What The Show Was Like
The promotional information for Gothic Bellydance describes
its contents as including, "souls possessed by an ancient
evil spirit; a black-winged fallen angel; an incarnation of Kali
and Isis; a leopard-woman from the island of Dr. Moreau; a tormented
silent movie vamp; a Gothic "Lolita" in love with Death;
a wanderer in spiritual exile; a snake morphing into a human;
a seeker violated and redeemed by divine domination; a siren
exercising her lethal charms; a worshipper of a winged serpent;
a flame whose deadly habits are all-too-human; a run-away gargoyle;
a maiden transforming into a warrior sorceress; a haunting deja
vu where victim, violator and avenger merge into one... and more."
While some of these inhabitants of its dark corners are easy
to recognize, others are not.
Most of the songs used for the performances on this video
are not ones played in a Goth club, but rather Goth-friendly
pieces by independent artists within the belly dance community
such as Solace and Jehan. I can think of a couple of reasons
for this, the most important being that music licensing costs
would be dreadfully expensive if the video used any music owned
by the big-name labels. But there's also a more subtle aspect
- using music from the belly dance community that is based on
Middle Eastern musical rhythms helps reinforce the "belly
dance" aspect of this video's intention.
The performances include:
- "Exiled." By Asharah. Song is by Solace. 4 minutes.
Asharah's style as a dancer is tribal fusion. Her costume consists
of a beautiful tulle bi telli (assuit) panel skirt worn
over pants with a coordinating bra/belt set. I'm not too fond
of the dance she does, mostly because the musical interpretation
doesn't work for me. She seems to rush ahead into the beginning
of the next phrase before finishing the end of the prior. Her
stage presence comes across as bored and detached, which is common
with dancers who are inexperienced at performing for video. On
a positive note, I appreciate her strength, fluidity, and flexibility,
and she has potential to be a lovely dancer. She makes me feel
the Gothic mood of the video.
- "The Journey Within." By Jeniviva. The song is
"The Huntress" by Gypsy Caravan. 4 minutes. The first
3 minutes of this piece really work for me artistically, and
I feel this dance really captures the overall theme of this video,
Gothic belly dance. It appears that Jenviva's character is portraying
an inner struggle, which escalates into possible suicide. Or,
perhaps this piece is the one that the promotional material is
referring to when it mentions that the program includes "a
maiden transforming into a warrior sorceress". About 2 ½
minutes into the piece, Jenviva produces two daggers from her
costume and moves with those as if fantasizing about using them
to hurt herself. Then, at the 3-minute mark, the dance moves
into a direction I'm afraid I don't understand at all. The daggers
vanish, and suddenly she is wearing a large feather headdress
and Thai fingers (long metal extensions that fit on the end of
the finger and look like 5-inch-long metal finger nails). With
this, she loses me. Her "journey" appears to have wandered
off its storytelling path and into the realm of "I'm just
wearing this random stuff because I think it looks cool."
I'm grateful this lasts only for a minute, and the closing scene
returns to the daggers, with the final pose seeming as though
she may have plunged them into her chest. Aside from that unfortunate
minute of Thai fingers and Las Vegas feather headdress, I find
this performance very interesting. I enjoy the way Jenviva's
musical interpretation aligns with the musical phrasing, and
builds along with the song to a climax.
- "Flame." By Ariellah. Song is by Nikolaus Kramer.
2 ½ minutes. The first time I watched this segment, I
thought perhaps Ariellah was portraying the devil or a demon,
due to her red costume and the hair sticks that look like horns
sticking up from the back of her head. But after further viewings,
I believe this is the performance advertised as "a flame
whose deadly habits are all-too-human". To me, the overall
effect of her performance is simply well-performed belly dancing
with no specific message or character portrayal, and I'm satisfied
with that. Ariellah's tribal fusion dance style suits the Gothic
mood of this video well. She's a skilled dancer, with precise
technique, and the phrasing of her dance fits well with the phrasing
of the music. Just one thing detracts from this performance for
me - Ariellah occasionally uses an arm position that I have also
seen Rachel Brice do that looks very awkward to me. She brings
her elbows close in to her sides, hunches her shoulders, and
lets her forearms dangle forward. Aside from the instances where
she does that, I enjoy watching her dance. She's one of the better
examples on this video of Gothic belly dancing.
- "Lovers of Teruel." By Blanca. 3 ½ minutes.
The song is "My Cup Runneth Over" by Jehan. I can't
see any relationship between the Spanish legend of the lovers
of Teruel and this performance. The segment is more of a music
video than a dance performance. The camera alternates between
Blanca outdoors in the woods and Blanca indoors dancing rooted
to the floor in a black ruffled minidress with a corset-like
bodice. She swishes around ribbons that are wrapped around her
forearms in a way that is distracting and annoying. Occasionally
lyrics from the song appear on the screen. The sunny outdoor
scenes provide pleasing visual contrast from the darkness of
many of the other pieces on this video, and I wish that the outdoor
environment had been used for the entire length of the song.
My first thought, when it showed Blanca on a sunlit day outdoors
with a sheer black veil was, "Ah, this will be a pleasing
change of pace - it looks like a Wuthering Heights take on Gothic
belly dance." But to my disappointment it turns out that's
not the case. Blanca's dancing on this piece doesn't really look
to me like a dance "performance" per se, but rather
like someone partying at a local dance club. This segment really
doesn't work for me on any level.
- "Homage to Theda." By Tempest. 5 minutes. The song
is "Monochrome" by Collide. In this piece, Tempest
evokes the memory of famous silent film actress Theda Bara, who
portrayed Cleopatra and Salomé among her many roles from
1914 through 1926. Tempest's costume is entirely in white and
beige, and she dances with a sheer veil against a black background,
suiting the "Monochrome" theme of her song. At times,
the scene transforms into black and white, then returns to color.
Text occasionally appears on the screen with portions of the
song lyrics, which I find to be an unwelcome distraction. Tempest
has exactly the right "look" to portray a memory of
Theda Bara - her facial features, her body type, her artistic
touches in her costuming, and her style of makeup all make her
convincing. The music for this piece is played by a recognizably
Gothic band (Collide), and Tempest's visual imagery suits Theda
Bara, but I find that the dance doesn't hold my attention as
well as some of the other pieces on this video.
- "Kali/Isis Mystery of Life and Death." By Ayshe.
9 minutes. The song is "Primordial Womb" by Jehan.
This piece opens with Ayshe holding a smoking cup which she places
on her head. Her dance incorporates two sets of wings of Isis
in differing sizes. Compared to other wings-oriented performances
I have seen, this one is particularly interesting and innovative.
She does almost no spinning in it, preferring instead to use
the wings for gesturing and framing. I can definitely see the
Isis/Pharaonic intention of this performance, though I'm not
so sure about the Kali. Although I enjoy the piece very much,
I feel obliged to point out that it contains almost no belly
dancing. Instead, the style is based on the modern dance movement
vocabulary. I enjoy the performance, but it's not Gothic belly
dance because it's not belly dance and it doesn't feel very Gothic
- "Two Gypsies." By the duet Martiya Possession.
3 minutes. Music by Solace. Each of the two dancers is holding
two knives, and the choreography depicts a battle between two
women. Ya Meena and Raven dance well together as a team with
excellent synchronization and polish, but after the first 30
seconds or so the simplistic choreography becomes rather repetitious
and boring. The choreography seems like something that was created
for intermediate students to perform at a recital or Renaissance
Faire amateur stage, and lacks the artistic maturity I would
expect for a professional production such as this video. The
costuming is well suited to the dance. The stage presence of
the dancers is rather detached, as if they are merely doing a
rehearsal. This piece doesn't feel very Gothic to me.
- "Come Darkness." By Tanna. 5 minutes. Music by
Jehan. This performance seems like a fairly normal American classic
style of belly dance veil routine - if I saw it performed outside
the context of this video, I probably wouldn't think of it as
particularly "Gothic". Tanna dances confidently and
skillfully, sometimes using the veil as a frame for her moves
and other times using it to paint pictures in the air. I find
that her musical interpretation on this piece is much more to
my taste, artistically speaking, than her other performance on
this video. But her veil effects don't incorporate much use of
belly dance moves, and the overall dance doesn't really put me
in a Gothic mood.
- "Delete All." By Neon. 4 ½ minutes. The
song is "Déjà Vu" by Jehan. This is a
combination of a music video and a dance performance. The first
30 seconds of the piece are music video imagery, which is interesting
and Gothic-flavored, but I'm not sure how it relates to the lyrics
of the song. I'm also not quite sure what the title "Delete
All" means and how it relates to the song, the imagery,
or the dancing in this segment. Neon performs in what I think
of as her normal dance style, which is strong, energetic, and
controlled. She wears a Goth-inspired costume and body paint.
I enjoy watching the piece because I enjoy watching Neon dance,
but I don't quite understand what the music video imagery that
periodically appears in the piece is telling me and for that
reason I don't quite see the Goth connection beyond the costuming.
Neon's on-camera stage presence is the best of all the dancers
on this video. I feel that she is really looking through the
camera and making eye contact with me.
- "Metamorphosis." By Ayshe. 6 minutes. The song
is "Journey's End" by Solace, which is my favorite
Solace song and is quite compatible with the Gothic tone of this
video. This piece begins with Ayshe encased in a glittering tube
of fabric, as a snake. Over the course of the dance, the "snake"
transforms into a woman. Or, maybe she is a butterfly emerging
from a cocoon, I'm not sure. Some of her snake movements don't
feel very snakey to me, but I find the dance intriguing nonetheless.
Like Ayshe's earlier performance, this dance is based on modern
dance rather than on belly dance. It's an interesting piece,
but I wouldn't call it Gothic belly dance.
- "Siren." By Ariellah. 3 minutes. The song is "Cybele"
by Solace. Once again, I really appreciate Ariellah's fluidity
and musicality. Her dance shows a strong connection to the music,
and is a pleasure to watch. As before, her piece consists primarily
of belly dance movements in the tribal fusion style, with Goth-friendly
music and costuming. Fans of tribal fusion are sure to appreciate
this piece. I'm not sure how Gothic this performance is though.
If you were to take away the dark backgrounds, overlays, and
special effects, this piece would be equally at home on an outdoor
stage on a sunny day. It doesn't pose a problem for me, because
Ariellah's sinuous dance style, makeup, and piercing looks are
compatible with the Goth aesthetic and she's one of the best
dancers on this video.
- "Fallen Angel." By Tempest. 4 minutes. The song
is "Slow Descent" by Knossos. This appears to be the
piece that the promotion for this video is referring to when
it mentions "a black-winged fallen angel". Tempest
enters the set at the beginning of the song carrying a pair of
wings of Isis that appear to have been made from flowing black
silk rather than the usual pleated organza. She uses them for
about the first 2 minutes of the song, then puts them aside and
continues dancing without them. This piece feels more dramatic
and Gothic to me than the Theda Bara piece (her other solo on
this video), and consequently I find it more appealing. The music,
played by a band that bases its sounds on Middle Eastern musical
technique, has a dark edge to it that feels right for this project.
Tempest's musical interpretation comes across very well in this
performance. I find this performance to be an interesting example
of Gothic belly dance.
- "Opaque." By Asharah. 3 minutes. This song is a
drum solo, played by Solace. This dance performance doesn't quite
work for me. A drum solo could have presented an opportunity
to raise the energy level in the stream of performances, but
Asharah's interpretation of it seems mellow and low-key. It's
as if she's dancing in her living room for her own pleasure rather
than dancing for the audience on the other side of the camera.
The choreography suits the music very well, but again she rushes
the end of each musical phrase, pushing forward into count 1
of the next phrase before the music gets there. I find her costume
very appealing, with her red tulle bi telli panel skirt
worn over flared black pants and the red accents in her hair
to carry the look upward. The segment is belly dance and it's
compatible with the Goth aesthetic, but Asharah's withdrawn stage
personality and her problem with rushing the beat make me think
of her as an amateur dancer rather than as a pro, and therefore
she shouldn't have made the cut for inclusion on this video.
- "Goddessence." By Jehan. 3 ½ minutes. Music
by Jehan. This is not a dance performance; rather, a music video
interpreting one of Jehan's songs. As the lyrics celebrate the
goddess saying, "I'm a servant of your will
and tied in your eternal embrace," the onscreen imagery
portrays scenes of bondage and implied Lesbian eroticism. There
is virtually no dancing of any style in this segment. The imagery
cuts rapidly from Jehan in a sex dungeon lip-synching in a diaphanous
white dress which clearly shows she is wearing no undergarments,
to scenes of one woman stroking another's body, to scenes of
wrists being bound into place with ropes or leather restraints.
It doesn't seem to fit either the Goth aspect of the video's
theme or the belly dance aspect, which raises the question of
why it was included. My only guess is that perhaps Neon included
it as a quid pro quo to Jehan, in return for Jehan's ongoing
support for World Dance New York video productions through allowing
her music to be used at affordable licensing rates.
- "Island of Dr. Moreau." By Neon. 2 ½ minutes.
Song is "Error 23" by Michael Dommes. This performance
is inspired by the H.G. Wells novel The Island of Dr. Moreau,
which has been made into a couple of different movies. In the
story, an evil doctor and his assistant are conducting vivisection
experiments, attempting to transform animals into humans. In
this dance performance, Neon portrays a leopard woman. Her costuming
is designed to make her look leopard-like, and screen overlays
provide the appearance of vegetation from the jungle. The music
has a beat that feels jungle-like. Neon's style of dance movement
evokes the sinuous grace of a large feral cat, with dance poses
that suggest the captivity. Neon's stage presence is the best
of the dancers on this video, portraying attitude and emotion
that come through the camera. Although the segment isn't what
I typically think of as Gothic belly dance, the use of Island
of Dr. Moreau as inspiration makes it Goth-friendly, and
the dance style is definitely belly dance.
- "Nataraja." By Ariellah. 4 ½ minutes. Music
by Solace. Ariellah's musical interpretation on this song is
interesting. Sometimes she is doing sinuous movements to the
melody line, while other times she is doing crisp movements synchronized
to the rhythm. The result is a varied dance with shifting energy
levels that holds my attention. Her stage presence conveys strength
and intensity that comes across in a way that most of the other
dancers on this video are unable to achieve. If only she didn't
have the issue I mentioned above with the one arm position, which
she uses frequently in this dance. Her performance is what I
would consider to be a skillfully-presented example of Gothic
- "Serpent Rising." By Tanna. 6 ½ minutes.
The songs are "Serpent Rising" and "Giza",
both by Jehan. I believe this performance is the one referred
to in the marketing description of the video as a "workshiper
of a winged serpent". In keeping with the opening song lyrics,
"The winged serpent stirs from the slumber deep inside,
patiently awaits, to take you on an astral ride," Tanna
begins the segment dancing with a large silvery cape with sticks
extending her reach, similar to how wings of Isis are handled.
Superimposed in front of her are images of dragons, themselves
winged serpents. Tanna then discards the cape and does a fluid
snake-like floor work segment, which I consider to be the best
part of her performance in this segment. Eventually she rises
to her feet, continuing to dance with standing undulations, and
moving into a segment of choreography that is not to my taste.
As the song "Serpent Rising" draws to a close, the
drum solo cuts in rather abruptly. I don't care for Tanna's interpretation
of the drum solo, partly due to her arms flailing about into
awkward positions and partly due to her exaggerated moves on
the accents. This performance did give me that Gothic feeling,
especially floor work part, and it is built on a solid foundation
of belly dance movement.
- "One Night in Gotham." By Jeniviva. 3 minutes.
Music by Jonathan Daly. I believe this is the piece World Dance
New York's marketing material is referring to when it mentions
a "runaway gargoyle". Jenviva begins and ends this
piece crouching on a balcony in a pose similar to that of a gargoyle
beside her. In between, she runs away, dances rapidly with a
veil, discards it, does some floor work, and ends with standing
moves. I have mixed feelings about this piece. Its higher energy
level marks a welcome change of pace from the slow music and
low-key mood that dominates most of the rest of the video. Jeniviva's
musical interpretation suits the music well, with the phrasing
and transitions of her dancing matching those of the music. However,
her technique on this piece sometimes seems awkward, as though
she is beating the music too hard. I'd like to see her aim for
more control and subtlety on the accented sections. Is it Gothic
belly dance? I would say yes.
- "Shawaza." By the duet Martiya Possession. 3 minutes.
Music by Solace. Ya Meena and Raven do a duet which is mostly
based on skirt dancing. They dance very well as a team, with
polish and synchronization. Unfortunately, their choreography
is rather predictable, and they themselves look bored as they
do it. It looks like material that was created for intermediate
students to perform in a recital and consequently makes them
appear to be students. Judging from their technique, these dancers
have some skill, but they need coaching on how to project themselves
on video, and they need some development in the craft of creating
"art choreography" that showcases their dance skills
more effectively. It's belly dance, but doesn't give me much
of a Gothic feeling, and I don't find it very interesting to
- "Ritual Means." Duet by Ariellah and Tempest. 3
minutes. The song is "Paradise Lost" by Solace. This
piece consists of sections with holding props (sword & candles),
veil work, traveling moves, and floor work. Interestingly, they
make use of a 9/8 rhythm which adds a note of variety to the
project. This choreography doesn't really speak to me. The title
and the choice of props suggest that it's a temple scene, but
I'm not too sure of what I'm seeing. When the dancers do full-body
undulations with their profiles to the camera, they don't synchronize
well with each other. The piece has potential, but could have
benefited from further fine-tuning before being presented.
It's normal, when watching a video with such a large number
of dance performances, to enjoy some more than others. My personal
preferences are clear from the descriptions above, but other
people may respond differently.
One problem that many of the dancers on this video seem to
share is that they are weak in their ability to project their
stage presence, attitude, and personality through the camera.
This is probably partly due to the multi-camera setup used to
film them, leaving the dancers uncertain of which camera to look
at, and partly due to the fact that many dancers are unable to
make the transition from dancing for a live audience to dancing
for video. The dancers with this issue look detached and bored,
failing to project their energy out to the unseen video audience.
I wish the video had provided some sort of indication of the
theme/idea being conveyed by each performance. The titles of
the segments and the songs they use provide a bit of clue, but
not enough. As a viewer, I would have found it interesting to
know which performance portrayed "souls possessed by an
ancient evil spirit" or "a Gothic 'Lolita' in love
with Death". Although some of the dance segments represented
identifiable themes or characters, most came across as normal
belly dance performances, without any particular character portrayal
or story line, something that would seem perfectly at home in
a typical restaurant performance. I don't mind the notion of
a performance being just a performance, because I can appreciate
skilled dancing whether it's portraying a character/story or
not. But if a given piece is supposed to represent something
in particular, I'd like to know what it is so I can appreciate
it on that level.
The costumes used in the various performances exhibit a wide
variety of approaches in applying the Gothic theme. People who
buy this video in hopes of generating ideas for how to create
their own Goth-flavored costumes will find it to be a rich source
of costuming inspiration.
In considering the program as a whole, I expect that most
viewers who appreciate both belly dance and Goth culture will
find at least a couple of performances to enjoy, but I believe
that the overall video could have been stronger with some changes
in presentation, as follows:
- The "Enter" option from the top menu, which is
essentially a "Play All" option, plays all 20 performances
straight through, without providing any identifying information
about any of them. It would have been better to introduce each
piece with on-screen titles identifying the dancer, the title
of the performance, and the title of the song. If the producer
hesitated to place this on the actual video footage itself, it
could have been located on the subtitle track for the viewer
to enable/disable as desired, or else included on a still image
screen introducing each performance.
- I wish that somewhere on either the video jacket, a product
insert, the subtitle track, or the on-screen information there
had been program notes identifying which theme each performance
represents, if there is one. As a viewer, I would have found
it helpful to know what the dancer was portraying, as that would
have helped me look beyond the surface of choreography and technique,
to feel the underlying message of each. Otherwise, all I could
do as a viewer was to say, "I like this dance and she has
clean technique," or "I'm bored by that dance and her
technique is sloppy."
- I realize that artistically this video was aiming for dark
Gothic imagery, but often there was insufficient light and it
was too hard to see the dancers' dark-colored hair and costumes
against the dark background. I could barely see it at all on
one of the televisions I used to view this video. It is fatiguing
to watch for any length of time. A little more light would have
made it easier to appreciate what the dancers were doing and
eased the visual fatigue of too much dark. For example, the piece
titled "Flame" could have been presented against a
fiery yellow background instead of black while still setting
a Gothic mood. "Island of Moreau" could have been performed
with a background of a tropical forest or an open savannah in
the daytime. "One Night in Gotham" could have been
set against a background of purple instead of black.
- With the constant darkness, the video had too much sameness
of mood and energy level from one performance to the next. It
would have benefited from exploring some of the more brightly-lit
facets of Goth culture, such as slightly fey airy-fairy in a
sun-dappled woods, simply to give the viewer's eye relief from
the constant dark, dark, dark. Mystery and moodiness are fascinating
ideas to explore in dance, and particularly in Goth-themed dance,
but too much of it all at once quickly translates into boring.
- The dancers should all have been trained in how to create
strong, credible stage presence for video. Video stage presence
skills are not the same as for live audiences in restaurants
or theater. Too many of these dancers simply looked as though
they were rehearsing in their living rooms, with bored, detached
- The music video segments should either have been omitted
or moved into a separate "Extras" section. They didn't
fit the theme of "Gothic belly dance."
- All performers should have been asked to keep enough belly
dance movement vocabulary in their pieces to deliver on the title's
promise that this is a video of belly dance performances with
a Gothic touch. I would expect some moves from other dance forms
in a fusion video such as this, but Ayshe's dances and one of
Tanna's had little to no use of hip circles, figure 8's, undulations,
hip drops, or other moves I would consider to be the core of
- Amateur-level performances should have been excluded from
this project. Certain dancers on this program are promising,
competent in their ability to do belly dance movement technique.
However, they rush the musical transitions, utilize simplistic
choreography, and have issues with stage presence. Although they
may be skilled enough to perform in city festivals and belly
dance events, they lack the "something extra" that
people expect from dancers on a commercial video.
- A project of this sort needs to coordinate with all the dancers
ahead of time to avoid too much sameness in expression. It seems
that nearly every piece on this video contains a section involving
waving around large pieces of fabric. These performances involve
capes, wings of Isis, or veils, and each makes sense in the individual
dance that uses it. But in looking at the overall effect, there
is too much redundancy.
Aside from my complaint above about this video being too darkity-dark-dark
and therefore fatiguing to watch for any length of time, the
production quality is beautiful. The camera work and editing
show a deep understanding of how to present dance performances.
The camera angles always show enough of the dancer's body to
follow the flow of the dance. These change frequently enough
to avoid boredom from watching the same angle the whole time,
but not often enough to distract. The result enhances the dance
rather than intruding on it.
For each piece, backgrounds and overlays seek to complement
the theme of that particular dance. For example, on "Flame"
a burst of flame appears, and on "Island of Dr. Moreau"
the foreground shows purple jungle grass in front of the leopard
woman. I generally find that these effects enhance the message
of the dance, though I do grow tired of too many shots of the
full moon in the background. Some people may find images of gargoyles,
the full moon, etc. to be clichéd, but to my eye they
coordinate with the individual theme of each performance, so
I'm comfortable with them.
The sound quality is excellent throughout the video, with
only a couple of brief places where the sound seems out of synch
with the dancer's movement.
You Will Probably Like This Video If
- You enjoy incorporating aspects of Gothic culture into your
- You're looking for ideas on how to blend the Goth aesthetic
with belly dancing in your own personal dance style.
- You're a fan of music by Solace or Jehan.
- You enjoy watching the tribal fusion style of belly dance.
You Probably Won't Care For This Video If
- You're expecting the music on this video to consist of hits
by mainstream Gothic bands.
- You prefer belly dancing to be done to Middle Eastern music.
- You're looking for a video suitable to give to a teen-ager
as a gift.
- You would be troubled by a video that celebrates Pagan themes.
- You would object to a video that includes a segment with
Lesbian eroticism blended with bondage.
As the very first video to feature "Gothic belly dance"
performances, this one has established a foundation on which
future ones can build and it has given voice to a widespread
movement. It has room for improvement. In particular, some of
the dancing is amateur rather than professional, some of the
pieces are dance styles other than belly dance, and there are
a couple of music videos that contain very little dancing at
all. Despite these flaws, taken as a whole, this video creates
some interesting visual imagery and can offer a rich source of
inspiration to other dancers interested in creating their own
personal fusion pieces uniting the Goth subculture with belly
dancing. Even if you find only half of the video interesting,
its affordable price tag will still make it a solid value for
Although teen-age angst and Gothic attitude often seem to
go together, I would suggest that anyone considering this video
as a gift for a young friend or family member carefully read
the segments of my description regarding Jenviva's performance
titled "The Journey Within", Martiye's Possession's
performance of "Two Gypsies", and Jehan's music video
segment titled "Goddessence." Some families may prefer
to avoid gifting their youngsters with this video due to its
imagery of daggers, implied suicide, Lesbian eroticism, and bondage,
while others may not mind.