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Und hier noch ein bisschen mehr. Rückblickend fand ich es spannend, dass ich bei meinem ersten Besuch
gleich 3 der besprochenen Fessler getroffen habe. Und zwar in der im Text gesetzten Reihenfolge:
Eikichi Osada, Chiba und Akechi Denki.

"Bondage Performer Eikichi Osada's life story, "Prologue of SMBD"(NEW)
Strains of the album produced by Andy Warhol, "Velvet Underground and Nico," can be heard emanating from the stage. A young woman with long hair walks onto the stage. Her white one-piece suit contrasts sharply with her red lipstick. A long rope, hooked onto a beam perched up around the ceiling, dangles about in front of the young lady.
A short guy carrying a long strand of rope walks onto the stage. He ties up the young lady in a jiffy, immobilizing her hands in the process. The victim is then made to get on her fours, as if she were a horse. The maiden in distress writhes in pain, struggle to regain her freedom of movement. Her tormentor forces her to disrobe, while continuing to tug on the rope as if it were a leash.?@The young lady's hands are next bound behind her back.
The man manipulating her then pulls on her cheeks with both hands. This forces the young lady to do a sit-up, so that her upper body stands vertical in relation to the floor. This position allows the man with the rope to hook it around her breasts. Pulling tightly on the rope further accentuates their budge. Without hesitation, another part of the rope is stuck into her mouth, and the poor girl is forced to clamp down on it as if it were a bridle. The presence of the rope in her mouth causes her to gag and gasp for breath. The look on her face is almost animal-like.
The young lady's "trainer" tugs once more on the rope. This causes the young lady to arch her back in the shape of a bow, and her suit, already in pieces, falls off to reveal her pale thighs. This sight provokes her tormentor to flagellate her thighs with a whip that is conveniently at hand.
The lady reacts to this provocation by leaning sideways, in an effort to avoid the business end of the whip. The whip lashes out again, and this time, it squarely nails its target. The victim muffles a cry of pain. Sparing no effort in his dastardly attack on the girl, the man next removes what remains of the victim's suit so that he can redirect his attack to her buttocks. He begins to spank them with his bare hands.
The man next switches his focus to the audience, hoping to elicit from them a reaction. The spectators, which number about 100 in all, seem to be satisfied by this outburst of violence. Of course, they ain't seen nothin' yet. The venerable grand master of SM, Eikichi Osada, has just started his show. These are nothing but the opening preliminaries.


Eizo Chiba's show, "Seiu Once Again."(NEW)
"The Bastardly Boob Hanger." This is the nickname which Eizo Chiba has come to be known by, beginning from this year or so. The reason? A series of articles printed in the magazine "S&M Sniper," running under the title "The adolescence of Kiriko, a died-in-the-wool Masochist." The exploits that Eizo performed on his subject in these articles went far beyond the realm of ordinary enthusiasts, and were enough to satisfy even the most hard-core SM maniacs.
The photos included with these articles spoke for themselves. In these skits, Eizo had his subject secured with nothing but multiple strands of rope around the boobs. When suspended from the ceiling, the ropes would contract around the breasts, causing them to turn red. As the subject was pulled upwards, higher and higher, the redness in the breasts would turn into a purplish, and then eventually a blackish color, with all the blood being dammed up in those tits with no place to go. It was a spectacle that was enough to make the spectators on the scene sick to their stomachs. But it also ensured that Eizo's name would become a household name in the SM business, familiar even to the uninitiated.
Eizo Chiba's show was scheduled for the final few weeks of 1996, a time when everybody is thinking and talking about other, more festive things(?). I arrived at his underground studio several hours before his skit was to begin, and asked for permission to sit in as a guest to cover the proceedings as a reporter. The place was packed with equipment and people getting ready for the show, and I took a seat in an inconspicuous corner of the place, and waited for the event to begin.
The studio, a rather spacious place, looked like it could easily hold more than 50 spectators. Up above the stage, which was carpeted with tatami mats, there loomed a long beam. From this beam was suspended a seat-shaped frame that would serve as the receptacle for accommodating the subject of tonight's show. The seat had attached to it two hemp ropes for buckling down the star of tonight's show.
Master Chiba, who is busy scurrying about the place with the final preparations for the show, takes care to see that his crew is not too tensed up by chatting with them as they get ready. Contrary to what one might expect of someone who makes a living by tying up other people, the Master behind the stage is a mild-mannered man. Hearing him speak, one would think that his true profession was a butler or a valet.
With all of the preparation work complete, the spectators for tonight's show come flowing into the studio. The place soon becomes packed, and with all the bodies crammed into such a confined area, the place becomes rather warm. In the midst of all this commotion, I somehow manage to stay seated, and wait for the show to commence. Soon enough, the lights flicker, and the MC goes through the formalities marking the start of the show. The spotlight is tilted toward the stage to reveal the Master, Eizo Chiba and the subject that he will tie up (we'll call her here Miss M). Tonight's show, dedicated to the memory one of the godfathers of the bondage business, Seiu Ito, has gotten underway.


Live report on Akechi Denki's show
"Heaven and Hell- an orgy of pleasure and pain,
love and domination, and just plain craziness"
Today, we feature a report on one of Japan's premier "quick-tying artists," Aketti Denki, and his live bondage act, entitled "Heaven and Hell." This run of "Heaven and Hell" was held on a cold, November day, whose weather reminded us of the fact that Christmas was not less than a month away. The venue for today's show was a studio located on the highest (fourth) floor of a building in Nakano (a Tokyo suburb) frequently rented for various types of entertainment spectacles. The studio itself is a cramped and dingy place. An audience of twenty people would easily fill up the entire place, and the only thing that separates the spectators and the stage is a small curtain. This is not the average type of place for holding a show. But then, Aketti's act is anything but average.
Of the handful (less than ten) "quick-tying artists" who make their living in Japan, Master Aketti is the only one who enjoys the privilege of holding the special title "Master of the Rope." Master Aketti, who freely confesses that he holds a fetish-like attraction for anything having to do with ropes, has managed to gain this title through the incorporation of innovative techniques in his show. His compulsive desire to achieve perfection in tying his subject often gives the impression to even the casual spectator that he is engaging in a sublime act, akin to love-making, with the subject on stage.
A firmly built chair can be seen in front of the stage, tilted slightly forward in the direction of the audience's seats. A florescent lamp, emitting a bluish light can be seen attached to the back of this chair. At 3 p.m., the lights in the studio are extinguished, signaling the start of the act. The seats, which were virtually empty up until only about half an hour ago, are now packed to capacity. The florescent lamp, hanging above the chair, glows ominously.
One of the Master's assistants hands over a bamboo rod, about 50 cm. long, to a spectator sitting in the front row. From behind the curtains, the subject to participate in tonight's show (we'll call her Miss M) emerges. She is blindfolded and bound. Holding her hand, one of the show assistants leads Miss M to the front of the stage. Wearing red stockings and red underwear, Miss M is tied up to the chair with the area between her thighs wide exposed for viewing. A member of the staff now asks the spectator wielding the bamboo rod to start poking at the immobilized Miss M. The spectator is directed to aim his thrusts at her boobs and pussy.
The guy gleefully jabs away at Miss M's private parts. Miss M, who has had to go through the ordeal of being bound, now is confronted by this poking. Low-pitched groans start emanating from her mouth. Egged on by these grunts, the guy with the stick relentlessly stabs away. While in the midst of this stabbing frenzy, the curtain is suddenly raised. From the curtain emerges Master Aketti Denki, standing tall like a mighty giant over a helpless captive.

Live bondage show, featuring Mai Randa
In this report, we bring you scenes from SMBD artist Mai Randa's live bondage show, which was staged in mid-September in downtown Tokyo at a hotel frequently used for such spectacles. On the day of Mai's show, the weather was bad, with strong winds and intermittent rain marring the event. But despite the foul weather, Mai's bondage show was packed with reporters and other people from the media.
When describing Mai, the adjective most frequently used has been "up and coming." In fact, this has been overworked to the point that it has virtually become an integral part of his name. And in fact, this adjective, "up and coming," has stuck because since his debut, no other guy has appeared to challenge his status of being the new kid on the block. All concerned acknowledge that there are no other claimants to the title of "The Number One Up and Coming Performer" in the bondage business.
On second thought though, Mai's handle, "the up and coming guy," has over the years, become somewhat of a misnomer. Mai is already in his mid-thirties, and he has over twenty years of experience as a bondage artist. He began his career as a bondage specialist when he was still in high school, and he admits that his first play partner was "a high school classmate."
Despite his age, Mai still has not lost his youthful enthusiasm for the art. He is brimming with many ideas on how to revitalize the bondage business. Currently, the SMBD business in Japan is divided into two opposing schools of thought. One camp emphasizes the formal, traditional aspects of rope-tying as has been practiced in Japan over the centuries. The other conceives of SMBD as an esoteric art that should remain the exclusive preserve of a few select devotees. Mai seeks to stake out a middle ground between these two extremes. His emphatic belief is that "SMBD is not the exclusive preserve of just a few enthusiasts. Nor should it be seen as an aberration practiced by perverts. SMBD is a normal and universal way of expressing the sexuality that lies within us all." Mai's goal is to make SMBD a common, everyday way to express our sexuality, while at the same time establishing its credentials as a form of sexual entertainment in its own right.
In his quest to popularize SMBD, Mai has been active on many fronts. He has appeared on major television network programs to explain what SMBD is about, as well as collaborating with people such as Dan Oniroku (who is acknowledged to be one of the prime writers on the subject of SMBD) and photographer Gaku Fukada to produce a promotional CD-ROM on the subject of SMBD. He also has started to release SMBD-related information on the Internet. In the near future, Mai seeks to practice his art in distant lands such as Europe and America.
This edition of the Tokyo Bondage Report brings you excerpts mainly from the press conference that was held immediately after Mai's show. We hope that you will be able to get a better idea of just exactly what kind of a guy Mai is after reading this report.

Shikou Shima Live Bondage Show Report
In this edition of the Tokyo Bondage Report, we bring you footage of a live bondage show that was performed this July by Master Sikou Shima in his Tokyo studio. As those who have browsed through our web site entitled "Learning the techniques of Japanese bondage & SM" already know, Master Shima enjoys the reputation of being one of the ablest bondage artists in all of Japan, with a career spanning over three decades. He also earns a living as a movie/film producer, specializing in the depiction of bondage scenes. Master Shima has long believed that SM and bondage play are acts which require the creation of a solid relationship, based on mutual respect and love, between the bondage artist and the subject. He is thus opposed to viewing SM as being merely a act of violence involving the torturing of women. However, spectators who have viewed his shows have never complained of his SM and bondage play as lacking in aggressiveness. Indeed, many have remarked upon the incredible ferocity of many of his stunts. What is the driving force behind the unbelievable energy and vigor that have become the hallmarks of the Master's style? The following extract may offer some hints.