arranged." But the marriages weren't "forced", they were arraigned. Furthermore, the first orphan to be marriage was very happy to be marriage to the boy that she had been having anal sex with. It wasn't that the other sisters didn't want to get married, they just didn't like the men that were arraigned for them. 




Fig 1. Mustang's Awards and Nominations
Award / Film FestivalCategoryRecipients and nomineesResult
Academy Awards[18]Best Foreign Language FilmPending
Austin Film Critics Association[19]Best Foreign-Language FilmNominated
Best First FilmNominated
Belgian Film Critics Association[20]Grand PrixNominated
Cannes Film Festival[8]Europa Cinemas LabelWon
Caméra d'OrDeniz Gamze ErgüvenNominated
Queer PalmNominated
César Awards[21]Best FilmPending
Best DirectorDeniz Gamze ErgüvenPending
Best Original ScreenplayDeniz Gamze Ergüven and Alice WinocourPending
Best First Feature FilmPending
Best CinematographyDavid Chizallet and Ersin GökPending
Best EditingMathilde Van de MoortelPending
Best SoundIbrahim Gök, Damien Guillaume and Olivier GoinardPending
Best Original MusicWarren EllisPending
Best Costume DesignSelin SözenPending
Critics' Choice Awards[22]Best Foreign Language FilmNominated
Dallas–Fort Worth Film Critics Association[23]Best Foreign Language Film4th place
European Film Awards[24]European FilmNominated
European Discovery of the YearWon
Florida Film Critics Circle[25]Best Foreign Language FilmNominated
Golden Globe Awards[26]Best Foreign Language FilmNominated
Goya Awards[27][28]Best European FilmWon
Independent Spirit Awards[29]Best International FilmPending
Louis Delluc Prize[30]Best First FilmNominated
Lumières Awards[31]Best FilmWon
Most Promising ActressGüneş Nezihe Şensoy, Doğa Zeynep Doğuşlu, Elit Işcan,
Tuğba Sunguroğlu and Ilayda Akdoğan
Won
Best First FilmWon
Best ScreenplayDeniz Gamze Ergüven and Alice WinocourNominated
Best CinematographyDavid ChizalletWon
Best MusicWarren EllisNominated
LUX Prize[32]Won
Online Film Critics Society[33]Best Foreign Language FilmNominated
Satellite Awards[34]Best Foreign Language FilmPending
Stockholm International Film Festival[35]Best ScriptDeniz Gamze Ergüven and Alice WinocourWon
Trophées du Film français[36]Duo révélation cinémaDeniz Gamze Ergüven and Charles GillibertWon
Odessa International Film Festival[37]Grand Prix - Golden DukeWon
Washington D.C. Area Film Critics Association[38]Best Foreign Language FilmNominated
Source: Wikipedia

Tuesday, February 16, 2016

From the Bunnie's Mouths: How Hefner Procured Young Women







We wrote a review of Steele's How to Marry Nymphets for Men Over 35, but it may be worth analyzing how Hugh Hefner procured young girls over the years.

Izabella St. James wrote in Bunny Tales Behind Closed Doors at the Playboy Mansion that she first saw the seventy-four-year-old Hugh Hefner when she was in her early twenties at the Sunset Room in Hollywood and was “…intrigued by Hef and attracted to him…” While Hef was surrounded by a bevy of beautiful young women, Izabella went to say hello. Consequently, Dr. Mark “Doc” Saginor, Hef’s physician and friend, invited Izabella to sit in Hef’s booth. 


Hef and Izabella St. James
Izabella said that Hef was very polite, very sweet, had a warm smile, made her feel welcomed and relaxed. After drinks, Doc asked Izabella for her phone number and invited her to a “Fun in the Sun” party at the Playboy Mansion that was subsequently followed up by invitations to other parties at the Mansion.

Approximately, a year after Izabella returned from studying abroad in Poland, she ran into Hef on Wednesday at Las Palmas and Friday of the same week at Barfly. After she went over to say hello, Hef invited her to join him and his entourage the following Friday which turned out to be a recruitment session. 

At the club the following Friday, a number of Hef’s girlfriends told Izabella “…how much fun they were having, how much money they made, and what a great opportunity it was to live at the Mansion.” Furthermore, they told Izabella that Hef was “interested” in her and that she should consider being one of his girlfriends. However, when Izabella was told about “the bedroom” she wrote I “…went home as fast as I could.” (We'll elaborate on “the bedroom” below but for now, "the bedroom" is where, after taking a Viagra pill and lathering in baby oil, the girls take turns “riding” Hef after he has been serviced orally.)

Hef was persistent and invited Izabella out on several more occasions. She accepted his invitations, and that was when she began to be “…seduced by the Playboy lifestyle. The private jet, the parties, the limos, the Grammys, and the carefree lifestyle…”  Eventually, Izabella and Hef had a bitter breakup which may explain why Hef changed his seduction approach with Kendra Wilkinson.


Hef and Kendra Wilkinson

Kendra Wilkinson wrote in her memoir, Sliding into Home, that after she posted her photograph on One Model Place, the initial call she received from Playboy was to ask her if she wanted to be a “painted girl” (i.e., nude waitress) at Hef’s seventy-eighth birthday party. She received another call two days later informing her that Mr. Hefner saw a photo of her and wanted to call her personally. And what did the almost eighty-year-old Hef say when he called the eighteen-year-old Kendra the next day, “I look forward to seeing you at my birthday…Also, I’d like you to consider being my girlfriend.” 

After meeting Hef for the first time Kendra wrote “He was very charming; he had a powerful way about him, and I liked it…he was just so cool. The way he acted and the things he said were unlike anything I had seen or heard.” 

If you are having trouble wrapping your fingers around exactly what charisma means, Olivia Fox Cabane explained it well in The Charisma Myth. She divided charisma into three main categories: 

Presence charisma – you should be in The Now and avoid constantly thinking and/or worrying about the past or the future. Specifically, when speaking to a nymphet, you should give her your undivided attention. 

Power charisma – you should have power over yourself and self-control (e.g., You have the discipline to work on your novel every day for an hour no matter what happens.), which will organically equate to having power over young women. 

Warmth Charisma – inwardly you should have a high self-esteem, self-confidence and self-compassion. Outwardly, you are altruistic (e.g., Like Hef, you believe that you are the best thing that could happen to a young woman and you want to give her the opportunity to be happy.).

In addition, Kendra loved the fact that, despite the bevy of beauties that was surrounding Hef, he kept looking at her and they kept staring at each other. At the end of the night, Hef gave her a key, asked her to spend the night, and inquired, “Will you be my girlfriend?” 
What was Kendra’s response? “There was only one thing I could say: ‘Umm, okay.’”

Why did Kendra say yes so quickly? Well, she said that their age difference was not a factor, nor was the fact that Hef already had, not one girlfriend, but “ten times more girlfriends than most”, but it was a factor that he boosted her self-esteem, he was “a true gentleman” and he was trustworthy. 

One may assume that most of Kendra’s reasons are counter-intuitive. Are you not surprised that the eighteen-year-old Kendra considered the seventy-eight-year-old Hef to be “a true gentleman” even after he asked her to “spend the night” and asked her to be one of his concubines - on the first night that they met. Well, it turns out that there are at least nine different ways for men to approach women. 

Here’s a list with examples:

Direct - “You’re beautiful!”

Indirect - “Can I get your opinion on something?”

Guerrilla - “I want to make love to you. Immediately!”

Inebriate - “Here, have another drink.”

Trite - “Is that a mirror in your pocket, because I can see myself in your pants.”

Open - “I’m the prize. Ravishing women will desire and approach me.” 

Arranged/Inner-Circle - “But your cousin’s a cardiology intern and lives in the Village - with no roommate!”

Wine and Dine – “I have a huge loft in SoHo, so I usually take car service and park my black Porsche in the garage on Prince Street.”

As you can see, Hef choose the Wine and Dine approach with Izabella and a combination of the Direct and Guerilla approaches with Kendra. Guerilla in the sense that he asked her to “stay the night” on the first night that they met and Direct in the sense that he asked her to be his girlfriend after only a casual conversation. 


Hef and Holly Madison

Holly Madison provides another view of Hugh Hefner in her best-selling book Down the Rabbit Hole: Curious Adventures and Cautionary Tales of a Former Playboy Bunny. She wrote that when she met Hefner he “He had the “nice guy” act down pat and it worked [...] he had a certain swagger. There was a gentlemanly air about him...” But that to reduce the high turnover rate of girlfriends, Hefner starting keeping his girlfriends “broken and needy”. 

Madison wrote “I found myself constantly trying to compete with the other girlfriends who were all caught up in who was prettiest.”  And she opined that “It was in his best interest to have us wallowing in our own insecurities and pawing for his acceptance. Girlfriends that didn’t get along gave him the feeling of being fought over—and being fought over made him feel desire...”  And how did the girls try to gain Hefner’s acceptance? Madison wrote “When he would complement a girl on a particular dress, pair of shoes, or even the way she wore her hair, we all felt the need to replicate if for our next evening out.” 

Allegedly, Hef particularly like to pit the old(er) Bunnies against the young(er) Bunnies. Madison was advised by an old(er) Bunny, “He always plays the oldest one against the youngest one,” Vicky explained, eager to share her expertise on the topic as we gossiped about the situation. “Tina may be his main girlfriend, but she’s older, so he likes to play on her insecurities by playing favorites with whoever the youngest one is.” Consequently, Madison shared that she started wearing clip-in extensions to give her “the long hair Hef preferred.”

Furthermore, Madison wrote that Hef “was obsessed with women looking as young as humanly possible.” Madison even shared that “Kendra confessed: “I’m very insecure right now about my face. I get scared with Hef looking at me at the mansion and maybe thinking I’m ugly.” 

According to Madison, Kendra “had already hooked up with Hef” prior to him asking her to be his girlfriend.” She elaborated “In Kendra’s book Sliding into Home, she describes Hef asking her to be a girlfriend and handing her a house key before he invited her up to the bedroom. Now, I don’t know if Kendra is trying to sound extra-desirable, innocent, or if her memory is just super rusty, but of course that’s not how it really went down. Hef isn’t stupid. He never asked anyone to become a girlfriend before they joined him in bed. And he never made a habit of carrying around extra sets of room keys. 

Here's Madison’s description of "The bedroom":

As Tina led me into the bedroom, I stumbled over and weaved through massive piles of junk covering the floor. It appeared that Hef liked to collect more than just women. Ceiling-high piles of videotapes, stuffed animals, art, and gifts littered the room. It was like an episode of Hoarders. But perhaps in his case it would be more appropriately titled Whore-ders. Two huge television screens projecting graphic porn lit up the otherwise dark bedroom. In the middle, a very pale man was tending to his own business (if you’re catching my thinly veiled innuendo) and puffing on a joint before passing it around to the nearest blonde. 

The girlfriends, in various stages of undress, were sitting in a semicircle at the edge of the bed—some kneeling, some standing, and some lying down. I sat myself on the edge of the bed—unsure of what to do next…My eyes had adjusted to the darkness and I could see that all the girls, backlit by the large screens, were putting on a show: …they were getting it on or making out with each other… The girlfriends, and Vicky, it seemed to me in particular, were desperate to bring as many new girls up into the bedroom as possible…. “Heeeef . . . don’t you want to be with the new girl?” 

Vicky screamed over the loud music as she reached over and pushed him towards me. Much to my surprise, my turn was over just as quickly as it started. By the time I was able to wrap my head around what was happening, Hef had already moved on to Candice, then to a few of his actual girlfriends before finishing off by himself, as he always did…Some of the girls leaned over and quickly picked Hef on the cheek…The girls began filing out of the room, offering Hef a few candy-coated “good nights.” 

Quickly, I pulled on my pajamas and followed Vickey down the hall and into her bedroom…Vickey ordered cheeseburgers and fries to the room as if it were any other night, but I passed out the food even arrived.” Yet, despite the fact that it did not appear necessary, Madison claimed that “Hef was a notoriously lecherous 70-something old man offering me Quaaludes that he referred to as “thigh openers.””


-----

Madison went on to write that “Most of the girls that ended up becoming girlfriends reacted the same way: they were very nonchalant about their “initiation.” 

And Madison related the history behind Hef’s biweekly night out on the town with the Playmates.

“For decades, Hef was an infamous homebody. After all, he created his own version of paradise at the Playboy Mansion, so why would he ever want to leave? Throughout the ’70s, ’80s, and ’90s, it was extremely rare to see him out and about. In 1999, when he separated from his wife of almost 10 years, Kimberley Conrad, a few of his friends persuaded him to leave his compound for a night on the town. What happened next was a surprise to everyone. People went absolutely crazy to see this 70-something icon from another era at an L.A. nightclub. Shortly thereafter Hef instituted his biweekly club nights. Rolling Stone magazine called it “Hugh Hefner’s Resurrection.””

Interestingly, like a high level Hustler, Hugh was a recluse for many years; however, like a Mack he came to surround himself with friends and girls possibly to validate his existence. 

From the three former Bunnies we can cull the following about Hef's characteristics\techniques. Hef was:

very polite
very sweet
warm
welcoming
persistent
charming
powerful
cool
attentive
direct
possessed a certain swagger
had nice guy "act"
pitted bunny against bunny, and
played on insecurities