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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.
CONTINUE
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.
CONTINUE
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.
CONTINUE
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.
CONTINUE
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.
CONTINUE