Old Vibrators Still Create A Buzz

I know quite a few women who collect antique and vintage vibrators. Many of them find themselves brought into this area from a purely feminist point of view -- fascinated with the vibe's links to "hysteria" and "oppression of women's sexuality".

I have a few of these vintage toys myself... they are not easy to find -- and often they are not easy to identify. For images of some of the devices, see these links:

Another 'history of', with images and details of several antique models.

In Still Shakin, Sarah Klein interviews Mike Campbell of VibratorMuseum.com (which oddly is not linked to in the article, so I provide it here).

Good Vibrations has an online museum of vibrators -- however, once you agree you are old enough to view it, you'll not be taken to it. So, click the first link, 'agree' (if you do agree!) and then hit this second link to see the museum.

For more on vibrators, read A Brief History of Vibrators and Grandma's Secret: The History of the Vibrator. The latter relies much on The Technology of Orgasm; "Hysteria," the Vibrator, and Women's Sexual Satisfaction, by Rachel P. Maines. (And here's a review of the book itself.)

The book is quite the bible in this area; the author and her research have been featured on the Discovery Channel.

There is also an exclusive eBay group for those who collect Vintage Vibrators and Antique Massagers, and a Yahoo group as well.

And, big fans, can include trips to the Sex and Technology exhibition at The Erotic Museum and the Spark of Life exhibit at the Bakken, in their summer travel plans.

Historic Erotica

I've never wished more that I was in Paris... and as wealthy as King Louis XV... For on April 27, the Christie's of Paris is to auction off the Nordmann Library of Historical Erotica.

Included in the goodies are the original manuscript of Pauline Réage's Story of O, several works by the Marquis de Sade, and a unique surviving copy of Aretino’s "Sonnetti Lussuriosi" -- how utterly wonderful.

I wish I could at least see it, but a corporate dislaimer states "Because of its graphic sexual images, the catalogue appears online without illustrations." ARG!

You can get more on the reaction to the offering here, in the Telegraph's preview of the auction. While the Telegraph seems to have somewhat of a dislike the offering of such items (expressed evenly in this quote: " if there is a difference between erotic art and pornography, I have yet to find it"), they do note the historical value in the items with this comment:

"Whatever you think of the content, it is certainly a masterpiece of collecting, bringing together works of great rarity and value."

As such, they are far more liberal in their acceptance than some...

Albert Mohler writes:

"The big question, of course, is precisely what "value" these items represent. The late Mr. Nordmann may have put together this "masterpiece of collecting" but, in the end, it stands as one more monument to the confusion of the arts. Nothing that degrades, perverts, and demeans the Creator's gift of sex can be truly beautiful or valuable.

Christians can be guilty of a sex-denying prudishness that also robs the Creator of His glory in the gift of sex. This also requires careful Christian attention.

But what kind of perversity is represented in the collecting of a world-class library of erotica, worthy of auction at Christie's? This is Mr. Nordmann's legacy. And, whether they are comfortable with the public relations or not, Christie's is now a glorified smut dealership."

But he completely misses the point of the collection, of sexuality, and of this collection itself. In fact, I wonder, did Mohler even read the article to which he links? For neatly included in the Telegraph piece is this keen insight:

"Nordmann was, in his wife's words, acutely aware of "the universal heritage of documents which had, by intolerance and ignorance, been the subject of systematic persecution across the centuries". After his death in 1992, the library passed to his widow; but books are not like paintings, which give pleasure simply by hanging on the wall. They mean little to their owner unless they are opened."

I would, if only given the chance, preserve and enjoy the works Nordman saved.

But, alas, I am an ocean away, and more than a dollar short...

Tura Allura

As CultSirens.com says "Tura Satana's influence can be glimpsed in popular culture, even if the people inspired have no clue as who she really is."

Tura is more often recognized by her form than her name. But even if not recognized, her status as a legend has to do with her legacy -- a legacy of the Bad Girl. Not just a 'bad girl' who earned a reputation for sexual promiscuity, nor the crowd of boys she knew, but a girl with strength of her own. A survivor who did not count on the kindness of strangers, but rather learned how to take care of herself.

Born Tura Yamaguchi, her father was Japanese and Philippino and her mother was American Indian and Scots-Irish. World War II brought about internment for Tura and most of her family at Manzanar Relocation Camp in California. For two and a half years she was separated from her mother, who took a job close by so that she could visit -- but she was never allowed inside the camp. Like most of the Japanese families, they were there relocated to the Midwest so they were away from oceans and unable to send radio signals to any of the Japanese fleet. So the family moved to Chicago.

At age nine she was raped by five men. Being more than teased for her oriental heritage, Tura learned how little value she herself had when the boys paid no price yet she went to reform school for 'tempting' the men. Her dad then taught her martial arts so she could protect herself. Putting those skills to use, teenage Tura became the leader of a gang of teenage girls, and admits to being a "rebellious juvenile delinquent." At 13 years of age, her marriage was arranged to a 17 year old named Johnny Satana -- the name lasted longer than the marriage.

Next, Tura became a burlesque dancer because nobody would let her become a singer. In her own words: "Nobody wanted to hear my voice, really, even though I have four octaves, and everyone said I had a great voice. Everybody preferred that I show off my figure."

Her young and voluptuous figure overcame any objections to her oriental heritage -- and in Los Angeles Tura found success. Tura became pregnant at a mere 19, but she continued to dance for the upcoming eight months, and I wish I had photos of those days!

Ironically, it wasn't until she performed in Chicago, that Tura found people who didn't judge her on her 'Oriental' status. Now Tura broke her bad habits, and focused on dancing -- but it wouldn't be long before Hollywood would come knocking on her door.

Tura made several films, but she is most known for her role as Varla in Russ Meyer's Faster Pussycat, Kill! Kill!. The role of Varla is often called one of the most unique female villains in film history -- and both Tura and Russ have referred to Tura as just being herself in the role. No wonder with all her life experiences!

However, what's interesting about Varla, is not just her status as a villain, or her remarkable body, but the fact that as a villain, she did her own dirty work. She's a beauty as well as strong and independent. Neither Tura nor Varla are the kind who sit back and use feminine whiles to manipulate. Now that's sexy.

From burlesque to film, Tura stands as an icon of women's strength and sex appeal.

You can read more about Tura at her website, in the Austin Chronicle interview with Tura, and in a more recent exclusive interview at Sex-Kitten.net

Collectors will find rare signed items at Tura's ebay store as well as at her website store.

Antique Nude Glass Negatives

True story: A couple of decades ago, a collector is in Biarritz. In search of Operatic 78 rpm recordings stumbles into a more delicious find -- four boxes full of glass negatives. The people were going to throw away what the collector calls jewels...

The antique negatives tell of two young Spanish people in Biarritz. Pretty glimpses into days gone by, yes, but of more interest to us is the set of negatives includes nude images of what the collector calls a "young Catholic virgin." While it seems fantastic that at such a time (1900), in place (religious Spain), such photos were taken, one must be reminded of the centuries of artistic nudes. Someone had to model.

What is interesting to me is to see the same form dressed and 'out and about' as well as nude in a more private setting -- that really breathes the life into the past for me...

To view these antique images, visit Catholic Erotica 1900.

Before you click a link and visit, I remind you to click "English Spoken" where possible to get the story in English!

The Right To Collect

In The Indiana Jones Dilemma, the author discusses the issue of the 'right' to collect. More specifically, when it comes to preserving & owning rare items, is justice done best via museums or private collectors?

Personally, I have little that would qualify as museum quality due to it's rarity -- but then again, there are few official places with collections such that I have. But the question does beg to be asked in the general sense.

While I agree, in general, in a capitalistic measure of 'right' when it comes to bidding & buying power, I do have other concerns. One could assume that a wealthy collector would take proper care of the items, but there are no guarantees. On the other hand, many museums pack everything away, and no one can see it, enjoy it, so what's the point?

Like art, collectibles should be seen, shown and available. A Renoir in a private home may seem offensive to you, but isn't that better than sitting in some museum storage area, preserved but not on display because it's a 'lesser' piece and they don't wish to 'waste' wallspace on it's public display?

My largest concerns are what is done with the private collector's items upon his/her passing... Do the children, the estate, care about the items? A good old fashioned estate sale is fine. For larger more valuable collections, perhaps a museum donation (and likely headed to the 'archives' aka the basement). But I've seen too many dumpsters with artifacts I would have liked to own now damaged and laying amongst the polyester clothing, crushed by the pieces of drywall and commonly used household pots and pans -- with a fine layer of liquid from some punctured bottle or another... Truly sad.

So not only do I ask you, "Who should own valuable items?" but "How do you ensure their survival after your own passing?"