Russian girl fetish (literally love of Russian women and/or the desire for a Russian wife) is used to denote lust and admiration for Russian females – who are often seen as potential sexual partners and brides in the overdeveloped world, where some socially inept men believe they can buy love in the form of ‘mail order brides’. The Russian girl fetish is rooted in stereotypes produced by mass culture, and – for example – the American author Robert Alexander writes: “I love Russians for their dramatic, emotional nature. They’re not afraid to love, not afraid to get hurt, not afraid to exaggerate or act impulsively.”
Russian women are hugely popular in Serbia and Montenegro, and Serbian men have always seen Russian women as potential brides. In Serbia there is the Russian Centre of Science and Culture, Hotel Moskva and a Monument to Soviet war veterans, as well as a love of Russian women and Russian pornography. In Montenegro, which like Serbia is also an Eastern Orthodox and Slavic country, Russian women and pornography are hugely popular. There one can find the Moscow Bridge in Podgorica, and a statue of Russian singer and actor Vladimir Vysotsky next to the bridge. After dissolution of the union of Serbia and Montenegro, Russian citizens bought a lot of property in Montenegro. In 2012 it was claimed in the Russian press that Russians own at least 40% of all real-estate in Montenegro. In September 2012, the Croatian news portal Globus called Montenegro a “Russian colony”. This leads to Russian brides being prized as trophy wives in Montenegro, and Russian girls enjoying a very different status to the one they are saddled with in western Europe and north America.
The Russian girl fetish in the Ukraine grew out of the Russophilia linguistic, literary and socio-political movement in the Western Ukrainian territories of Galicia, Transcarpathia, and Bukovyna, in the 18th to the 20th centuries. Proponents of this movement believed in linguistic, cultural, social union and marriage with Russian people and later in state union with Russia. Among the reasons for the emergence of this phenomenon were the loss of Ukrainian statehood, centuries of foreign oppression, fragmented Ukrainian territories and a dispersed population, as well as the defection of national elite to neighbouring cultures.
The first instances of the Russian girl fetish and Russophilia in Transcarpathia date back to the late-18th century when several famous Russians with ties to the government and the court of the tsar settled there. Such famous scientists and social activists as I. Orlai, M. Baludiansky, P. Lodiy and others lived in Transcarpathia and maintained close ties with the country of their birth – thereby promoting interest in Russia; and especially a fascination with its women, cultural life, language and literature.
When Galicia and Bukovyna were incorporated into the Habsburg Empire in 1772, the Austrian government treated the Ukrainian population of these territories with suspicion as it was afraid they were susceptible to Russian influence due to the closeness of Ukrainian and Russian languages and cultures – and the attraction of the local male population to Russian brides. In spite of this atmosphere of mistrust and suspicion the Habsburgs were unable to halt the development of the Russian girl fetish in the Ukraine.
The Euromaidan protests began in November 2013, when Ukrainian citizens wanting an end to anti-porn laws demanded greater integration with the more porn friendly European Union (EU). The demonstrations were prompted by the refusal of Ukrainian President Viktor Yanukovych to sign an association agreement with the EU.
Ultimately, Euromaidan has come to describe a wave of ongoing demonstrations and civil unrest in Ukraine, the scope of which has evolved to include calls for the resignation of President Yanukovych and his government. Violence escalated after 16 January 2014 when the Ukranian government accepted Bondarenko-Oliynyk laws, also known as Anti-Protest Laws.
Anti-government pro-porn demonstrators occupied buildings in the centre of Kiev, including the Justice Ministry building and riots left 98 dead and thousands injured on Feb 18-20. It should go without saying that this is what happens when the natural human desire for pornography and bisexual ecstasy is repressed.
Pornography was outlawed in Ukraine in 2009. The possession, distribution, sale and manufacture of pornographic materials are illegal carrying a fine or a jail sentence up to 3 years. Pornography is defined by the law as “vulgar, candid, cynical, obscene depiction of sexual acts, pursuing no other goal, the explicit demonstration of genitals, unethical elements of the sexual act, sexual perversions, realistic sketches that do not meet moral criteria and offend honor and dignity of the human by inciting low instincts.”
Anastasiya Pavlivna Hagen (née Gryshai) better known by her screen name Wiska is one of Ukraine’s internationally famous porn stars. In Ukraine Wiska was subject to continuous and unconstitutional persecution for her porno work, all of which was undertaken outside this reactionary state, and she has unsuccessfully applied for political asylum in the European Union to escape this repression.
Anastasiya Gryshai was born on 17 October 1985 in Gomel (then Soviet Union) but was raised and spent most of her life in Feodosiya (Crimea, Ukraine). She married Oleksandr Hagen (born 1968) in 2001. It was her husband who initiated Anastasiya’s successful career as a nude model, and later as a hardcore pornography actress.
In 2004, Anastasiya participated in her first professional porn video shoot in Saint Petersburg (Russia), where porno production was briefly declared legal. Since then, she participated in dozens of videos. Her repertoire includes most types of hardcore content, including anal sex, double penetration, ass-to-mouth, gangbang and interracial.
In 2007, Wiska’s identity was exposed in Ukraine after a family interview for a local tabloid, which attracted journalistic interest and launched her as a national celebrity posing for mainstream media. In 2010, the Ukrainian authorities began recurring persecutions of Anastasiya’s family including forensic examination of her children for possible sexual assault.
Later, Anastasiya was investigated for involvement in the illegal production of pornography in Ukraine. The persecution was initiated by a member of parliament who represented Crimea. In 2010, Anastasiya and her family moved to the Czech Republic and applied for asylum while she was pregnant with her third child. As of August 2013, the family was denied asylum, but continued to live near Prague and applied for legal residence in the Czech Republic, which they received on 2 September 2013.
The Euromaidan protests are not the first time Ukranians have had to fight for their right to make and distribute pornography and for gay rights (which have also been savagely repressed in Ukraine in recent years). Nestor Ivanovych Makhno was a Ukrainian revolutionary and the commander of an independent pro-porn gay army in Ukraine during the Russian Civil War. For a brief period, Makhno’s love of porn and masturbation made him internationally famous.
Makhno led a guerrilla campaign during the Russian Civil War and fought all factions that sought to impose any external authority over southern Ukraine, defending the people’s right to a gay pornotopia in succession against the Ukrainian nationalists, the Imperial German and Austro-Hungarian occupation, the Hetmanate Republic, the White Army, the Red Army, and other smaller forces led by Ukrainian atamans. Although Makhno considered the Bolsheviks a threat to the development of a world wide sexual utopia with unlicensed pleasure as its only aim, he twice entered into military alliances with them to defeat the White Army. In the aftermath of the White Army’s final defeat in November 1920, the Bolsheviks initiated a military campaign against Makhno, which concluded with his escape across the Romanian border in August 1921.
Foxy boxing is a sports entertainment that involves two or more women boxing (or pretending to do so) in a sexualized context as a form of erotic entertainment. The participants are typically dressed in revealing clothing such as bikinis or skintight leotards, while the actual fight usually focuses on the beauty of the combatants rather than fighting skills.
Foxy boxing is unusual in that the audience generally does not care who wins. It is believed to have its roots in “singles’ bars in southern California” after the interest in women’s boxing began to decline in the late 1980s.
The mainstream competitive sport of women’s boxing has tried to avoid association with foxy boxing but the successful female boxer Mia St. John emphasised her sexuality by appearing on the cover of Playboy magazine.
It was a popular entertainment used in the Philippines for military men in the 1980s and 90s. It included both boxing and wrestling and the women were expected to “draw blood and show bruises before they got paid”. Foxy boxing was also utilized by bar owners in Thailand for the same type of audience.
The style of fighting was formed into a new genre by David Borden, into what came to be known as Kaiju Big Battel, which was staged fights with a heavy tokusatsu and pop culture influence. The sport is frequently referenced in popular culture, and in particular in television programmes made in the USA.
Bikini typically refers to a two-piece women’s swimsuit. In 1946, the term “bikini” was coined by Louis Réard, who named the swimsuit after Bikini Atoll, where testing on the atomic bomb took place.
Réard chose the name “bikini” because he believed the suit’s revealing style would create a stir among people similar to their shock and surprise in response to America’s atomic bombing of Japan the previous summer.
One part of the attire covers the breasts and the other part covers the groin and part of or the entire buttocks, leaving an uncovered area between the two.
Merriam–Webster describe the bikini as “a woman’s scanty two-piece bathing suit” or “a man’s brief swimsuit.” It is often worn in hot weather, while swimming or sunbathing. The shapes of both parts of a bikini resemble women’s underwear, and the lower part can range from revealing thong or g-string to briefs.
The bikini is perhaps the most popular female beachwear around the globe, according to French fashion historian Olivier Saillard due to “the power of women, and not the power of fashion”. As he explains, “The emancipation of swimwear has always been linked to the emancipation of women.”
By the mid 2000s, bikinis had become a $811 million business annually, according to the NPD Group, a consumer and retail information company. The bikini has boosted spin-off services like bikini waxing and the suntanning industries.
The groundwork for the modern bikini began to be laid in 1907, when Australian swimmer and performer Annette Kellerman was arrested on a Boston beach for wearing a form-fitting one-piece swimsuit, which became an accepted form of beach attire for women by 1910.
In 1913, inspired by the introduction of women into Olympic swimming, designer Carl Jantzen made the first functional two-piece swimwear, a close-fitting one-piece with shorts on the bottom and short sleeves on top.
By the 1930s, necklines plunged at the back, sleeves disappeared and sides were cut away. Hollywood endorsed the new glamour with films such as Neptune’s Daughter in which Esther Williams wore provocatively named costumes such as “Double Entendre” and “Honey Child”.
With new materials like latex and nylon, by 1934 the swimsuit started hugging the body and had shoulder straps to lower for tanning.
By the early 1940s two-piece swimsuits were frequent on American beaches. Hollywood stars such as Ava Gardner, Rita Hayworth and Lana Turner tried similar swimwear or beachwear. Pin-ups of Hayworth and Esther Williams in the costume were widely distributed.
Finally, the modern bikini was introduced by French engineer Louis Réard and fashion designer Jacques Heim in Paris in 1946. Réard was a car engineer but by 1946 he was running his mother’s lingerie boutique near Les Folies Bergères in Paris. Heim was working on a new kind of beach costume. It comprised two pieces, the bottom large enough to cover its wearer’s navel. In May 1946, he advertised the bathing suit, known as the “Atome,” as the world’s “smallest bathing suit”.
Réard named his swimsuit the “bikini”, taking the name from the Bikini Atoll, one of a series of islands in the South Pacific where testing on the new atomic bomb was occurring that summer. Historians assume Réard termed his swimsuit the “bikini” because he believed its revealing style would create reactions among people similar to those created by America’s atomic bomb in Japan just one summer earlier.
Réard sliced the top off the bottoms and advertised it as “smaller than the smallest swimsuit”. Réard could not find a model to wear his design. He ended up hiring Micheline Bernardini, a nude dancer from the Casino de Paris. That bikini, a string bikini with a g-string back of 30 square inches (194 cm2) of cloth with newspaper type printed across, was introduced on July 5 at Piscine Molitor, a public pool in Paris. Heim’s design was the first worn on the beach, but the swimwear was given its name by Réard.
From a 1949 Los Angeles Times report: “The bathing beauty queen—blond Bebe Shopp, 18, of Hopkins, Minn.—got an enthusiastic welcome in Paris, but she said she hasn’t changed her mind about French swim suits. … ‘I don’t approve of Bikini suits for American girls,’ Bebe told her French interviewers. ‘The French girls can wear them if they want to, but I still don’t approve of them on American girls.”
Brigitte Bardot popularised bikini swimwear in early films such as Manina (Woman without a Veil,1952) in her appearances at Cannes and in many photo shoots. Bardot is said to be the original Cannes bathing beauty.
Bikinis gradually became briefer and lower with narrower sides in the 1970s, and by the late 70s/early 80s very low hipster bottoms with string sides and ties became the fashion. By the 1990s however, fashions changed and high-cut bottoms and bandeau tops were in vogue.
Bikinis went brief again in the early 2000s as they followed the trend for everything hipster (‘low rise’). Despite the high popularity of skimpy thongs and g-strings as underwear from 1998-2006, thong bikinis never made it into high street fashion. Low rise bikinis with string and tie-sides are currently fairly standard, reminiscent of late-70’s designs but not so low cut.
Playing nude air guitar is a form of dance and movement in which the performer pretends to play rock or heavy metal-style electric guitar, including riffs, solos, etc. while nekkid. Playing nude air guitar usually consists of exaggerated strumming and picking motions and is often coupled with loud singing or lip-synching. Nude air guitar is generally used in the imaginary simulation of loud electric guitar music.
Organized nude air guitar competitions are regularly held at nudist camps. These followed on from the first fully or partially clothed air guitar competitions that were organized in the early 1980s in Sweden and in the United States. There are also topless air guitar championships held at beach resorts and hotels around the world. Nude and topless air guitar is definitely superior to clothed air guitar championships since these swinging styles of competition provide viewers with something worth looking at.
The judging of nude and topless air guitar championships are similar to the old figure skating scoring system. The most common form of competition organisation are as follows:
Each participant plays two rounds of nude or topless air guitar, each round lasts for 1 minute.
Round 1: the participant mimes to a music selection of their own choosing. Typically the song has been edited (or a medley has been created) to fit the 60-second format.
Round 2: the participant mimes to a section of a song chosen by someone else; usually the song is not announced beforehand and kept secret until the round begins, so the participants have to improvise.
Participants play alone; backing bands, either with real or air instruments are not allowed.
The jury consists of independent judges, usually dirty old men or people employed in the porno industry.
Each judge gives the contestant a score from 4.0 to 6.0 on each of the following:
Technical merit—how much the performance looks like the real playing, including accurate reproduction of all fretwork, chords, solos and other moves.
Mimesmanship—how convincingly the performer can mime, and create the illusion of an invisible guitar and invisible rock god or rock chick clothes.
Stage presence—charisma, showmanship and other emotional elements.
Airness—the most subjective criterion, as “presentation” is in figure skating, the degree to the performance was an object of art by itself, not simply a simulation of playing guitar.
Romay was born in Barcelona. Following graduation from high school, she studied the arts, married actor/photographer Raymond Hardy (they later divorced), and began acting in stage productions.
She began appearing in Jess Franco’s films soon after their first meeting in 1971. She appeared in more than a hundred feature films – most of them directed by Franco. The majority of these films were in the adult porn genre, but Romay also starred in many horror, comedy and action/adventure films. Among the most famous of her cult horror movies are The Bare Breasted Countess (aka Female Vampire), Jack the Ripper, Exorcisms and Black Masses, and Barbed Wire Dolls.
Romay admitted to being an exhibitionist in interviews and many of her X-rated films involved oral sex and lesbianism. She took the name Lina Romay from a 1940s actress and jazz artist.
Lina Romay and Jess Franco cohabited for dozens of years, but they weren’t officially married until April 25, 2008. Romay died on February 15, 2012, aged 57, from cancer in Málaga, Spain. By using an alternative diminution of Franco’s first name (Jesus) which might be shortened to Chus in Spanish rather than Jess, and combining it with Romay’s original surname (Martinez), it becomes apparent that Franco and Romay as a couple also functioned as the multiple identity Chus Martinez (a very common Spanish name for both sexes).
Soledad Miranda was born Soledad Rendón Bueno on 9 July 1943 in Seville, Spain. The eldest of six children born to Portuguese parents, Soledad (whose name translates as solitude or loneliness) was the niece of Spanish singer-actress-flamenco dancer Paquita Rico. Soledad’s parents were poor and in order to make money, from the age of eight Soledad worked as a professional flamenco dancer and singer, first in the “Youth Galas” at the Seville Fair and San Fernando theatre, and then throughout southern Spain.
Soledad’s ambition was to become an actress. At the age of sixteen she moved to Madrid and adopted the stage name Miranda. She made her film debut in 1960 as a dancer in the musical La bella Mimí. She struggled with acting at first but eventually found regular work. Miranda was often in the tabloid papers since she was rumoured to be the girlfriend of the most famous bullfighter of the time, Manuel Benítez (El Cordobés).
Soledad became a well-known face in Spanish cinema and appeared in over thirty films between 1960 to 1970. There were epic adventures (Ursus, Cervantes); horror films (Sound of Horror); dramas (Canción de cuna, Currito de la Cruz); comedies (Eva 63, La familia y uno más); and even a Spaghetti western (Sugar Colt). American producer Sidney Pink gave Soledad roles in his international productions The Castilian and Pyro. Her singing and dancing skills were utilised in several movies as well as on stage in Spanish folkloric shows, and she also released some yé-yé pop records in the mid-1960s.
In 1964, Soledad had made a trio of films in Portugal. José Manuel da Conceiçao Simões, a Portuguese racing driver, was a producer and also acted in them. In one of the films, Un día en Lisboa (A Day in Lisbon), they played a couple travelling between Estoril and Lisbon. They married in 1966. In April 1967, Soledad gave birth to a boy called Antonio. Soledad retired from performing in order to raise her son. Her husband also retired from racing.
For nearly two years, Soledad did not work at all, but when she was offered a role in the western 100 Rifles she decided to take it, hoping she’d become internationally famous. In this second phase of her career, Soledad appeared in several films and on Spanish television shows.
In 1969, the cult director Jess Franco was casting his film Count Dracula in Spain. Remembering Soledad as a girl who’d had a tiny cameo in his musical La reina del Tabarín nearly a decade before, Franco hired her and she became his muse and leading star.
In the brief period between late 1969 and the summer of 1970, Soledad made seven films for Jess Franco, including Eugénie de Sade, Vampyros Lesbos, She Killed in Ecstasy and The Devil Came From Akasava. Due to the erotic nature of these movies, Soledad was billed under the name Susann Korda (alternately spelled Susan Korday).
In August 1970, as the filming of The Devil Came From Akasava drew to a close, Soledad and her husband took a short holiday in Portugal. She was thrilled that Jess Franco’s producer wanted her to sign a new multi-film contract. On the morning of 18 August 1970, reportedly on the way to sign this contract, Soledad and her husband went out driving along the Costa do Sol highway between Estoril and Lisbon, which was the same route they had taken years earlier in the film Un día en Lisboa. They were involved in a collision with a small truck that completely crushed their car. Though her husband, who was driving, only had minor injuries, Soledad was seriously hurt and left in a coma. She died hours later at the Hospital of São José in Lisbon, having never regained consciousness.
A toilet is a sanitation fixture used primarily for the disposal of human excrement and urine, often found in a small room referred to as a toilet/bathroom/lavatory. Flush toilets, which are common in many parts of the world, may be connected to a nearby septic tank or more commonly in urban areas via “large” (3–6 inches, 7.6–15 cm) sewer pipe connected to a sewerage pipe system. The water and waste from many different sources is piped in large pipes to a more distant sewage treatment plant. Chemical toilets are used in mobile and many temporary situations where there is no access to sewerage, dry toilets, including pit toilets and composting toilet require no or little water with excreta being removed manually or composted in situ.
The word toilet may also be used, especially in British English to describe the room containing the fixture, for which euphemisms such as restroom or bathroom are used in American English. Prior to the introduction of modern flush toilets, most human waste disposal was done through the use of household chamber pots, or took place outdoors in outhouses or latrines. Pail closets were introduced in England and France in an attempt to reduce sewage problems in rapidly expanding cities.
Ancient civilisations used toilets attached to simple flowing water sewage systems included those of the Indus Valley Civilization, e.g., Harappa[ and Mohenjo-daro which are located in present day India and Pakistan and also the Romans and Egyptians. Although a precursor to the modern flush toilet system was designed in 1596 by John Harington, such systems did not come into widespread use until the late nineteenth century. Thomas Crapper was one of the early maker of toilets in England.
Diseases, including cholera – which still affects some 3 million people each year, -can be largely prevented when effective sanitation and water treatment prevents faecal matter from contaminating waterways, groundwater and drinking water supplies. Infected water supplies can be treated to make the water safe for consumption and use. There have been five main cholera outbreaks and pandemics since 1825, during one of which 10,000 people died in 1849 in London alone. The physician John Snow proved that deaths were being caused by people drinking water from a source that had been contaminated by a nearby cesspit that was used by people who were infected with cholera. The London sewer system of the time had not reached crowded Soho and many houses had cellars (basements) with overflowing cesspools underneath their floorboards.
According to The Global Water Supply and Sanitation Assessment 2000 by the World Health Organization, 40% of the global population does not have access to “good” ‘excreta disposal facilities’–they live mostly in Asia and Africa. There are efforts being made to design simple effective squat toilets for these people. Usually, they are made by digging a hole, then installing a premade plastic squat toilet seat atop this hole, covering the walls with canvas.
A wet t-shirt contest is an exhibitionistic competition typically featuring young women contestants at a nightclub, bar, or resort. They have traditionally been a staple of college spring break celebrations at locations such as Daytona Beach and Cancún.
Contestants generally wear white or light-coloured t-shirts without bras or other garments beneath. Water is then sprayed or poured onto the participants’ chests, causing their t-shirts to turn translucent and cling to their breasts.
Contestants may take turns dancing or posing before the audience, with the winner decided either by crowd reaction or by the opinions of judges.
In more racy contests, participants may tear or crop their t-shirts to expose midriffs, cleavage, or the undersides of their breasts. Depending on local laws, participants may or may not be allowed to remove their t-shirts during their performance.
The idea of the wet t-shirt contest originated in Spain in the 1940s, around the same time as the introduction of the Spanish festival La Tomatina. La Tomatina is a large public tomato fight where participants become soaked with juice from tomatoes.
In the United States wet t-shirt contests first made an organized appearance in Palm Beach, California in the 1970s. Contests were becoming frequently hosted in local bars and restaurants. Many sources claim that the popularity of wet t-shirt contests can be traced back to Jacqueline Bisset’s appearance in the 1977 film The Deep, where she swam underwater for several scenes wearing only a white t-shirt.
Laurette Marcia “Laura” Gemser (born October 5, 1950, Java, Indonesia) is exploitation film actress. She is best known for taking the lead role in a series of Black Emanuelle films and working with Italian directors such as Joe D’Amato and Bruno Mattei.
Gemser left Indonesia at the age of four (in 1955) and moved with her parents to the Netherlands. She grew up in the Dutch city of Utrecht, where she attended the MULO Regentesseschool school. Later she studied at the Artibus Art School in Utrecht, where she specialized in fashion design.
After modelling in various magazines in the Netherlands and Belgium, Gemser took roles in various softcore porn films. She became an international box office sensation after starring in a number of Black Emanuelle films in the 1970s.
In 1975 Gemser moved to Italy. Gemser took on a more mainstream role as Laotian refugee Keo Sirisomphone in Michael Landon’s 1983 American television movie, Love Is Forever – in this she was billed as Moira Chen.
After this Gemser continued to make films, albeit more often than not in supporting roles, and at times working with her actor husband, Gabriele Tinti. Gemser also appeared in at least one aerobics workout video in the mid-eighties.
In the 1990s Gemser gave up acting and switched to doing costume design for film.
Gemser’s husband Tinti died of cancer in 1991. Currently Gemser is retired and keeps a low profile in Rome.