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.
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.
If you do a web search for ‘topless tennis’ you’ll get plenty of relatively recent soft porn videos in the results. However little work has been done on the history of topless tennis. One of its earlier manifestations is in the Brucesploitation movie Challenge Of The Tiger (directed and staring Bruce Lee imitator Bruce Le, 1980). In this movie Ninja and Italian exploitation film star Richard Harrison plays a stud called Cannon. Harrison specialises in seducing women while his partner in crime Bruce Le kicks ass. Cannon is introduced playing tennis with some hot topless totty – shot in slow motion. He also has a pool full of naked babes.
Some other historical examples of topless tennis are:
Branka Pupovac (born 3 March 1972) is a Paralympic wheelchair tennis competitor from Australia. Pupovac is an incomplete paraplegic, as a result of an accident while riding on the back of a friend’s motorcycle when she was twenty. Her friend crossed a set of double lines in an effort to overtake a car. She was wearing a helmet at the time, but still had significant damage done to her neck and spinal cord. Pupovac, alongside Karni Liddell, Hamish MacDonald and Charmaine Dalli, was one of eighteen Australian Paralympians photographed by Emma Hack for a nude calendar. The photograph of her in the calendar features her topless and covered in brown and gold body paint.
In 2002 female tennis champion Anastasiya Myskina (born July 8, 1981, Moscow, Russia) Myskina had a series of photos taken for GQ magazine by the photographer Mark Seliger for a spread in the October edition of the publication, in which one approved photo of her fully clothed was published. After she won the French Open in 2004, some photographs from the shoot, in which she appeared topless, were published in the July/August 2004 issue of the Russian magazine Medved (Bear).
In August 2004, Myskina filed an $8 million USD lawsuit against GQ for allowing her topless photographs to appear in Medved without her consent. On June 19, 2005, U.S. District Judge Michael Mukasey, later United States Attorney General, ruled that Anastasiya Myskina could not stop the distribution of the topless photos, because she had signed a release. Myskina had claimed that she did not understand the photo release form and that she was not fluent in English at the time.
In the uncensored version of the 2003 music video for Work It by Nelly (featuring Justin Timberlake) two Playboy Playmates appear completely naked on a tennis court with Nelly.
But the key reference cultural reference point for topless tennis remains videos of hot babes chosen for their buxom charms rather than their sporting skill. Which is a shame when you think of how great top players like the Williams sisters look. Venus and Serena Williams are obviously great at tennis – as well as super-hot – and this leads me to think completely nude tennis with talented athletes makes a lot more sense than the topless variety with glamour girls!
An art nude is a work of art that takes the naked human form as its dominant subject. The term is used for painting, sculpture, photography, and mixed media.
In the tradition of Western art, nudity was common in the painting and sculpture of classical antiquity. In the Christian era, early artists who used nude models included Michelangelo, Botticelli and da Vinci.
Many photographers of nude subjects began to use the term figure nude to describe their “art nude” photos, to avoid description of their works as erotica or pornography.
The term art nude is used for an object of art with a nude human figure making up about one quarter of the surface area and is not intentionally erotic. It does not involve the subject interacting with anyone or the face of the nude as a prominent feature. The nude human form presented is revealed as an object of art and not a person with reference to his or her social relationships and behavioural patterns.
Ruth Bernhard was one of the earliest to describe her photographs as “art nudes”. She particularly noted that she never photographed a nude with the subject looking into the lens. During an interview with Donna Conrad, the 95 year old Bernhard compared her nude photographs to those of Jock Sturges, saying: “I never have made a nude where there is a facial expression.”
Early photographers who have well-known works considered “art nudes” include Imogen Cunningham, Anne Brigman, Edward Weston and Alfred Stieglitz.
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.
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.
Mob muscles in on discotheques. Model confesses: I am a nympho and I can’t say ‘no’ to any man. Chus Martinez won’t tun any guy down – she needs love like a fish needs water.
Strangled with her own panties. Negro prostitute said ‘no’ to white john. New pill will cure lung cancer.
Peep shows for lesbians. Loaned his wife to his friends. Cops nab Bonnie & Clyde pair.
Stripper raped in dressing room. Plot to snatch Jackie and Ari. Home for unwed moms exposed as a brothel. Teacher held LSD parties for students. Nudist camps hire armed guards.
Above Chus Martinez pin-up girl.
A pin-up girl is a model whose mass-produced pictures form a part of popular culture. Pin-ups are intended for informal display, e.g. meant to be “pinned-up” on a wall. Pin-up girls may be glamour models, fashion models, or actresses.
The term pin-up may also refer to drawings, paintings, and other illustrations done in emulation of these photos (see the list of pin-up artists). For example, Pinups is a triannual artist’s publication playing on the historical centrefold practice of nudie magazines by making the centrefold the sole feature. There are no words—just an exaggeration of the classic centrefold. The magazine exists in book form but can be taken apart and tiled to reveal a 70″ x 32″ image. Pinups is created by Christopher Schulz and published in New York City.
The term pin-up is first attested to in English in 1941; however, the practice is documented back at least to the 1890s. Pin-up images could be cut out of magazines or newspapers, or be from postcard or chromo-lithographs, and so on. Such photos often appear on calendars, which are meant to be pinned up anyway. Later, posters of pin-up girls were mass-produced and became an instant hit.
In the late nineteenth century, burlesque performers and actresses used photographic advertisement as business cards to promote themselves. These adverts and business cards could often been found in green rooms (areas where theatrical performers not required on stage gather), pinned-up or stuck into the frames of the looking-glasses at music halls, in the joints of the gas-burners, and sometimes lying on-top of theatre cast-cases. Understanding the power of photographic advertisements to promote their shows, burlesque women self-constructed their identity to make themselves visible. Being recognized not only within the theatre itself but also outside challenged the conventions of women’s place and women’s potential in the public sphere.
According to historian Maria Elena Buszek: “To understand both the complicated identity and the subversive nature of the nineteenth-century actress, one must also understand that the era’s views on women’s potential were inextricably tied to their sexuality, which in turn was tied to their level of visibility in the public sphere: regardless of race, class or background, it was generally assumed that the more public the woman, the more “public,” or available, her sexuality,”
Being the subject of sexual fantasies, famous actresses in early 20th century film were both drawn and photographed and put on posters to be sold for personal entertainment. Among the celebrities who were considered sex symbols, one of the most popular early pin-up girls was Betty Grable, whose poster was ubiquitous in the lockers of G.I.s during World War II.
As sexual images of women multiplied in the popular culture, women participated actively in constructing arguments to endorse them as well as protest against them. Female supporters of early pin-up content considered these to be a positive post-Victorian rejection of bodily shame and showing a healthy respect for female beauty. Feminie protesters against pin-ups argued that these images corrupted societal morality and saw these public sexual displays of women as lowering the standards of womanhood, destroying their dignity and as harmful to both women and young adolescents.
In the early 20th century, these drawings of women helped define certain body images—such as being clean, being healthy, and being wholesome—and were enjoyed by both “normal” men and women; but as time progressed these images changed from respectable to illicit.