Room 2D

Story (?) from Blushes 1 with a visual appearance by Alan Bell himself I believe. The following letter, addressed to the department of the Home Office responsible for Approved and Industrial Schools, formed part of a report submitted by the then Chief Inspector of Approved Schools in Warwickshire, which as an insight into the conditions obtaining in such establishments is illuminating; as an exposition of the kind of double-think with which the administrators of approved schools — or one of them at least — approached the matter of corporal punishment, it is, to say the least, revealing. For anyone interested in verifying the authenticity of the document, it may be found under the reference: HO 45/14545 at the Public Record Office. Kenilworth Training School Model Rules Chief Inspector of Reformatories (C.P. in girls under 16) Minutes In May last there was a serious revolt on the part of the girls at this Reformatory

Both parts of this marvellous video, nicely edited and remastered by Shrek on spanking-board.com. Review from  spankingfilmreview.com : This may be the most simplistic and perfect British schoolgirl corporal discipline video we have seen. It has been difficult to find, possibly because its stark realism makes it uninteresting in comparison to high velocity CP films these days. The spanking ritual and ageplay are exquisite. The setting is a barren classroom, institutionally painted, industrial check-pattern floor tile, a few pieces of furniture, more like the classrooms we remember than those of  Firm Hand  or  Red Stripe . We’re not in that situation where furniture was pushed aside to make a set. An average-looking brunette, Susan, not a bubble-butt CP model, wearing perfect school kit, reports to a smarmy ageplay guy who should be past retirement age. She and a confederate are accused of something and will be punished for it.

Story from Blushes 1 The village hall, a wooden building once central to the geography and the needs of the community eighty years before, is now a dilapidated relic left behind by the developments that have taken place around it. It stands alone on an ill-tended plot of land opposite the church and backing on to the George and Dragon, from which it is divided by an ivy-grown fence. At either end its doors are locked and through its dusty windows little of the interior is to be seen in the gathering dusk. On the ridge of the sharply sloped roof a pigeon struts perkily and dips its head to peck at something under a dislodged tile. From a single narrow window, high up under the angle of the peak which confronts the back of the pub, a chink of light shows briefly before it winks out. The pigeon loses interest in whatever is under the loose tile and flaps away to its roost, while high above an aeroplane traces its path across the deep

From Blushes 3 Choir Practice Watching the soft serge knickers slipping down from the cheeks of her pale young bottom, a fold detained momentarily between the full togetherness of her buttocks, the look of her smooth skin against white petticoat and navy knickers was like the clear purity of her voice when she sang. ‘Virgin’ was almost too dirty a word; ‘angelic’ might have been closer, especially when her bright, innocent eyes turned back over her shoulder as she reached out with her knickers held in her small hand, her fingernails beautifully clean, her fingers soft and faintly warm as they touched his. The chair in the vestry scraped mournfully across the tiles as he put her across it, long bare legs extended behind her, bottom positioned by chance so that the last of the evening sun struck down upon it via a square of ruby-tinted glass in one of the windows, bathing her buttocks with a glow which portended the similarly

Story from Blushes 5 Approaching the school from the village, the visitor’s first sight of the main building is across a wide expanse of gently-sloped grass, vibrantly green at this time of year, setting off the red brick building against a distant background of dark coniferous trees. This older part of the school is in the shape of a capital ‘I’, the long downstroke being aligned east/west so that the windows facing the road have a southern aspect, while the cross strokes at either end of the central body face east and west respectively. A long drive, scrunchy with raked gravel, leads to the main entrance, a tastefully pillared portico at the top of a flight of low steps, midway along the southern face of the building. Once through the double doors at the head of the steps, the marble tiled entrance hall opens out onto corridors which lead down the middle of the building, one to the left and another to the right, while straight