Skirting the Issue

We recently observed that spanking on the panties, with the skirt raised, seems to be more frequent in Continental Europe than it is in North America or Britain. But we should not mistake a tendency for a rule. To make the point attractively, in 2009 the FEMEN girls in Ukraine mostly got this:


But sometimes they only got this:


If a naughty European girl is wearing a skirt when she is spanked, there is indeed a strong prospect that it will be lifted, but not always. And it’s easy enough to find other examples of non-raised skirts from all over the continent, and in many different spanking contexts.

For example, let’s call in at Poland to watch the music video for the Polish band Finsky’s 2011 song ‘Dostaniesz Klapsa’ (You’ll Get a Smack). It has a Santa Claus theme and features controversial actor-musician Krzysztof Skiba taking a naughty girl to ‘Klaponia’ – Spanking Land! Obviously when Santa Krzysztof arrives she’s tucked up in bed, and her nightie is sufficiently diaphanous that we have a clear view of her black panties (or, actually, leotard). But even so, the nightie stays down for the spanking.

Here’s a behind the scenes shot of the green-screen shooting:


And here’s the video itself, but not without an initial caveat: if your tastes are like mine, make sure you hit the stop button after Santa marks the job done in his naughty book.

And before we leave Poland, let’s branch out into social behavior and observe another Polish birthday spanking, to contrast with the one we saw last time:


Moving on, and sticking with folk custom, we pass through the Czech Republic, pausing only to look at a splendid Easter spanking from 2015:


From the theater, many a Kiss Me Kate spanking could be introduced in evidence, though recent European skirt-down examples are actually less common than you’d think. To represent Austria in this survey, here are three from productions staged in Vienna. First, a 2008 school play at the Franz Schubert Konservatorium:


Next, the Gloria Theater’s professional production of 2009, with Peter Färber and Maya Hakvoort:


And finally, the 2012 Volksoper production with Andreas Lichtenberger and Franziska Becker:


Don’t worry, this doesn’t mean the Austrians are entirely averse to skirt-up stagings of Kiss Me Kate – stay tuned for an alternative approach!

For Germany, our example comes from the cinema: the 1962 belle epoque comedy, Das Schwarz-Weiss-Rote Himmelbett (The Black, White, and Red Four-Poster Bed, alluding to the colors of the German imperial flag). The film’s publicity was quite happy to capitalize on imagery of leading lady Daliah Lavi in her bloomers:


But no bloomers are in evidence when her character, the seductive actress Germaine, gets spanked by her sugar daddy Jules (Karl Schönböck):


In Denmark, the spanking gold standard is set by Dirch Passer with that remarkable pink-panty spanking he gave to Judy Gringer in Poeten og Lillemor og Lotte (1960).

08 Judy Gringer

But he was much more restrained when dealing with Ghita Nørby in Hvis Lille Pige er Du? (Whose Little Girl Are You?; 1963):


France will afford us two examples, one from the last century and one from this. First, a period piece from the humorous comic strip Rubrique a Brac, drawn by Marcel Gotlib (1934-2016), which ran from 1968 to 1974. This panel features an aristocratic lady from the Middle Ages who seems unimpressed by what she’s getting. Maybe he should have lifted her skirt first!


And more recently, a Parisian nightclub spanking from 2011:


Our final example stands for Spain, since it was shot there in 1969 by a Spanish director, Jess Franco. But it also stands for Europe (and beyond), since it was an Italian-language production made with money partly from West Germany, Lichtenstein and America, and the cast includes the Russian-Armenian Akim Tamiroff, who’ll be administering the spanking. The girl across his knee will be an American with a significant father, Romina Power (daughter of Tyrone):


And the movie is a dramatization of the best-known work of a famous, or indeed infamous French author: the Marquis de Sade’s Justine.

Romina Power plays the title character, who finds herself forced into service in the household of the elderly, unsavory Monsieur du Harpin (Tamiroff). After she rebuffs the amorous attentions of a paying guest, the old man explains that she’s supposed to sleep with him – and then relieve him of his valuables while he sleeps. She refuses, whereupon he puts her across his knee and spanks her. She’s wearing only a chemise, and of course the skirt stays down, but that doesn’t save the movie, set in the eighteenth-century, from committing a palpable anachronism.


She’s wearing obviously modern panties, complete with a pretty little cherry print!

Why? This is not a film that has any problem with nudity, from the moment when Justine first puts on the aforementioned chemise:


And it seems that minor lapses in period authenticity were also not a worry: as well as Romina’s panties, notice her bikini line in that last picture. So the spanking might have been administered on either Justine’s bare bottom or her panties, which would only have been slightly more obvious if the skirt had been raised. But for our purposes here the point is, of course, that it wasn’t.


All this may seem like, and indeed probably is, a unsystematic ramble through a series of random examples that don’t have much in common. The point of it is not to contradict what we observed before, the European propensity to panty-spanking, but to put it in a context. On different occasions and in different circumstances, Europe does it both ways: spanks naughty girls on their skirts and on their underwear. And that begs a question that we shall consider in the next part of this article…

Britannia of Billingsgate

‘An alarming picture of the dangers of sudden wealth’ was how the London Times reviewer described Britannia of Billingsgate, a comedy by Christine Jope-Slade and Sewell Stokes that opened at St Martin’s Theatre in November 1931 and remained popular, in many different versions, for three decades. Sudden wealth puts some young women in a particular kind of danger, but it is as well to bear in mind from the start that dangers aren’t always realized…

The play begins with advance news that some film producers are about to pay a call on the Billingsgate home of a working-class family. Maria Bolton, a charlady who sometimes helps out in the studio canteen, assumes they are going to ask her pretty daughter Pansy to be in a movie, and is all set to say no… but when they arrive, it’s Mrs Bolton herself they want, to star in a sentimental melodrama called No Mother To Guide Her, in return for a handsome salary she just can’t refuse.

This is unwelcome news for Pansy, who is described as having ‘a certain brittle, loose-lipped prettiness’, and is an avid reader of movie magazines. She has set her heart on a career up on the silver screen and is offended to learn that the gig has gone instead to her ‘old and fat’ mother. Her unimpressed brother remarks that she needs ‘some ticking-off’, though others might have something else in mind: ‘Let me lay my hands on you once, my girl,’ says her father, ‘speaking to your mother like that!’ And the scene gets progressively closer to the laying on of hands, with Pansy eventually swearing at her brother, when the argument is broken by the arrival of a celebrated starlet who will be playing Mrs Bolton’s screen daughter. So no nemesis yet for her real daughter Pansy.

Mrs Bolton’s film star earnings are not good for her family. The husband and son go off the rails, but it’s Pansy who is most affected: she ‘behaves dreadfully’, according to the Times reviewer. To be more precise, she quits her menial job, spends lavishly on clothes, wanders around the house in her pink panties and devotes her life to the gramophone at home all day and the dance hall all night. As far as her mother is concerned, it’s surreptitiously leaving the job that’s the last straw: when Pansy is ‘shopped’ by the family friend and local gossip Mrs Wigglesworth, there’s hell to pay.

‘You’ve gone too far this time, my girl. Go to your room, miss, and take down your clothes. When Mrs Wigglesworth’s gone I’m coming to give you such a warming as you ain’t never had. I’ll learn you. Tomorrow you go back to work.’

One phrase there needs thinking about: ‘take down your clothes’. A previous stage direction is very specific about what clothes Pansy is wearing at this point in the play: a jade-green frock, an enormous string of pale green pearls, beige kid shoes with very high-heels and a pair of beige silk stockings. So she’s wearing a dress, but she is told to take down her clothes – an order that can only refer to those pink panties. Pansy isn’t just going to be spanked: she’s going to be spanked on her bare bottom!

Contain your disappointment when I tell you that she isn’t spanked after all. She breaks free from her mother’s grip and smashes some plates. ‘You’re a bad girl, you are,’ says Mrs Wigglesworth. ‘Your father ought to take the strap to you.’ Mrs Bolton grabs her daughter by the wrists, but Pansy bites her, and leaves the house in a rage. ‘I ain’t going to be beaten by you, so don’t you think it,’ she says as she goes. And so, at the midpoint of the play, Maria Bolton finds herself in despair at what her new-found riches have done to her family.

The story sorts itself out in ways that regrettably don’t involve a spanking for Pansy. Mrs Bolton’s movie is a rip-roaring success, but she turns down the offer of a Hollywood contract, recognizing that the only way to put her family back on the straight and narrow is to see that they go back to work. She ends the play determined to begin sorting out her home tomorrow: ‘Things was getting in a pretty mess and no mistake.’

The London production starred Mary Jerrold as Maria Bolton and former child star Gabrielle Casartelli as Pansy. Here they are (center and right) with Eileen Collins-James as Mrs Wigglesworth:


The play had a respectable run in London and then entered the repertory circuit. It would merit no more than a footnote in spanking history if its success hadn’t extended into a second medium in 1933, when Ralph Stokes and George Moresby-White adapted it into a movie, radically altering the story and extending certain aspects of it in ways that suit us.

Mrs Bolton is now named Bessie, not Maria, and she is no longer a char but the owner of an East London fish-and-chip shop. To make the role a more suitable star vehicle for music hall performer Violet Loraine, the character is now graced with a fine singing voice, which is accidentally recorded by a film company. She is promptly signed up to make movie musicals, and we reach the unchanged core of the story: her new affluence, and the rest of the family’s resultant bad habits.

Kay Hammond – later best known for her role as Elvira in both the stage and screen versions of Blithe Spirit – plays the daughter, now named Pearl and even more starstruck than when she was Pansy. To be more precise, she is obsessed with the movie actor Harold Hogarth


She falls in with a wrong set, gets an introduction to Hogarth and learns something of his routine. On the premiere night of her mother’s picture, Piccadilly Playground, she feigns a headache so that she doesn’t have to go, then gets dressed up and sneaks out of the house.


She is going to pay a call on Hogarth – at the time she knows he’s out walking his pet dog. But Mrs Wigglesworth (a splendid comic turn by Drusilla Wills), who has come to sit in with her and her injured brother (the young John Mills), spots her surreptitious exit, follows her and sees her entering Hogarth’s residence. So while Pearl is snooping around her heartthrob’s empty flat, Mrs W. goes to the movie premiere and tells Bessie – so that when the film ends, she’s not there to receive the audience’s appreciative applause…

… because she’s over at Hogarth’s apartment, where she is busy, as the Times reviewer put it, ‘slapping sense into the girl who has hurled herself at the head of a decorous film star’. And at this time the word slapping was sometimes used as a polite synonym for spanking.


Alas, Bessie only pushes Pearl down onto a divan rather than formally taking the errant girl over her knee. But on the bright side, Pearl gets six slaps on her bottom, and rubs herself ruefully afterwards.


And she’s still rubbing when she gets up, wailing that Harold Hogarth will never look her in the face again after seeing her get her bottom smacked.


But Bessie’s not finished with her yet, she says – so it looks as if Pearl may be in for another dose when her mother gets her home!

And that wasn’t the final evolutionary form of Britannia of Billingsgate. Yet another version appeared when one of the original playwrights, Christine Jope-Slade, produced a tie-in novelization of the film that same year. Among the changes she made was the addition of a running gag about how much Pearl resembles Kay Hammond, along with much prose about what the characters are thinking and feeling. There is an especially interesting thought that crosses Hogarth’s mind when Pearl begins to throw herself at him, and complains about how she is always has to do as her mother says. He rather admires Mrs Bolton’s plebeian authenticity but finds Pearl an irritating, spoilt chit and thinks, ‘She wants spanking good and plenty.’

This version of Harold Hogarth is married but can’t reveal the fact for publicity reasons, and his actress wife is currently away filming in America. This means Pearl is onto a loser when she gets it into her head that ‘if a man compromises a girl, he’s got to marry her’. She attends her mother’s film premiere, and afterwards, by a ruse, gets hold of the key to Hogarth’s apartment in order to get herself well and truly compromised. On arrival she takes off all her clothes and puts on a black silk kimono she finds in the wardrobe – property, unbeknown to her, of Mrs Hogarth. He arrives, and sets about writing a passionate letter to his absent wife, completely unaware of Pearl waiting for him in the bedroom. It’s a long letter, and eventually she falls asleep – only to be awakened when her furious mother arrives to take her home.

Hogarth tells Pearl some home truths, at length, and advises her mother first to ‘knock a little sense into her’ and then send her to boarding school. But Mrs Bolton, whose characterization in the novel emphasizes her human kindness more than her qualities as a battleaxe, is the sympathetic adult rather than the disciplinarian of the play and film. And so the only version so far that overtly says, in so many words, that Pearl deserves a good spanking, is also the only version in which she doesn’t even come close to meeting that fate!

And even that wasn’t the end of the line. The play was produced five times by the BBC, thrice on radio in a version adapted by Cynthia Pughe (1945, with Gladys Young as Mrs Bolton; 1952, with Kathleen Harrison, perfect casting; 1960, with Gladys Henson) and twice on television (1953, with Vi Stevens; 1958, with Hermione Baddeley). Much less is known about these versions: the radio productions aren’t available, the first television production was performed live (twice) and never recorded, and the 1958 production has since been junked. A glance at the entirely Hogarth-free cast lists reveals that all five productions were based on the original stage play, not the film or novel, but reveal also that there was at least some adaptation surrounding the character of the daughter.

There is no information about who played the part in 1945, but in 1952 she was Patricia Hayes, an actress best remembered for her roles as a much older woman and already in her early 40s (which was more than twice the character’s age, but didn’t much matter on radio). The significant information is that the character wasn’t now named Pansy, or even Pearl, but Dolly.

It was back to Pansy for the 1953 television production, when the role was played by Lana Morris…


… an actress we shall encounter again another time when we come to a play in which she was certainly spanked. But in 1958, when Maureen Beck took the part…


… she had become Shirley. Finally Pansy reemerged on radio in 1960, as voiced by Sheila Grant.

And the point is this: if they were changing the character’s name, what other aspects of her part might they also have changed? The one consistent theme found in all the early versions is that she deserves to be spanked, even though it only actually happens in one of the three. It’s probably just wishful thinking, but maybe there’s just a scintilla of a chance that someone in the script department recognized the unsatisfactory lack of a dramatic payoff, and took steps to remedy it – by having the egregious Miss Bolton receive a different sort of remedy across her mother’s knee!

Spank the Stowaway

‘I ought to blister your fantail for that!’

So says ship’s captain Terry O’Brien (Gardner McKay) to a girl he’s just found concealed below deck in the prolixly-titled ocean-going comedy, I Sailed to Tahiti With an All-Girl Crew (1968).


It may come as a disappointment to learn that teenage Jimsy, played by Mary O’Brien, doesn’t get her fantail blistered, or even (to make the expression nicer) her bottom spanked. The reason Cap’n Terry feels like doing it to her is that he’s, well, sailing to Tahiti with an all-girl crew to win a bet, the terms of which specify not only the gender but the number of the crew, so with an additional girl aboard he stands to be disqualified.

There are perhaps more serious reasons to disapprove of stowaways. Ships run on tight calculations, ratios of weight to fuel and food to personnel, which can be disrupted if there’s an extra body to move and an extra mouth to feed. And, less rationally, women at sea are thought by sailors to be bad luck, which is why, until quite late in the last century, they were not allowed aboard working ships and other maritime vessels such as oil rigs.

For example, it was only in 1977 that the first woman set foot on an oil rig. As it happens, she was someone I’d have loved to see turned over a man’s knee for a nice stowaway spanking.


But I’m out of luck, because Lis was there legitimately, by permission, to make a television documentary. From time to time, however, it was the girl stowaways whose luck ran out…

Here’s a case in point:


Roberta Eike was a 23-year-old oceanographer and Harvard graduate, who so objected to the taboo against women at sea that she wrote a paper against it and then, when nothing changed, did everything in her power to get herself included on the roster of the Woods Hole Oceanographic Institution’s ship Caryn, which was due to sail on a five-day research cruise in July 1956. The chief scientist, George Clarke, who was also her research adviser at Harvard, refused permission. The ship’s captain refused permission. The director of the WHOI refused permission. What’s a girl to do?

Twelve hours into the voyage, the staff and ship’s crew got a surprise when the unexpected, uninvited and unwanted Roberta, clad in gray Bermuda shorts, emerged from beneath the floorboards. She’d calculated that half a day in hiding was long enough for it to be deemed unacceptably inconvenient for the ship to return to port. And so it was. But that didn’t mean she’d won.

She was marched to the captain’s cabin, where she spent the rest of the voyage locked in. But the first order of business there was a stern, non-academic lecture from Professor Clarke, which culminated with Roberta being upended and given a sound spanking on the seat of those gray Bermuda shorts!

A better known stowaway case happened a decade later, exactly 50 years ago on April 19, 1967. It involved the 20-year-old trainee schoolteacher Sandra Hilder, who was eager to visit her sailor boyfriend Bernard Brewer.


The snag was that she was in Sydney, in her home country of Australia, and he was in California in his home country. They met early in 1967: she was writing a class paper about the Antarctic, and there was a US icebreaker, the Glacier, docked in Sydney Harbor, just returned from a three-month tour of duty there. Seeking first-hand material from the crew, she encountered ‘Bud’ Brewer and was smitten. (Only metaphorically. The literal smiting comes later in the story.)

The fleet wasn’t in for long, and after Bud sailed away with the Glacier to his new deployment with the California Coastguard, Sandra began to think of ways of getting to America to be with him. The fare for the journey was exorbitant, but maybe the US Navy could help – without knowing it. So when the cruiser USS Long Beach put in at Sydney in April, and briefly opened itself to local visitors, Sandra charmed a marine into showing her to the cabin reserved for the Admiral (but not required on this particular voyage). She was found hiding under the bed the following day, April 20, after a guard spotted her shoes outside the cabin door. There were only three hours to go before the ship set sail for the Philippines.

The security implications of the incident were the more serious because the Long Beach was America’s only nuclear-powered guided missile carrier. Sandra found herself in police headquarters being searched and interrogated as a possible spy.


She was later released without charge, but became known as ‘the girl in the Admiral’s cabin’ after the story was broken by Australian journalist Harry Potter – whose admiring colleagues thought he must surely have magical powers to have winkled it out of the security men.

Sandra seemed undaunted by her brush with the law. She courted the publicity, was interviewed on the television news and vowed to continue her efforts to get to America as an unwanted guest of the US Navy. So when another US ship, the aircraft carrier Bennington, arrived in Sydney on April 30, extra security was laid on to ensure that Miss Hilder stayed away. ‘I would not be surprised if she was banned from the area,’ said her father. But it seems that more radical measures may have been arranged.


While the Bennington sailed into Sydney, Sandra flew out, arriving in San Francisco on the evening of May 1, onward bound to New York. How did she manage it? Various stories were told of where the money came from: the trip was paid for by US talk show host Johnny Carson, or by a mysteriously nameless speedboat company, or by a 19-year-old trainee sailor named Robert Winston, whom she had never met but who approached her with a ‘friendly gesture’ to the tune of $500. Sandra later thanked him for his generosity and promised to repay the money:


That’s a peculiar tale, though the papers were careful, almost too careful, to explain exactly how the kid had managed to save up that vast sum out of his seaman’s humble wage. But when there were also two other completely different ‘cover stories’, and with the coincidence of timing, you can’t help but wonder whether, in fact, someone high up in one or other country’s Navy decided it would be a good idea for Sandra to be a long way out of town during the Bennington’s visit!

They may also have decided it would be a good idea for something else to happen to her.

Her New York itinerary included a television appearance – on The Johnny Carson Show, naturally.


After that she was flown back to California by chartered helicopter to be reunited with Bud on May 4. With a manifest sense of irony, the meeting was arranged to take place in Long Beach – the city, not the cruiser. And Bud was upset about all the publicity. Unfortunately for him, he was about to get some more of it. And it wasn’t all that fortunate even for headline-hungry Sandra.

A Smacking Welcome for Sandra Hilder, said one headline. Did it mean this?


Maybe not. Because another read Not the ‘Smack’ She Was Expecting. Bud really wasn’t happy about the publicity:


‘I’ve been wanting to do that,’ he said. ‘Even my father never did that!’ said Sandra. ‘Maybe your father should have,’ retorted Bud.

But the suspicion lingers: if everything about this trip was orchestrated, perhaps from the upper echelons of the Navy, and since Bud Brewer was a serving seaman… might he just possibly have been acting under orders to give the stowaway her just deserts?

The spanking ‘hurt my pride more than my backside’, said Sandra afterwards, but it didn’t do anything to shorten her fifteen minutes of fame. A few days later, she and Bud were offered cameo roles as a pair of lovers in the Phyllis Diller movie Did You Hear the One About the Traveling Saleslady? (released in 1968).

But the relationship didn’t last: Sandra returned to Australia in August, and in October she married a former Mr America, Richard Armijo.


She had one more television appearance to make after her return home, on Sydney’s In Town Tonight, for an interview by the show’s notoriously intense, clinical presenter, Brian Adams. The encounter evidently did not go well for her. Afterwards the press mused that ‘such a little girl’ should get ‘such an almighty thrashing’. I dare say that was just a metaphor – but after what happened to her in Long Beach, who knows?!

The Fille Files: The Moment of Truth

We’ve been exploring all the interesting little variations that occur in the Fille spanking sequence from performance to performance, as the net progressively closes on Lise. We’ve watched as her friends tempt her away from her chores and then, sometimes, try to protect her from the consequences. We’ve seen her futile efforts to escape, which only bring her ever closer to her doom. And now the moment has come: it’s time for Lise to be spanked!



The first thing Simone has to do is take her daughter across her knee, so that finally there can truly be no escape for the naughty girl. Since there’s just been a lot of business involving Lise trying to get away, it’s usual for this to be something the widow does by force majeure, but look at how it was handled in this 2010 dance school production from Chile:

Having chased Lise, then bodily carried her to the bench as she kicks her legs in futile resistance, Simone then sits down and just pats her own lap, effectively a command for Lise to lie down of her own accord. And it seems that Lise simply resigns herself to the inevitable, and puts herself into position.

The following year, at another dance school at Parana in Brazil, Simone again gives the order and Lise first does a defiant little twirl before her capitulation:

What this business establishes is that being spanked is a familiar domestic routine for Lise: it may be her mother’s last resort but it’s not so uncommon an event that she doesn’t know exactly how she is supposed to respond to the ‘get over my knee’ gesture. So this is a more habitually naughty Lise as well as one whose spirit of defiance is broken early and easily, before the spanking actually starts.

Some Simones require even more cooperation from Lise, thanks to the scenic department’s failure to supply a suitable place to sit:

Marná opatrnost2007-kazan

This can mean that Lise gets spanked in the SLB position, sometimes with her feet on the floor…


and sometimes, more spectacularly, not:

And occasionally the widow may opt for this even when she could just as easily sit down and turn Lise OTK:


And once the naughty girl is securely in position, the next thing to be done is the necessary clothing adjustment…


We have seen before how some productions make decorous concessions to Lise’s modesty by leaving her skirt down. Here’s a case in point from another Brazilian ballet school in 1995:

And sometimes only the skirt will be turned up, leaving Lise still covered up by layers of petticoats:


But sometimes Simone’s efforts to get all the petticoats out of the way becomes a big, busy part of the preparations.


And that brings us to something that’s an often major and always enjoyable variable in any raised-skirt spanking:


Lise is, it has to be said, fundamentally a nice girl even though she’s also a naughty one, so she usually wears nice-girl white panties, right back to Nadia Nerina in 1960, who established the convention that the character is costumed in soft shades rather than jewel colors. Sometimes the ‘panties’ will actually be the snug and sexy lower end of a dance leotard:

2015 Indiana Ballet Conservatory eve 08b2015 Indiana Ballet Conservatory mat 13

Often there are some decorative frilly ruffles, seen here adorning the rear end of Sarah London in 2012:


And at the Attitude Ballet School in Hungary in 2016, in a non-professional production that was uncommonly free with the seat of Lise’s panties, Szimonetta Bazar had a little splash of color there:


Lise has also been spanked, from time to time, on panties that were gray…

2012 Opera Wroclawska Poland spank 2

or pink:


And despite the ‘Nerina convention’, there have been some very colorful Lises, such as Aimi Hamman at Kansas Ballet in 2009:


There’s also some color-coordination in the outfit worn by this Greek Lise, even if she obviously wasn’t expecting anyone to see her bright blue panties:


Perhaps it’s even less expected to see this Lise in red from an Italian ballet school in 2014:

2014 Danzarte Quarona Deborah Pattaroni

But for the quintessential unexpected panty moment in a Fille spanking, we return to another Brazilian dance school, which staged the ballet in 2009. Four performances were given with two different dancers alternating as Lise. All four shows were documented by a photographer who, regrettably, used uncommonly aggressive watermarking. Here’s the first Lise getting her white frillies spanked:


But there was embarrassment in store for the other Lise when she first found herself face down across the widow’s lap. Up went her skirt… to reveal that she’d forgotten to put on the costume undies, and she was duly spanked on her own regular white panties!


And that explains why, when her turn came round again, Simone was initially reluctant to lift the careless dancer’s skirt:


She did so eventually, however… to reveal an altogether frillier bottom than the day before!


Naturalism or Artifice?

Most of the time, when Lise is over her mom’s knee, her position is the one we expect to see: feet in the air, her dismay as evident in the attitude of her body as in her face.


It’s quite rare to find Lise being spanked with her feet on the ground, though Laura Morera managed it in this 2012 Royal Ballet rehearsal:


But there is one very strange variant that crops up from time to time, in which the spanking is treated quite differently: instead of the usual naturalistic positioning, the characters are momentarily suspended in a tableau. Here’s an attempt in a 2013 ballet school performance:


She elevates her right leg to create a kind of OTK arabesque, an effect which will be clearer if we look at a performance where there’s no skirt to conceal Lise’s legs:


This is a style of presentation which doesn’t lend itself well to any actual spanking.

You can see the problem in this 2010 Italian ballet school performance, where Simone is visibly discomfited for a moment, but then gamely tries to get in a few smacks anyway:


And that means we’ve reached the central question for every staging of the Fille spanking scene:

To Spank or Not to Spank?

This scene is a climax in the strained relations between mother and daughter: all other attempts at discipline have proved ineffective, so a spanking it will have to be. Unlike everything Simone has tried before, this is going to be formal. It’s also going to be humiliating and painful, not least because it’s going to be done on the seat of Lise’s panties. And because it’s OTK, it has the potential to be quite extended: all the power is now with Simone, so Lise won’t be getting up until her mother’s good and finished with her. Except of course that the untimely arrival of Farmer Thomas and his idiot son means she has to break off early…

So the question is: how far does she get before she’s interrupted?

There’s no standard way of doing the scene. Sometimes the men arrive as the widow raises her hand for the first time, and Lise is saved at the last possible moment: no slap descends, and sometimes the spanking palm even morphs into a coquettish little wave to greet Thomas.


As noted, the ‘OTK Arabesque’ staging lends itself best to this option, because effectively everything freezes, rather than just the widow’s spanking hand. But not all Lises are so lucky: often Simone lands a slap or three before the interruption, and occasionally even more; Fiona Tonkin got five, and there were fully six in this 2013 production at a French ballet school.

Reasons to avoid any actual spanking no doubt include the understandable one that sometimes a ballerina just doesn’t want to be spanked (or her colleague is too much of a gentleman to spank her). One possible solution to that may be illustrated by this 2009 Brazilian production with Leticia Fraietta as Lise:

Lise does get spanked, albeit not on her panties, but Leticia doesn’t: there’s no actual contact with her bottom.

But another reason is that the spanking is a moment of potential chaos in an art form that is dedicated to complete precision and beauty of line. The very best Fille spankings feature glorious legwork as Lise kicks frantically, and for that the dancer needs not only not to be distracted by what’s happening to her just above the top of her legs, but also to be in a position of total stability. Let one of the great Lises of recent times, Angelina Vorontsova, show us how it’s done:

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Her legs are going great guns at one end, but notice how she’s bracing herself at the other by keeping a tight grip on the bench. It’s an outstanding piece of work – and remember, not all Lises will be dancers of her calibre.

And the final problem is that, such are the vagaries of live performance, Simone and Lise can’t necessarily rely on Thomas and son making their entrance at the exact moment intended: even if the plan was to save Lise before the spanking had started, she might find herself having to be spanked simply because the other two dancers were a few seconds late getting onstage.

Our last example shows an inventive way round that issue in an Italian ballet school production of 2011, with Silvia Losignore as Lise:

This Simone (Adriana Laforgia) carries to comical excess the task of ‘preparing’ Lise, not only sweeping her skirt and petticoats meticulously out of the way, but then busily ‘smoothing’ the seat of her panties. In the story, she’s making absolutely sure that Lise is going to really feel the spanking she’s about to get, with the panties made as snug as a second skin. In reality, she’s making absolutely sure that her fellow dancer isn’t actually going to get it, not even the first slap: this production doesn’t rely on split-second timing from Thomas and Alain, because instead Simone uses business to fill up however much time passes before they reach, as it were, the nick of time. And though of course we’d much rather see Lise get spanked, it’s undeniably an amusing and effective solution!

Photographer of the Week: Randy Allen

Amateur photographer Randy Allen, of Nanaimo, British Columbia, fondly remembers the pin-up calendars that used to hang on the walls of his uncle’s garages and workshops. Now, with Powder Puff Vixen Photography, he aims to continue that tradition. And he seems to be having some success.



The shoot that particularly catches our attention took place in 2011 and concerned three girls who got together for a slumber party. One was Lou la Massacre, whom we’ve previously met dishing out a spanking in front of Shimona Henry’s camera. The second girl, Chevvy Piston, has also shot for Shimona, as you can see here:


And finally, meet Danger Lynn.


Here she is with her husband:


It’s Danger who was in danger at the slumber party. Here she is, dressed for the shoot:


At first it looks as if Danger and Lou have ganged up on Chevvy:


But that’s not how things panned out. Danger wound up prone.


Who’s going to spank her? You, Lou?


No, it’s Chevvy’s prerogative!


To see more Powder Puff Vixens, please visit Randy’s website.

O, To Be In Europe…

In the first part of this article, we saw how risky it is to be a naughty girl in Germany and Austria, where they are not just spanked but routinely at risk of being spanked on their panties. Now we’re going to extend the bad-girl bad news by tracing a circle around the Teutonic countries at the continent’s center and showing how the same practise can be found in mainstream material all over Europe. Our first port of call is directly south, to Italy. But our example illustrates how Europe can’t easily be divided up into its national components.

La Matriarca (The Matriarch; 1968), released in English-speaking countries as The Libertine, is the work of Italian scriptwriters and an Italian director, Pasquale Festa Campanile, but it’s also a very European movie: the leading cast are Frenchman Jean-Louis Trintignant and Belgian Catherine Spaak.


And Catherine also happens to be the niece of Paul-Henri Spaak, the man who laid the political foundations of the European Union. Though for our purposes her illustrious surname has, or approaches, another kind of relevance…

She plays Mimi, a widow who discovers her dead husband’s secret sex life and sets out to become a libertine and explore her own sexuality, often in a matriarchal manner. Much kinkiness follows with many different men, the last of whom is Dr Carlo de Marchi (Trintignant), who has a novel idea for their relationship: he wants to marry her. She insists that she doesn’t want to marry him. But he also has a novel idea for getting her to change her mind, which involves something not entirely dissimilar to that interesting surname…


The significance of the spanking scene for this particular article is how it begins and ends. Carlo puts Mimi across his knee and, without even pausing for breath, lifts her skirt. It’s going to be a seat-of-the-panties spanking! Though in this case the panties aren’t the pretty bikini style she wears earlier in the film, as seen above, but something more akin to lacy cycling shorts, which go down more or less as far as the hemline itself:


But it is a vigorous panty spanking all the same!


Just under a minute later, after she has tearfully accepted his proposal, he gently restores the skirt to the ‘down’ position. He relaxes, with her still over his lap: the spanking has clearly come to an end.


My point is that what signals the intention to spank her, just as much as putting her into position, is the raising of her skirt, and what signals the decision to stop spanking her is its corresponding lowering – even though he doesn’t then immediately go on to release her from the spanking position across his knee. The maxim may be that it’s not a proper spanking if it isn’t OTK, but in this movie it looks as if a spanking is also (and more) defined by its being administered on the mutandes (as the Italians call panties).

We can reinforce this if we travel east to a country that no longer exists. The film Jedanaesta Zapovijed (The Eleventh Commandment), also known as Korana Plays with Fire, deals with a romantic relationship between an older man and his best friend’s teenage daughter, Korana. It is the work of a Croatian director, Vanca Kljakovic, a Serbian leading man, Dragomir Bojanic-Gidra, and a Bosnian leading lady, Vesna Malohodzic.


In 1970, when the film was made, they all belonged to that loose, doomed confederation of Balkan states known as Yugoslavia. And in 1970, female fashion typically left girls self-prepared for what Korana gets when she plays with fire!


There’s also a photo taken on the set, with a stills camera positioned just to the right of the one capturing the moving action:


Forward in time now and into neighboring Hungary, where we have previously seen some pleasing evidence of panty spanking in professional wrestling. A more recent match, in January 2017, saw one of the valets slung over the ropes of the wrestling ring, which is admittedly not the best position for spanking, but at least she had her little skirt thrown up for the occasion.


And if you look carefully, you can see the edge of her own panties peeking out from underneath the costume panties, too!

Further east brings us to Ukraine, home of the FEMEN movement and scene of the great 2009 spanking protest against sexual harassment at university. The event featured a cast of eleven girls, nine of whom got, between them, an awesome nineteen spankings, of which fully fourteen were administered on the seat of their panties!



We’re now at the eastern edge of the continent of Europe, so we have to turn north. But Russia presents us with paradox: it’s a country that starts in Europe but continues eastward to the very ends of Asia. Inconveniently, my example is from the Asiatic part, Western Siberia to be precise, but we’ll treat it as nominally European in a nation whose seat of power lies in Europe. And it’s one we won’t want to miss: a 2009 production of Kiss Me Kate which is one of those rare and enjoyable occasions when Kate’s period dress is lifted to spank her – revealing Lilli’s modern panties!

Now we must head west again, which brings us back inside the European Union, to Poland, where another production of Kiss Me Kate awaits us. It opened in Dziedzice in September 2008, with Sebastian Gabrys as Fred and Anna Pasz as Lilli.

They were (and incidentally still are) a couple offstage as well as on, which adds to the spice of the performances. Though it probably didn’t embolden him to reveal her bloomers for the spanking, since skirt-lifting seems just as standard in Poland as it is everywhere else we’ve been today, in everyday life as well as onstage, as witness this example of a Polish birthday spanking from 2011:


Moving on to Slovakia and the Czech Republic, we can illustrate the same overlap of staged drama and folk customs. Czech film readily offers us the familiar examples of Honza Malem Kralem (1977) and Postriziny (1980):

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And in real life there is the widespread pomlazka custom of whacking girls on Easter Monday…


… sometimes after making certain necessary adjustments to their clothing:


Leap-frogging over Germany, which we’ve already covered, brings us to Denmark, where again there’s an obvious example in the 1960 movie Poeten og Lillemor og Lotte (The Poet, Little Mother and Lotte), in which Dirch Passer memorably spanks an extremely self-prepared Judy Gringer:


Again, the stills photographer was positioned to the side of the movie camera, this time just on the left:


It was, of course, a black-and-white photograph that was colorized later without reference to the movie itself, which is why Judy’s red dress is now green and her pink panties are now white!

What will we find in France? We’ll find Barbarella, of course. In 1962, Jean-Claude Forest (1930-98) created the nubile sci-fi heroine for a series of comic strip adventures that were serialized in the men’s quarterly V Magazine and then collected as a graphic novel in 1964. The plots are perhaps best described as visually imaginative (they aren’t notable for their coherence as stories), and Forest’s artwork is deliciously graceful and sensuous. He even has time for an occasional spanking reference, like this one in the eighth episode, in which Barbarella comes off best after an encounter with the wicked Queen of Sogo:


But we’ll find something more satisfying than that in the fourth episode, published a year earlier in issue #5 (Winter 1962-63). Barbarella arrives in the snowy kingdom of Antan (Yesteryear), where the inhabitants dress in the fashions of the 1880s (with certain exceptions that aren’t ordinarily visible but which we’ll be seeing later). The King, for example, is a grave, bearded individual in a top hat, and we’ll also be seeing him later. But the first people Barbarella meets are the twin princesses, Stomoxys and Glossina.


The teen terrors attempt to kidnap her, but she’s rescued by their brother, Prince Topal, and taken on an aerial tour of the kingdom. The naughty princesses sabotage the airship, and proceed to play a nasty practical joke. Barbarella’s reaction:


But as Topal goes to find the girls, on punishment bent, the girls conk him on the head, abduct Barbarella a second time and set their mechanical toys on her – toys that have sharp teeth! But Topal and his royal father arrive before too much damage is done, and…


It’s not clear which of the twins is shown here getting her non-1880s panties spanked, but one thing is made clear: they are both spanked – and then sent away in disgrace for a long stay in the country.

The biting toys from this episode found their way into the 1968 Jane Fonda film, but not the royal spanking – though the panel was included in the publicity materials!

Our final port of call takes us across the Pyrenees. We began with La Matriarca, and we end with La Madriguera (The Burrow; 1969), released in English-speaking countries as The Honeycomb. Like La Matriarca, it’s an example of European multi-national cooperation, with a Spanish director, Carlos Saura, a Swedish leading man, Per Oscarsson, and an Anglo-American leading lady with a significant father, Geraldine Chaplin. (Yes, Charlie’s daughter!) And also rather like La Matriarca, it’s about a couple using sexual games and fantasy to explore their identities inside an otherwise dull marriage. This includes a role-playing scenario in which she pretends to be a schoolgirl who has received an unsatisfactory school report, which results in her receiving something else:

The ruler across her black panties!

So throughout Europe, and especially in the center and east, it seems that it’s a regular, accepted thing to spank girls on the seat of their panties. The reasons for this are bound to be a matter of speculation and can wait for maturer consideration another time. But at this stage it’s important to emphasize that none of these examples are from porn. They are all from the mainstream media, in some cases of cultures that have a relatively relaxed attitude to sex and place the borderline between porn and the mainstream differently from America and Britain: yes, La Madriguera is about sex as part of a marital relationship, but in the context of a haunting, surreal art film.

And the material is not even always from the frank or risqué end of the spectrum: Poeten og Lillemor og Lotte and Honza Malem Kralem are both family films, and the latter, indeed, was made with the expectation that it would have especial appeal to children. You couldn’t get more mainstream than these movies…


… panties and all!

Fear of Fighting

A husband and wife return home from a party. She’s feeling rather satisfied. He’s feeling rather angry. Both feelings derive from the same cause: she spent the evening flirting with a young soldier. As she begins to undress, he scolds her and she mocks him. He writes a letter remonstrating with the soldier and she dares him to deliver it in person. He finally comes to realize that he just doesn’t have the courage to confront the philanderer and risk his reprisals. He suffers from… La Peur des Coups!

Georges Courteline’s sardonic playlet of that title has delighted French audiences since 1894. And one of its occasional delights arises from the moment when the nameless husband tells his equally nameless wife what he’d do if only she were ten years younger: he’d give her a spanking to remind her of what’s proper. It’s a reference that inspired this poster design for a 2016 production at Nogent sur Marne:


But theater posters can’t always be taken literally, unless of course you want to set yourself up for disappointment. The spanking is what the husband says he would like to do, but not necessarily what he actually does do: it’s a play about his essential timidity, so there’s every chance that his threat won’t be realized.

On the other hand, because Courteline’s writing concentrates on the smart dialog and is always frugal with stage directions, there’s also a fair chance that he will carry out his threat: he may be afraid to fight the soldier, but not to spank his wife.

And that is indeed what happened when La Peur des Coups was produced at Antibes as part of a Courteline anthology earlier in 2016. Here’s the scene as it was photographed for publicity purposes, with Jeff Buisson spanking Annabelle Charles:


(In the background on the left, incidentally, are Trielle and Valentine from La Paix Chez Soi, which was also included in the show – regrettably without an onstage spanking.)

In that publicity version, the couple have evidently just got back: she’s still fully dressed, and the reprisal is immediate. But of course it can’t be played that way because it would pre-empt the threat, so in the performance itself, the spanking has to come later on. And that means she’s already taken off her dress and shoes, and for protection only has her slip and (look carefully) her panties:


How splendid!