39 More Steps on the Road to Nowhere

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What does The 39 Steps give us? Well, as you can see above, it gives us a glamorous European spy who ends up in a prone position. Happily, onstage that prone position is in close proximity to the stiff-upper-lip British hero Richard Hannay, most often across his knee.

As we know, it’s only Faux-TK: despite appearances, she is not there to be spanked, but to die from the knife in her back.

No cause for alarm then?

Well, don’t relax too soon…

Because you do have to rehearse the play beforehand, and it’s not unknown for actors to take playful advantage of this situation!

Surely not…?

Well, maybe fidelity to the script isn’t the only reason these ladies have ‘died’ in a way that traps his hands firmly underneath her!

Yes, I’m being slightly frivolous, but let’s remind ourselves of all the plusses this scene can offer, over and above anything that might happen behind the rehearsal room door. The overarching one is the simple, indisputable fact that, done well, this looks like a spanking scene even though it isn’t one.

The girl will often wear an expression ranging from startled to anguished, that’s supposed to convey the fact that’s she’s just been knifed, but also bears an alternative interpretation.

When she falls over Hannay’s knee, her legs will leave the ground.

They will often flail attractively.

They may flail so much that her skirt rides up a little…

Or a lot…

In any event, she’s now bottom-up over his knee, in a dress that’s often pleasantly tight around the seat.

And when I say tight…

Sometimes tight enough to offer a nice little vpl glimpse of her panties underneath!

Rehearsal risks notwithstanding, actresses are usually happy to assume the position for publicity pictures.

But let’s not forget, this is a road to nowhere: nobody is going to get spanked in this show.

Although it is a fact that the actress in that picture, Nicole Lowrance, did get spanked onstage three years later, when she appeared in the off-Broadway premiere of Permission, a comedy whose entire subject is M/F spanking! What a contrast with The 39 Steps!

But in the end, even though this really isn’t a spanking scene,

who cares when the imagery is that good!

Photographer of the Week: Lasse Baltzer

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Danish commercial photographer Lasse Baltzer specializes in turning Danes into divas.

Among other genres he shoots glamor and boudoir photography, sometimes using the natural beauty surrounding his studio in Haderslev.

But boudoir shoots are more often done in the privacy of the studio, where he has a masterly control over light and shadow:

And, of course, glamor costs – though it seems many a glamor girl doesn’t mind paying!

We’re looking at a couples shoot featuring a comely pole dancer named Mette-Mi:

Here she is with her boyfriend Kim:

And here she is being spanked by her boyfriend Kim!

Really spanked too – that right hand’s in motion!

If you are interested in Lasse Baltzer’s work, please visit his website.

Young, Kinky and Dutch

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Three times a year since 2005, kinksters of every stripe beat a path to Boudoir Bizarre in Amsterdam. Some go to relax and enjoy themselves in the company of like-minded individuals.

Some go to show themselves off.

More formal shows are among the pleasures on offer.

With a pan-fetish event, it’s inevitable that the shows will aim to include something of interest to all, which means that from time to time the spectacle includes…

It’s all about favoring everybody’s preference without discrimination. So when the horror fetish burlesque troupe Bloodsquad did a show at Boudoir Bizarre, the action featured not only lots of gore but also this:

And apart from the kinky cabaret, why do people go to Boudoir Bizarre?

Evidently some of them go to be…

soundly spanked!

If you want to go, remember to book a ticket, remember to observe the fetish dress code, and don’t take a camera!

The Sign of Taurus

‘An Iron Curtain has descended across the continent,’ Winston Churchill declared at the start of the Cold War in 1946. And in Pol Quentin’s 1954 play, Le Signe du Taureau, the line of its descent goes right through the middle of a Central European castle.

With no script available and no easily accessible reviews, it’s frustrating to report that we know virtually nothing else about the play’s story, though ironically it’s easy to infer what it was actually about: the new frontier between Soviet and NATO spheres of influence imposed a similar bifurcation on the city of Berlin. It must have been a strikingly contemporary allegory when Jean-Pierre Grenier’s production opened at the Gymnase in Paris on February 17, 1954, just five years after the Berlin Airlift.

But we do know two specific things that happened in the play, which evidently dealt with the personal interactions of an assorted group of people staying in the half-capitalist, half-communist castle. Among them is a British philosopher, played by Jean-Marc Tennberg, and at one point, it seems, he attempts to entertain his fellow residents by playing the piano. Unfortunately, he’s not very good at it…

Forget Tennberg, just as the others wish they could. The couple we’re interested in are the ones in the middle. He’s André Bervil and she’s Nadine Alari:

It’s a likely inference from her fur coat that her character is a rich girl, but exactly what happens between her and Bervil is a mystery, except for the fact that it provokes the following act of vigorous vengeance on his part:

Yet another thing we don’t know is how long the play ran, though it had certainly closed by mid-September, when the Somerset Maugham adaptation Adorable Julia opened at the same theater. But in the scanty documentation we have, there is just a hint that Nadine Alari wasn’t sorry to be finished with one particular scene…

Photographer of the Week: Milos Gazdik

Hell is Round the Corner! Well, maybe it really is, but that’s also the name of Milos Gazdik’s photography project. Belgrade-born, Budapest-based Milos shoots mainly in south-eastern Europe and across the Hellespont in Turkey, combining commercial work with art photography that explores what he calls ‘the place between Heaven & Hell, Good & Bad, Positive & Negative, the place that is on the Border’ – the place where Hell is round the corner.

And that’s a borderline where things can swing both ways between the two possibilities, a point we’ll let Milos illustrate with the assistance of models Benedetta Axente, representing Heaven, and Margo Szabo, on the side of Hell:

Will good triumph over evil? It’s hard to tell in the state of the world today, but while we wait to find out, at least we can enjoy Milos’ photography with its stunning light and shade,

its clever use of Photoshop,

its wry visual wit,

its gorgeous girls wearing less, or showing more, than they might in the street,

and its frequent use of spanking imagery.

In front of Milos’ camera, it seems that girls will often start smacking one another’s bottoms.

It’s a trope that has even found its way into his commercial work. For a case in point, meet model Natascha Haack, whose commitment to bottom-whacking seems undaunted by solo work:

Never mind, she has fellow model Charmayne de Bruijn to work with in this 2012 shoot that Milos did for an ad campaign mounted by the Turkish branch of the men’s grooming range Axe. Cue a little female grooming by Natascha:

Hell has many mansions. In some people’s worlds, the worst that can happen is a Christmas when Santa brings something other than the expected sackful of presents.

But if there is a worse hell around the corner, let’s hope the riot police adopt the Milos Gazdik method of dealing with civil disobedience!

(That’s model Anita Markovic being spanked, in case you want to know. And we are told that she was very interested in the issue of exactly what she was going to be spanked with…)

If you are interested in Milos’ work, please visit his website.

Nosing Ahead

It is a truth universally acknowledged that a fairytale princess in the Czech Republic is at greater risk of being spanked than most other fairytale princesses whose name is not Dulcie, as witness the mischievous Princess Anka, to say nothing of the greatest of them all, and the most spectacularly spanked, the nameless and naughty silent princess who gets her spotted bloomers publicly punished in Honza Malem Kralem. And they aren’t the only ones…

Our new example is, admittedly, a fake (and would-be) princess rather than a real one. She’s a pretty young witch who suffers from an unsightly facial problem, which can be clearly seen in this picture of the actress who plays her, Veronika Jenikova:

The problem? She has a dainty nose, which wouldn’t be an issue in most of the world, but is a serious impediment here. For this is the 1983 television fairytale O velkém nosu (or, in English, Big Nose), set in a kingdom where the royal family consider a huge hooter to be especially beautiful: it is, in fact, one of the vital things that makes a girl eligible to marry the prince. But being a witch confers certain opportunities:

She magics herself an oversized proboscis, then gets the court painter (Petr Stepanek) to do a portrait that will get her into the running for the royal nuptials, and it is duly presented at court as a picture of Princess Brusinka:

Things do not go according to plan, because the prince turns out to have an unaccountable preference for nasally normal girls. To her chagrin, ‘Princess Brusinka’ is spurned in favour of her dainty-nosed rival, Princess Libena. The naughty witch’s efforts to disrupt the romance come to nothing, unless you count (and of course you do) a spanking that she gets from the painter:

And even worse, her supply of magic candy has run out – so she’s stuck with her big nose forever!

Devilish Times

It is 1946. The Second World War is over. The victorious Allies have released their prisoners of war and they are coming home to a Germany broken by defeat and crippled by rationing and regulation. These are devilish times – Verteufelte Zeiten.

That is the title of a 1947 comedy by Karl Bunje (1897-1985), also known as Auf Teufels Schubkarren or, in the Low German dialect that Bunje used, Up Düvels Schuvkar (The Devil’s Wheelbarrow). The central character is the young farmer Heiko Herkens, one of those returning soldiers. During the six years he has been away fighting, his father died and the farm was kept going by the past-her-prime maid Taline and the old retainer Jan Spin. Now Heiko just wants to have fun with the local girls and make some money producing black-market schnapps, all the while neglecting the upkeep of the farm. Rack and ruin is kept at bay by Taline and Jan, with the assistance of the charming Pomeranian war refugee Marie, who has been placed at the farm as a servant.

Several difficulties put themselves in Heiko’s way. One is that the authorities are cracking down on the black market, but since his flighty girlfriend Helga Hillmer is the local police sergeant’s daughter, he is forewarned and moves the illegal still into a closet in the farmhouse parlor. Herr Hillmer does find a bottle of the hooch, but when he tastes it, it’s so good that he believes it must be legitimate stuff.

Heiko’s other problem is the progressive deterioration of the farm: the cowshed urgently needs to be mucked out and the fence repaired. Confronted about it, Heiko drunkenly promises that he will marry the first woman who does the job for him. He’s hoping that Helga will take on the job, but she has no intention of doing a stroke of work on the farm, and is more interested in playing the field than tying herself down to just one man. On the other hand, Taline doesn’t need telling twice and cleans out the Augean cowshed in double-quick time – then holds Heiko to his promise.

For Helga, the crisis of the play comes when her father finds her alone in the parlor (or so they both think – for in fact Jan is hiding in the closet with the still).

Father and daughter have a frank exchange of views about her marital future, in the course of which she treats him with less than full daughterly respect. And that means:

This is the ‘curtain moment’ at the end of the second act, roughly the midpoint of the play, so Helga is spanked for as long as it takes for the curtain to come down.

We can deal with the rest of the story in short order. Although Jan is convinced that bachelorhood is the best policy, he helps Heiko maneuver himself out of his difficulties by introducing a third fiancée, who combines the advantages of Helga and Taline: she’s both pretty and hard-working. And so it is that the refugee girl Marie ends up as the mistress of the farm.

The play proved a great success in the north German folk theater, and two Hamburg stage productions have been televized over the years.

Those are pictures from the 1968 production with Gisela Wessel as Helga and Ernst Grabbe as her father:

And here it is in 1982, with Herma Koehn being spanked by Klaus Granzow:

Here’s a production photo from 1974, with Enno Buss spanking Lore Buchtmann:

And the play continues to be popular on the amateur stage in the present century. Here’s a 2004 production with Fiede Ehlers and Simone Bewarder:

Nowadays reviewers often feel the need to explain some of its period trappings, including the notion of a father spanking his 18-year-old daughter, but so far such considerations haven’t ejected the play from the repertory. Here’s a 2017 production with Heiko König and Birte Nührenberg:

And may there be more to come!