Date: Thu, 29 Jul 2010 00:18:33 -0400
From: Leslie DeMoury <lalez_lamour@live.com>
Subject: WHEN CRAZY DAISY MET SILLY LILLY

WHEN CRAZY DAISY MET SILLY LILLY
et La Danse de Deux a un Dulcimer,
Danse de Seduction

The story of two women who became dance partners, lovers, and the darlings
of underground theatre.  Their erotic choreography was as hot as their
romance was.  The fire of their passion was reflected in their art.

by LeLez~LaMour
a 'nom de naughty'
of a nice lady


This story could start, Once upon a time . . . but it really happened.

It was not a bouquet, but it was a Floral arrangement.  That is to say, the
matchmaker was a mutual friend, Flora, a poetess, who liked both Adrienne
Rich, and to introduce people who would fall in love with each other.  And
it was so, and still is.

Daisy was the dark one, with shorter locks like sable.  Lilly had the
longish, lighter tresses, though eventually, for the sake of symmetry, they
wore their hair of matching length.  Daisy definitely was the dominate of
the pair, Lilly more likely to let her lead.  But they were equal partners
in the relationship, and contributions to their collaborative artistic
endeavors was balanced fairly between them.

Lilly was originally a lingerie model, lithe, but not lanky.  Daisy was a
fashion designer, svelte and graceful, athletic even.  Serendipitously,
they wore the same dress size.  So they found sharing clothes handy when
they eventually became roomies, yet nonetheless personal styles were
distinct.  While Lilly no longer models, Daisy keeps her hand in the trade
and has several items that get sold to companies every year.

Even before they met, their nicknames had been bestowed.  That the rhyming
monikers made an inadvertent sort of match was simply coincidental.  Daisy
was the daffy, ditsy party girl of her social set, as in, "Do you know what
Crazy Daisy did last night?", her zany antics always on the wild side.
More retiring, yet with a mischievous streak, the not-all-that-meek blonde
was dubbed early on by her folks as Silly Lilly.  Her escapades were quite
the monkeyshines, often a practical joke on an unsuspecting parent or
sibling.  Meanwhile, she stood to one side looking innocent, until the joke
was at the height of its hilarity, then she was unable to constrain herself
and she burst into laughter.  Thus the perpetrator of the stunt was
unmasked.  "Good one, Silly Lillie!" they would admit to her talent for
tricks.

Lillie and Daisy became collaborators through Charlotte's Choreography
Academy.  Charlotte was known as Chuck.  She was not Lottie, her parents
had called her that.  Nor Charlie, that was a perfume; and Charlotte rhymed
with harlot.  She was called Chuck by her first lover Susan, and the name
stuck, though Sue had not.  Chuck had them in an interpretive dance course
at her training establishment.  Two friends who came to keep fit, more fun
than a gym, both found that particular curriculum offering appealed to
their aesthetic nature and signed up.  Their assignment for the final was
to create a composition of their own Terpsichore to be performed for the
whole class.

They chose Claude DeBussy's 'Clair de lune', they convinced a friend to
record it on a dulcimer for them.  It gave a different quality to the
music, very ethereal they thought.  Their title was "La Danse de Deux a un
Dulcimer", 'The Dance of Two to a Dulcimer'.  Only later was it lengthened,
as you shall learn.  Chuck saw this extraordinarily marvelous swirling of
contrasting females, yet a set, a salt and pepper pair.  Their piece was a
symbiotic vortex of ying and yearning, a twirling of yang and young women.
Twisting, swaying, they mirrored then counter-moved, they floated and
flowed, whirling around one another while they themselves spun; they were
blossoming flowers and falling leaves and willows in the wind.  They were
wonderful.

And there the story might have stopped.  Though both knew of each other's
lesbianism, they were not yet lovers.  Not even living together at that
stage.  That was about to change.  Chuck gave a pre-performance critique
and made some constructive suggestions for refining the routine.  They
diligently took notes and agreed that there were things that might polish
the piece.  Then they made arrangements for a practice room.  Due to their
work schedules, and the fact that they were part-time students, full-time
having first choice of times / rooms, they were booked for late one
evening.

They did get a large practice room, with plenty of space to refine their
dance.  In fact, they were nearly alone at that time of the evening, the
other students and faculty were few.  It was then, it was there, that their
lives changed, their careers became art and their art became their calling.
That they set a new direction for their lives out of an established
orientation, that they turned a single dance into a oeuvre, that they
created a genre and revolutionary underground entertainment, these all
began that special night.

I am privileged to know these ladies, I am honored they chose me to write
their history, I am delighted they are my neighbors downstairs.  I had been
invited over to their apartment several times, before they provided the
story and asked that I might share it publicly now.  The time seems to have
come for it to be told.  Any kind of consequences won't matter, as this is
past and passed too is their protégées progress into mainstream forms.  It
was obvious, nor did they ever hide the fact, of their joy in one another
and their long love.  The pictures and the tchotchkes scattered across the
place made that evident for the visitor.

They had many amusing incidents to share, and interesting perspectives to
provide.  For instance, the six ages of girlhood and the six ages of
womanhood.  Their own delineation which they ran down for me.  Lillie
explained the first set was: baby, infant, toddler, kid, teen, those
applied to most everyone, but then came coquette.  Daisy picked up the
thread for gals beyond their early twenties: youthful, mature, middle-aged,
'of a certain age', certainly aged (their present period), aged and old.
The point being, that now they had reached this stage in their lives, when
they knew that no damage could be done to family, friends, or colleagues by
the telling of their tale, they were going to.

'Indeed,' quipped Daisy, 'the telltale signs of our aging prompted the
decision to open up, though we never did turn tail from the telling the
truth.'  With that remark they let me in on their private lives and
secrets, their astounding story and personal triumph and the glory of their
art.  That night, in that practice room, they fine-tuned their routine, but
what came from that experience was anything but routine.  Once more their
bodies bent and curved, blended and swerved together, apart and united, in
motions slow and sensuous.

Nubile nymphs, spry sprites, sparked with inspiration and shining with
perspiration.  The night was hot, the lights didn't help and there was no
fan.  The windows were open to the breezeless dark.  The heat was hell in
the leotards, their towels were soaked.  They thought, there's plenty of
privacy, they had locked the door, there's nobody here but just us two
chicks – why not dance nude?  It would be cooler at least, and provide
an extra sense of freedom to their torsos and limbs as they performed in
rehearsal.  Like skinny dipping, skimpy dancing; or as they term it scanty
prancing, raised the activity to greater sensuality.

They practiced and repeated and reran the number.  The movements and
motions became memorized by their bodies was well as their minds.  The
final ending of the choreography had Lilly laying prone on her back, one
leg lifted in a high kick.  Daisy was alongside, just upstage to her but
slightly offset stage left.  She with an equally elegant elevated
back-kick, so that the angle from knee to pointed toe exactly paralleled
her partner's.  The last time they did the entire routine, it was flawless.
Daisy, being exhilarated by their perfect performance kissed Lilly, at that
moment of the dance's end; lingering and loving – right on her split
slit.  When they did it for the class, clothed, they kept in the kiss.  The
class clapped, they whistled, they laughed, they loved it!

What was not added is what happened next that humid and heated eve.  Crazy
Daisy kissed Silly Lilly on her split slit, then on her clit, and kept on
kissing.  Continuing with eager acceptance from the other.  Then Lilly was
kissing Daisy back, and from there they simply made love on the practice
mat near by.  On that mat they found their mate, founded their art in that
room, made history that night.  The routine was a complete success, and was
the talk of the school, not as scandal, but a scholastic breakthrough of
form, fearless for it's openly romantic feeling and esoteric eroticism with
exotic moves.  The dulcimer sound seemed to have bestowed in their work a
way of transforming technique into a genre of rapturous carnality embodied
in dance.

They were asked for a repeat performance, and the audience grew.  Attending
that second time was a famous impresario, Chuck's doing.  Again, the
request was pleaded so the students and faculty who had not seen the
magical piece, and even some from other Conservatories, could view this
phenomena.  Now entitled its full and final appellation. ''La Danse de Deux
a un Dulcimer, Danse de Seduction" no further translation needed.

The offer to perform professionally came with both a monetary incentive
that was too tempting, and a further contract for more of the same.  The
understanding that advancement of funding and finding venues would be with
yet ever increased intimacy.  Their art becoming both prurient and
personal, their private acts incorporated into public performances, the
caveat was that those who viewed them would be a very select few.

The exclusive access was restricted to only extremely wealthy people
patrons of refined works (and their special guests).  Mostly those who were
dedicated to the cause of 'le femme avec femme', though some males were
also willing to pay for the privilege of being in the audience.  Not
coincidently, "Le Femme Avec Femme" was the next title of the duo billed as
"Crazy Daisy and Silly Lilly, Les Fleurs Les Plus Fraiches du
Lesbianisme!".  Indeed, they were the freshest flowers of that set's sort
of sex, the newest artistes of l'avant guarde.  The dearest darlings of the
underground theatre that thrived on the kind of kinks that the populous at
large could never be let in on, except now of course it can.  From Cannes
to California the whole of society more readily accepts that there are
others of a different orientation; at least more tolerant of their
existence, if not their unions as marriage.

Flora, the poetess who like to introduce people who would fall in love,
acquainted the two of them with one another at a cafe.  And it was so, and
still is.  Thirty five years is half a lifetime, and perhaps they will see
their golden anniversary.  It's certainly possible, their health is as
solid as their love.  Lilly and Daisy accepted the bloom of their love
along with the boom of their new careers exploding, as well as the boon of
their financial security.

They danced, with newly choreographic routines and growing reputations and
glowing reviews and ever expanding audiences.  Chuck promised mentoring and
made good, eventually protégées provided a group of performers and made the
production more varied and all the more interesting.  This in turn
generated greater income, which was wisely invested.  Their troop was
called a 'bouquet of embolden ballet' by devoted fans.

I have seen not only the films of ''La Danse de Deux a un Dulcimer, Danse
de Seduction" and "Le Femme Avec Femme" which was danced to DeBussey's
'Afternoon of a Faun', (a natural follow up, but with less inhibition of
the exhibition of lesbian love); but also later works.  Some were recorded
on video, for instance "Quand L'amour Vous Propose sa Fleur", 'When Love
Offers Its Flower' again a seduction theme.  However, it's complete with
the erotic moves made explicit.  In this case, since it is performed by
actual lovers, just like when Brad and Angelina kiss on screen in
mainstream, the passion and romance is really there.  It has a lovely
rendition of Edvard Grieg's 'Morning Mood' for the music.

It is this latter piece that the gals asked me to review and describe as
best I could.  An endeavor difficult, if anyone could recreate in words,
what a live performance of such a risque and beautiful experience one views
for real.  But it is my responsibility as the conduit for their narrative
to attempt to do so.  Fortunately, I have had their help and guidance, even
some of their words to make my task easier.  My special thanks to Tonia
too, my own lover extraordinaire.

The costumes and feeling of this piece owe much to the spirit of Loie
Fuller, who danced in Paris at the end of the Nineteenth Century.  (Note:
Loie and her partner, Gabrielle Bloch, were together for over 20 years,
until Fuller's death.)  While the costumes were not the extensive swaths of
material their earlier predecessor of modern dance used, the flow of the
translucent floaty attire picked up the lighting and wafted through the air
in a similar fashion.  Of course they were specially designed by Daisy, and
also had a 'seven veils' sort of homage as they fluttered away to the
stage, one by one, until the two were left all but bare.  However, see
below.

The starting position had the women facing opposite, toward the wings, with
downstage feet stretched back, close to their partner's, toes pointed to
the back.  Backs arched, arms raised over head, hands tilted back to create
essentially a heart shape.  Music starts.  Like a pair of butterflies,
flirting as they fly, the gals glided around the stage, sometimes closer,
then further apart.  Circling as they seem to orbit some center of gravity,
like moths flitting about a flame, but it is meant to be the pheromonel
attraction of one other.  Then they touch for the first time.

As with earlier work, their repertoire of moves used is analogous at the
beginning.  With this piece the 'mirroring', immediately after the first
contact, was circular in what might be termed a clover leaf pattern.  The
next phase is a blend of parallels and counter-moves with reversals.  Not
unlike an Astaire-Rogers choreography where she is drawn back to the dance,
though reluctantly, yet is more and more involved in the intricate
pas-de-deux.  With spins and turns, reels and sweeps, and plaiting of limbs
the ladies little by little shed their coverings, the scarves and capelets
and sleeves and leggings, in a elaborate strip-tease for each other.

Of course, this is all done with a subtle and ethereal manner as the
gossamer garments appear to melt away.  But the completed effect is that
they are dancing now as a couple close and connected by some sort of
physical contact, from holding hands to linked arms, to hugs that lead to
jump/lifts, wearing a sort of abbreviated 'teddy'.  A very artistic effect,
even more erotic than if they had begun so.  Now their swirls and sways and
swings together gather momentum, and yet loose speed and they use the
entire stage area as a playground for their obvious affectionate frolics
and fleeting fondling.

This settles into a nesting position, where, as if they were on a imperial
size bed, they cavort in athletic foreplay until . . . Daisy, the
instigator of the seduction is clearly caressing Lilly.  Then the last
fluff of stuff they have left on is plucked away to reveal nudity (cleverly
the breasts and genitals are masked with flesh colored 'undies' – or not
depending on the venue, so I was informed by my sources).  Near
pornographic moves are simulated (or not) in time with the gentle ending of
the music that culminates in the beginning of cunnilingus, as the seducee,
Lilly, finally gives into Daisy as her now paramour.

My understanding, is that there were far more explicit and extended
performances done for very, very select clientèle.  These of course were
before the Internet provided the graphic clips for whatever anybody's
particular interest is.  In the long run, since these shows had such a
private nature, by invitation only and with so intimate kinds of touching,
few actually knew they existed, much less how to get to be privy to a
viewing.

While not really love-making, it was intensely exciting.  The girls would
never admit to orgasming as they danced, no matter how aroused they became,
and they did.  They were "not making-out, they were making art", as Daisy
put it.  Still, it was highly charged for both those on, as well as off
stage.  Many went home afterwards and did have sex after " Les Fleurs Les
Plus Fraiches du Lesbianisme" did their 'act', including Daiz and Lil, as
they affectionately spoke of one another in their home.  And during
rehearsals, they always had a soft pad on one side for when they became so
stimulated, that life imitated art.

La fin, mais pas la fin.


~()~()~()~


Daisy took Lilly, her lover and kissed her.  Kissed her lips, her cheeks,
her lips again, her eye-lids, lips, forehead, ears, a French kiss.  She
kissed Lil's neck and shoulders and clavicle, cleavage.  Then the foreplay
went back to square one, but the next progression included the nipples.
Meanwhile, slender fingers caressed the sable locks.  Before going lower,
Daiz move higher so that her partner and paramour could nibble a little on
her own tips, while she gently palmed the soft cushions that she had just
suckled.

Then she ran her lips along so lightly, they hardly touched Lil's skin,
from neck to navel, with all erogenous points in between revisited.  Light
zephyrs issued out of Daiz's mouth to tease the tummy and thighs of her
belove's middle.  Then lips recontacted with delicate kisses, that circled
and kept getting closer and closer to the most tender and sensitive
tissues.  Lil like to be made to wait, the suspense was especially exotic
and extremely arousing to her.  Daisy delighted in pleasing her
counterpart, to continuously have her on the edge, until the sweet agony
peaked in release.

Eventually, the lips and tongue that tantalized the supine torso centered
to make ministrations to the mons and the petals of the folds found down
there.  The nectar was abundant, fragment and fresh with the tangy taste of
femininity she craved.  The puffed and rosy bud of the most important place
was fully distended and yearning for attention.  It was not disappointed.
Varied and inventive were the licks and sucks and such so creatively
provided as the mouth cavorted upon that divine spot.  Flesh played with
flesh flicking and fluttering, and flickering yet more, Daiz did her best
to drive her mate mad with ecstasy.

Lilly built to a frenzied finish; to be brought to a slow boil and then to
explode in a geyser of steam, that was her style, her need, her way of
climaxing.  She had two vocal modes, either a loud, long and a high pitched
wavering wail of wild vented joy, one might imagined her a female
fire-engine.  The other way, if needed to maintain surreptitious conduct
for privacy sake, was an aspirated expelling of her lungs in bursts of
short pants, with ragged gasps to refill every couple or so waves of
paroxysms that washed over her body.  Either way, she was still breathless
when she came down from cumming.

This was followed by mutual caresses, as they lay together kissing.  This
served as not only recuperative time, but also preparations for the switch
of active and passive roles.  Sometimes they might mix it up or have an
agenda of trying something new once in a while, or perhaps tinkering with
toys to stimulate each other.  But like most couples, their regular sexual
modus operandi was worked out to make the most effective coordination for
the physical and emotional happiness of both.  Thus, next would be a
reversal of positions and Lil would work on Daisy.

Daisy liked a very direct and down and dirty type of approach.  Just as
their fashion styles differed, so too what turned them on and how they
wanted the love-making to proceed.  What they did have in common, (and
should not all lovers everywhere have?) was a trust in one another to
provide the most caring responsibility for the partner's body and mind
during so intimate and delicate a sharing.  They told each other what they
were ready for, what felt good to them, when it was too much of a good
thing.  They communicated, that is the key to great sex, and what they had
was grand indeed.

So when Lil latched on to the brown buttons of Daisy's tits and sucked then
to hard points, it was an experienced lover that made the move.  Studiously
doing oral applications to Daiz, with focus on particular points, rather a
general survey of her body, was her strategy of conquest.  The dearest sort
of persuasion was used on her closest companion and matching half, the
soul-mate and sweetheart of her life.  Now she was in charge and she was
not shy.  No tricks, just honest servings of passionate puckering, lashes
which the wet wiggly digit could waggle, and a two finger penetration that
went into the well of womanhood and sought to saw the cavity until she
sung.  A full throated call, or a sigh of melodic tones.

Thumb action on the clitoris was practical at this stage and with the
opposite arm rocking to provide the internal insertion of sensation.  Legs
wide and pelvis tilted to make an open target, Daiz was primed to be
pumped.  She used her own hands to squeeze her mammeries and twiddle her
nips, bringing up the heat to volcanic temperatures.  Soon, the caldera
would erupt, the earth to shake, the foundation of her being to vibrate
with incredible energy; the heavenly aftermath was almost as wonderful.  In
the arms of her beautiful spouse, truly then she achieved paradise in those
lovely moments.

They had, as Flora knew they would, fallen in love with each other, and it
was so, and still is, and so it shall be.


With this their story has now been preserved.  Don't bother to Google the
girls, for what was shared is past, and what was done has been passed on.
While prejudice should be passe', it's not.  What they're pleased to have
most is not publicity, but peace.  That is a true happy ending!

LL


Lilly shared this with me. Written by her friend.

Liberty With Love and Loss

Lorelei, Lover, let me be,
Lovely lady, set me free.

Yes, dear, I'm dying, can't you see?
And soon, too soon, I shall not be.

I cannot bear your tears and grief,
It steals my very soul, like a thief.

How shall I paradise obtain,
How of Heaven's peace might I gain?
When with you here, my spirit stays,
Lest with your soul it rests always?

That happiness in life, my love,
God granted me, bliss from above.

In your heart I shall forever be,
So Lori dear, please set me free.


By Sandra George;
to her partner, Lorelei Leigh,
written on her last day.



Copyright 2009 by Leslie DeMoury