A secret society is a club or an organization whose activities, inner functioning, or membership are concealed from non-members. The society may or may not attempt to conceal its existence; the term excludes covert groups, such as intelligence agencies or guerrilla insurgencies, that hide their activities and memberships but maintain a public presence. The exact qualifications for labeling a group as a secret society are disputed, but definitions rely on the degree to which the organization insists on secrecy, might involve the retention and transmission of secret knowledge, the denial about membership or knowledge of the group, the creation of personal bonds between members of the organization, the use of secret rites or rituals which solidify members of the group. Anthropologically and secret societies have been interlinked with the concept of the Männerbund, the all-male "warrior-band" or "warrior-society" of pre-modern cultures. A purported "family tree of secret societies" has been proposed, although it may not be comprehensive.
Alan Axelrod, author of the International Encyclopedia of Secret Societies and Fraternal Orders, defines a secret society as an organization that: is exclusive claims to own special secrets shows a strong inclination to favor its members. David V. Barrett, author of Secret Societies: From the Ancient and Arcane to the Modern and Clandestine, has used alternative terms to define what qualifies a secret society, he defined it as any group that possesses the following characteristics: It has "carefully graded and progressed teachings". Teachings are "available only to selected individuals". Teachings lead to "hidden truths". Truths bring "personal benefits beyond the reach and the understanding of the uninitiated."Barrett goes on to say that "a further characteristic common to most of them is the practice of rituals which non-members are not permitted to observe, or to know the existence of." Barrett's definition would rule out many organizations called secret societies. Because some secret societies have political aims, they are illegal in several countries.
Italy and Poland, for example, ban secret political parties and political organizations in their constitutions. Many student societies established on university campuses in the United States have been considered secret societies. One of the most famous secret collegiate societies is Skull and Bones at Yale University; the influence of undergraduate secret societies at colleges such as Harvard College, Cornell University, Dartmouth College, the University of Chicago, the University of Virginia, Georgetown University, New York University, Wellesley College has been publicly acknowledged, if anonymously and circumspectly, since the 19th century. British Universities, have a long history of secret societies or quasi-secret societies, such as The Pitt Club at Cambridge University, Bullingdon Club at Oxford University, the 16' Club at St David's College. Another British secret society is the Cambridge Apostles, founded as an essay and debating society in 1820. In France, Vandermonde is the secret society of the Conservatoire National des Arts et Métiers.
Notable examples in Canada include Episkopon at the University of Toronto's Trinity College, the Society of Thoth at the University of British Columbia. Secret societies are disallowed in a few colleges; the Virginia Military Institute has rules that no cadet may join a secret society, secret societies have been banned at Oberlin College from 1847 to the present, at Princeton University since the beginning of the 20th century. Confraternities in Nigeria are secret-society like student groups within higher education; the exact death toll of confraternity activities is unclear. One estimate in 2002 was that 250 people had been killed in campus cult-related murders in the previous decade, while the Exam Ethics Project lobby group estimated that 115 students and teachers had been killed between 1993 and 2003. While their existence had been speculated for years, internet-based secret societies first became known to the public in 2012 when the secret society known as Cicada 3301 began recruiting from the public via internet-based puzzles.
The goals of the society remain unknown, but it is believed that they are involved in cryptography and cryptocurrency. The only secret society abolished and legalized is that of the philomaths. Many Christian Churches forbid their members from joining secret societies. For example, ¶41 of the General Rules contained in Discipline of the Allegheny Wesleyan Methodist Connection teaches: Further, by abstaining from membership in secret societies. We will on no account tolerate our ministers and members joining or holding fellowship with secret societies, as, in the judgment of The Allegheny Wesleyan Methodist Connection, it is inconsistent with our duties to God to hold such relations.“Jesus answered him, I spake to the world. “Wherefore if they shall say unto you, Behold, he is in the desert. “But above all things, my brethren, swear not, neither by heaven, neither by the earth, neither by any other oath: but let your yea be yea. See
Samois-sur-Seine is a commune in the Seine-et-Marne department in the Île-de-France region in north-central France. It is located near Fontainebleau, it is famous for being the town to which Django Reinhardt retired, hosts an annual jazz festival in his honor. It was the home to Reverchon Industries, a major global bumper car and other amusement ride producer, it is the birthplace of French jazz singer Cyrille Aimée. It has a lively community, with a Primary school, a weekly market, a baker, a butcher, two café/bars, several restaurants and hotels. A bus provides a link to the nearby town of Fontainebleau/Avon. Inhabitants of Samois-sur-Seine are called Samoisiens The town is mentioned in the 1954 novel Story of O as location of the mansion managed by Anne-Marie, a lesbian dominatrix. In 1978, the name Samois was adopted by a lesbian-feminist BDSM organisation based in San Francisco. Communes of the Seine-et-Marne department INSEE The Django Reinhardt Jazz Festival Reverchon Website Official site 1999 Land Use, from IAURIF French Ministry of Culture list for Samois-sur-Seine Map of Samois-sur-Seine on Michelin
Kenneth Anger is an American underground experimental filmmaker and author. Working in short films, he has produced forty works since 1937, nine of which have been grouped together as the "Magick Lantern Cycle", his films variously merge surrealism with homoeroticism and the occult, have been described as containing "elements of erotica, documentary and spectacle". Anger himself has been described as "one of America's first gay filmmakers, the first whose work addressed homosexuality in an undisguised, self-implicating manner", his "role in rendering gay culture visible within American cinema, commercial or otherwise, is impossible to overestimate", with several being released prior to the legalization of homosexual acts between consenting adults in the United States, he has focused upon occult themes in many of his films, being fascinated by the English gnostic mage and poet Aleister Crowley, is an adherent of Thelema, the religion Crowley founded. Born to a middle-class family in Santa Monica, Anger would claim to have been a child actor who appeared in the film A Midsummer Night's Dream.
He began making short films when he was ten years old, although his first film to gain any recognition, the homoerotic Fireworks, would only be produced a decade later. The controversial nature of the work led to him being put on trial on obscenity charges, but he was acquitted. A friendship and working relationship began subsequently with pioneering sexologist Alfred Kinsey. Moving to Europe, Anger produced a number of other shorts inspired by the artistic avant-garde scene on the continent, such as Rabbit's Moon and Eaux d'Artifice. Returning to the United States in 1953, he set about working on several new projects, including the films Inauguration of the Pleasure Dome, Scorpio Rising, Kustom Kar Kommandos, the gossip book Hollywood Babylon; the latter would become infamous for its many dubious and sensationalist claims, many of which were disproven, though some do remain as urban legends. Getting to know several notable countercultural figures of the time, including Tennessee Williams, Mick Jagger, Keith Richards, Jimmy Page, Marianne Faithfull and Anton LaVey, Anger involved them in his subsequent Thelemite-themed works, Invocation of My Demon Brother and Lucifer Rising.
Following his failure to produce a sequel to Lucifer Rising, Anger retired from filmmaking in the early 1980s, instead publishing the book Hollywood Babylon II. At the dawn of the 21st century he once more returned to filmmaking, producing shorts for various film festivals and events. Anger has described filmmakers such as Auguste and Louis Lumière, Georges Méliès, Maya Deren as influences, has been cited as an important influence on film directors like Martin Scorsese, David Lynch and John Waters, he has been described as having "a profound impact on the work of many other filmmakers and artists, as well as on music video as an emergent art form using dream sequence, dance and narrative". Anger was born in Santa Monica, California, as Kenneth Wilbur Anglemyer on February 3, 1927, his father, Wilbur Anglemyer, was of German ancestry, had been born in Troy, while his disabled mother, Lillian Coler, claimed English ancestry. The pair had met at the Ohio State University and after marrying had their first child, Jean Anglemyer, in 1918, followed by a second, Robert "Bob" Anglemyer, in 1921.
That year they moved to Santa Monica to be near Lillian's mother, Bertha Coler, who herself had moved there. It was here where Wilbur got a job working as an electrical engineer at Douglas Aircraft, bringing in enough money so that they could live comfortably as a middle-class family. Kenneth, their third and final child, was born in 1927, but growing up he would fail to get along with either his parents or his siblings, his brother Bob claimed that being the youngest child, Kenneth had been spoilt by his mother and grandmother, as such had become somewhat "bratty." His grandmother, was a big influence on the young Kenneth, indeed helped to maintain the family financially during the Great Depression of the 1930s. It was she who first took Kenneth to the cinema, to see a double bill of The Singing Fool and Thunder Over Mexico and encouraged his artistic interests, she herself moved into a house in Hollywood with another woman, Miss Diggy, who encouraged Kenneth. He developed an early interest in film, enjoyed reading the movie tie-in Big Little books.
He would relate that "I was a child prodigy who never got smarter." He retrospected his attendance at the Santa Monica Cotillon where child stars were encouraged to mix with non-famous children and through this met Shirley Temple, with whom he danced on one occasion. It was in 1935, he would claim, that he had the chance to appear in a Hollywood film, taking the role of the Changeling Prince in the 1935 Warner Brothers film A Midsummer Night's Dream. Set photographs and studio production reports in fact contradict Anger's claims, conclusively proving that the character was played by a girl named Sheila Brown. Anger's unofficial biographer, Bill Landis, remarked in 1995 that the Changeling Prince was "Anger as a child. Anger's first film was created in 1937; the short, titled Ferdinand the Bull, had been shot on the rema
Ring of O
The Ring of O is a specially designed ring, worn as a distinctive mark among BDSM practitioners in continental Europe — and the German-speaking countries — since the 1990s. Its use is widespread within this subculture, its name derives from the name of the central female character in the classic BDSM novel Story of O, a sex slave and wore an analogous ring. The ring mentioned in the original novel was quite different from what is most known as the "Ring of O" today; the novel describes the ring as shaped to a signet ring, made out of dull-gray polished iron, lined with gold on the inside, with a golden Triskelion on its top area. The ring's symbolic meaning in the novel differs quite a bit from the one used among BDSM practitioners today. In the book, such a ring is worn by a female "slave"; those wearing the ring are obliged to be obedient to any man who belongs to the secret society of Roissy, must allow him to do everything with them that he pleases. This stands in strong contrast to the ring's meaning today.
People indicate by wearing such rings that they are interested in BDSM, sometimes by the hand they wear it on whether they are a Top or a Bottom. The first film adaptation of the novel Story of O showed a design consisting of a cylindrical steel ring with an attached ball holding an smaller toroidal ring; this alluded to the leather collar and bracelets, each with a metal ring, locked onto O during her training. The first image of this jewellery design was published in the September issue of the German BDSM magazine Schlagzeilen in 1989; the term O Ring is sometimes used to refer to collars as well. In this context it can describe a collar with one large ring for fastening. Collars featuring such rings are worn by bottoms to indicate that they are in a steady relationship. Kathrin Passig and Ira Strübel: Die Wahl der Qual. Rowohlt-Verlag 2004, ISBN 3-499-61692-0 Matthias T. J. Grimme: Das SM-Handbuch. Charon-Verlag 2002, ISBN 3-931406-01-6 Ring der O on Papiertiger Ring der O on Smikipedia The Emblem project
A butt plug is a sex toy, designed to be inserted into the rectum for sexual pleasure. In some ways, they are similar to a dildo, but they tend to be shorter, have a flanged end to prevent the device from being lost inside the rectum. Butt plugs were designed for therapeutic uses and marketed with terms such as Dr. Young's Ideal Rectal Dilators. Unlike the vagina, closed off by the cervix, the rectum leads to the sigmoid colon. Objects that are inserted into the rectum can therefore travel up into the bowel: the flared end on a butt plug exists to prevent this; some dildos lack a flared end, thus it is ill-advised to use such dildos anally since they may get stuck. In addition, the lower bowel above the rectum is perforated. For this reason, butt plugs tend to be shorter than dildos, their marked size indicates the circumference of the device rather than the length, they must be smooth to avoid damaging the rectum or bowel. In order to get them into the rectum, they most have a general profile of a round-ended cone which narrows to a "waist" which locates itself at the anal sphincter, with the flared part outside the body, preventing the butt plug from slipping further into the body.
The sphincter muscle will hold the plug in place by the waist, preventing the plug from slipping out unintentionally. As with other activities involving anal penetration, such as anal sex, large amounts of sexual lubricant and a slow gentle approach are needed to insert or remove a butt plug. Butt plugs are sometimes covered by condoms for hygiene and to allow for the easy disposal of any feces with which they may come into contact, they should not be shared with other people, due to the risk of blood-borne diseases, including HIV, that can arise from the transfer of body fluids from one person to another. Butt plugs come in a variety of colors, shapes and textures; some are designed to look like penises, while some are wavy. The majority, are shaped as shown in the picture above, having a thin tip, wider in the middle, a notch to hold it in place once it is inserted, a flared base to prevent complete insertion into the rectum; some plugs are designed to penetrate the sigmoid colon. Butt plugs are made of a variety of the most common being latex.
Other materials used include silicone, wood, glass and many other materials. Silicone is a good material, as it can be disinfected in boiling water. There are butt plugs that "ejaculate" by squirting water or other viscous fluids into the rectum. There are vibrating butt plugs, butt plugs that can inflate and expand; some butt plugs are designed for men and stimulate the prostate. Other butt plugs are manufactured with long hair or simulated animal tails attached to the base for use in human pony play or other animal fantasy role play. Butt plugs are available that incorporate electro-stimulation. Butt plugs can be moved out for pleasure, they can be worn continuously for long periods of time. Fetish plugs are butt plugs that are designed in a way to be unusual, exciting, or unique in some way. A fetish plug is called such. A common type of fetish plugs is the butt plug with faux animal tail; the animal tail made with fake fur, is attached to the non-insertable end of the plug so that when worn or inserted, the impression is given that the wearer has an animal's tail.
Some "tail" butt plugs popular in human puppy play are molded from medical grade silicone allowing a simulated tail "wag". Sex toys that are used in the anus can get lost as rectal muscles contract and can suck an object up and up obstructing the colon. However, the flared flange is not a foolproof method of preventing the plug from entering the rectum with the inability to retrieve it; this may require medical intervention. Butt plugs of excess diameter can when inserted too and/or too forcefully, lead to sphincter tear, detachment or other rectal failure. Kegel exercises can help maintain healthy sphincter function; when inserting a butt plug, one should be gentle, use plenty of lubrication, start with smaller sizes, exercise patience. While medical data is sparse, some recommend not leaving a butt plug inserted for longer than two to three hours. Anal beads Anal masturbation Rectal dilator Rectal foreign body Tristan; the Ultimate Guide to Anal Sex for Women, 2nd Edition. Cleis Press. ISBN 9781573442213.
Morin PH D, Jack. Anal Pleasure and Health: A Guide for Men and Couples. Down There Press. ISBN 978-0940208209. Media related to Butt plugs at Wikimedia Commons
The Devil in Miss Jones
The Devil in Miss Jones is a 1973 pornographic film, written and produced by Gerard Damiano and starring Georgina Spelvin and Harry Reems. It is regarded as a classic adult film, released during the Golden Age of Porn. After his 1972 success with Deep Throat, Damiano shot the film in a converted apple-packing plant in Milanville, Pennsylvania. Along with Deep Throat and Behind the Green Door, the film is associated with a time in American culture known as "porno chic", in which adult erotic films were just beginning to be released, publicly discussed by celebrities and taken by film critics; the film's plot was inspired by the 1944 play No Exit by French philosopher Jean-Paul Sartre. The Devil in Miss Jones went on to spawn numerous sequels; as with many films of the Golden Age of Porn, the copyright status of The Devil in Miss Jones is unresolved. VCX claims a copyright. Georgina Spelvin plays Justine Jones, a lonely, depressed spinster who decides that suicide is the only way out of her dull existence.
While lying in the bathtub, Justine slits her wrists with a shaving blade and dies as the water fills with her blood. Because she has lived a "pure" life, Miss Jones finds herself in Limbo. There she meets Mr. Abaca, an angel, of sorts, who informs her that she does not qualify for entrance to Heaven because she has killed herself. Angry that this one indiscretion has left her with only the options of Limbo or Hell, she begs Mr. Abaca to let her "earn" her place in Hell by being allowed to return to Earth and become the embodiment of Lust. After an intense session of pain and pleasure with a menacing man who goes only by the title of "The Teacher", Justine has a few bizarre and sexually deviant encounters, the last of, a graphic threesome. However, just as she is enjoying her new life of lust, the brief time Justine was given to fulfill herself runs out and she is faced with the eternity of Hell. At first, Miss Jones is horrified at the pain she will be forced to endure, but Abaca is quick to dispel the common human myth of Hell and promises Justine that she will be "quite comfortable..."
Justine, now a raging sex addict finds herself confined to a small room with an impotent man, more interested in catching flies than her. She begs the man for sex, but he asks her to be quiet while he listens to the buzzing of his imaginary insects. Georgina Spelvin as Justine Jones John Clemens as Abaca Harry Reems as The Teacher Marc Stevens as Second Guy with Justine Levi Richards as Third Guy with Justine Judith Hamilton as First Girl with Justine Sue Flaken as Second Girl with Justine Gerard Damiano as Man in Cell Spelvin was 36 when she made the film; the Devil in Miss Jones was one of her first acting appearances following a career as a chorus girl on Broadway where she was featured in productions such as Cabaret and Dolls, Sweet Charity, The Pajama Game. Her role in The Devil In Miss Jones was typical of her career, as she played celibate spinsters who have a sexual awakening become sex fiends, she meets a tragic end in several of her other films. The film marked the first time she used the moniker Georgina Spelvin, a reference to George Spelvin, a traditional stagename used to hide a performer's identity, for any number of reasons.
According to her interview on Dave's Old Porn, Spelvin did the craft services and cooking on the set. The actress billed in the movie as Claire Lumiere was hired to do craft services only, but was offered $100 to do a lesbian scene with Spelvin, which she accepted. In an audio interview with The Rialto Report in 2013, Spelvin spoke about how she and Lumiere were lovers at the time and they accepted the adult film work as a means of raising money for their film collective; the movie was given an X rating by the MPAA and premiered at the 57th Street Playhouse in New York City. In many theaters it was shown after Deep Throat as part of a double bill; the Devil In Miss Jones broke the box office record for a pornographic film. It was more commercially successful than both Deep Throat and Behind the Green Door, competed against mainstream films, it earned $15 million in gross rental at the U. S. box office, making it the tenth most successful film of 1973, just behind Paper Moon with Ryan O'Neal and Live and Let Die with Roger Moore.
As with the other films of the porno chic era, it was reviewed by the film critics of mainstream newspapers. The film's review in Variety said, "With The Devil in Miss Jones, the hard-core porno feature approaches an art form, one that critics may have a tough time ignoring in the future", compared its plot to Jean-Paul Sartre's play No Exit; the review went on to say, "Damiano has expertly fashioned a bizarre melodrama", described the opening scene as "a sequence so effective it would stand out in any legit theatrical feature". It finished by stating, "Booking a film of this technical quality into a standard sex house is tantamount to throwing it on the trash heap of most current hard-core fare."According to Peter Michelson there is, "a small corpus of films—e.g. Deep Throat, Devil in Miss Jones, Behind the Green Door—that have a minimal but still sufficient artistic interest to distinguish themselves from the rest of the genre". Other critics have described it as, along with Deep Throat, one
Henri-Georges Clouzot was a French film director and producer. He is best remembered for his work in the thriller film genre, having directed The Wages of Fear and Les Diaboliques, which are critically recognized to be among the greatest films from the 1950s. Clouzot directed documentary films, including The Mystery of Picasso, declared a national treasure by the government of France. Clouzot was an early fan of the cinema and, moved to Paris, he was hired by producer Adolphe Osso to work in Berlin, writing French-language versions of German films. After being fired from German studios due to his friendship with Jewish producers, Clouzot returned to France, where he spent years bedridden after contracting tuberculosis. Upon recovering, Clouzot found work in Nazi occupied France as a screenwriter for the German-owned company Continental Films. At Continental, Clouzot wrote and directed films that were popular in France, his second film Le Corbeau drew controversy over its harsh look at provincial France and Clouzot was fired from Continental before its release.
As a result of his association with Continental, Clouzot was barred by the French government from filmmaking until 1947. After the ban was lifted, Clouzot reestablished his reputation and popularity in France during the late 1940s with successful films including Quai des Orfèvres. After the release of his comedy film Miquette et sa mère, Clouzot married Véra Gibson-Amado, who would star in his next three feature films. In the early and mid-1950s, Clouzot drew acclaim from international critics and audiences for The Wages of Fear and Les Diaboliques. Both films would serve as source material for remakes decades later. After the release of La Vérité, Clouzot's wife Véra died of a heart attack and Clouzot's career suffered due to depression and new critical views of films from the French New Wave. Clouzot's career became less active in years, limited to a few television documentaries and two feature films in the 1960s. Clouzot wrote several unused scripts in the 1970s and died in Paris in 1977. Henri-Georges Clouzot was born in Niort, France, to mother Suzanne Clouzot and father Georges Clouzout, a book store owner.
He was the first of three children in a middle-class family. Clouzot showed talent by playing piano recitals. In 1922, Clouzot's father's bookstore went bankrupt and his family moved to Brest, where his father became an auctioneer. In Brest, Henri-Georges Clouzot went to Naval School, but was unable to become a Naval Cadet due to his myopia. At the age of 18, Clouzot left for Paris to study political science. While living in Paris, he became friends with several magazine editors, his writing talents led him to theater and cinema as a playwright and adaptor-screenwriter. The quality of his work led producer Adolphe Osso to hire him and send him to Germany to work in Studio Babelsberg in Berlin, translating scripts for foreign language films shot there. Throughout the 1930s, Clouzot worked by writing and translating scripts and lyrics for over twenty films. While living in Germany, Clouzot saw the films of F. W. Murnau and Fritz Lang and was influenced by their expressionist style. In 1931, he made his first short film, La Terreur des Batignolles, from a script by Jacques de Baroncelli.
The film is a 15-minute comedy with three actors. Film historian and critic Claude Beylie reported this short was "surprisingly well made with expressive use of shadows and lighting contrasts that Clouzot would exploit on the full-length features he would make years later". Clouzot's wife, Inès de Gonzalez, said in 2004 that La Terreur des Batignolles added nothing to Clouzot's reputation. In Berlin, Clouzot saw several parades for Adolf Hitler and was shocked at how oblivious he felt France was to what was happening in Germany. In 1934, Clouzot was fired from UFA Studios for his friendship with Jewish film producers such as Adolphe Osso and Pierre Lazareff. In 1935, Clouzot was diagnosed with tuberculosis and was sent first to Haute-Savoie and to Switzerland, where he was bedridden for nearly five years in all. Clouzot's time in the sanatorium would be influential on his career. While bedridden, Clouzot read and learned the mechanics of storytelling to help improve his scripts. Clouzot studied the fragile nature of the other people in the sanatorium.
Clouzot had little money during this period, was provided with financial and moral support by his family and friends. By the time Clouzot left the sanatorium and returned to Paris, World War II had broken out. French cinema had changed because many of the producers he had known had fled France to escape Nazism. Clouzot's health problems kept him from military service. In 1939, he met actor Pierre Fresnay, an established film star in France. Clouzot wrote the script for Fresnay's only directorial feature Le Duel, as well as two plays for him: On prend les mêmes, performed in December 1940, Comédie en trois actes, performed in 1942. Despite writing scripts for films and plays, Clouzot was so poor that he resorted to trying to sell lyrics to French singer Édith Piaf, who declined to purchase them. After France was invaded by Germany and subsequently during the German occupation of France during World War II, the German-operated film production company Continental Films was established in France in October 1940.
Alfred Grevin, the director of Continental, knew Clouzot from Berlin and offered him work to adapt stories of writer Stanislas-André Steeman. Clouzot felt uncomfortable working for the Germans, but was in desperate need of money and could not refuse Grevin's offer. Clouzot's first fi