Catfightstories

Catfightstories
For years I have been maintaining a the indiancatfights.in website in support of the catfight and women wrestling fetish fans in India. As of writing this, the website has a collection of 200+ catfight stories contributed by members of community and some co-authored by me. In…
As of writing this, the indiancatfights.in website has a collection of 215+ catfight stories contributed by members of community and some co-authored by me. In this post, I am summarizing the top stories by readership and views for year 2018.
At the end of 2019, the indiancatfights.in website has a collection of ~250 catfight stories contributed by members of community and some co-authored by me. In this post, I am summarising the top stories by readership and views for year 2019.
It’s like driving by a car wreck. You may not want to look but have to.
I’m offended, but not for the reason that you might think. Yes, I can be terribly ready to…
It was a Cat-Fight ladies and gentlemen, just what this movie was leading up into the…
These were the top 10 stories tagged with Catfights; you can also dive into yearly archives: 2009 , 2011 , 2012 , 2014 , 2017 , 2018 , 2019 , 2020 , 2021 , and 2022 .

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Diana Rigg, TV's "Emma Peel," 1938-2020
  The term "catfight" is widely used to describe any verbal or physical confrontation between women. Even the common office squabble is liable to draw an excited "Meow!" from some eager male co-worker.
  There's something incredibly sexy about two women squaring off. Perhaps it's a hearkening back to some primal dream of two females fighting for the right to reproduce with a male.
  Yet, beyond the basic necessity of having two women to face off, there's no settled definition of a catfight.
  Our friend Brolly -- a noted expert on such matters -- insists a catfight must involve hair-pulling. And he differentiates a catfight from a fistfight, as exemplified by Brigitte Bardot and Claudia Cardinale in "Frenchie King."
   To women boxers and martial artists, of course, catfighting is a contemptible thing, the province of amateurs and drunks.
  Professional wrestlers, too, feel they perform on a higher plane than mere catfighters. And that's even though they often resort to the same unprofessional tactics -- like hair-pulling and scratching -- that their dress-shredding, floor-rolling sisters employ.
  The term "catfight" goes back to an 1824 book, "The Cat-Fight: A Mock Heroic Poem, Supported with Copious Extracts from Ancient and Modern Classic Authors," by Ebenezer Mack. We confess not to have read it.
  Credit for creating the modern concept of the catfight goes to the aptly named Irving Klaw and other fetish artists of the 1950s. Their staged "glamour" fights between scantily clad young women found a fervid audience.
  Catfights soon moved from porn to Hollywood, finding their way into westerns, women-behind-bars movies, "blaxploitation" films, and even James Bond with the famous "Gypsy" fight.
  The big prime-time moment for catfighting came in "Dynasty," the popular U.S. TV show of the 1980s, which pitted Linda Evans against Joan Collins. (That was based on an earlier fight between Evans and Stefanie Powers in "McCloud.")
   Perhaps unfortunately, that encounter set the model that is too often still followed: two enraged women flopping around the room, ripping clothes and hair, while showing no fighting talent or skill. It's often played for humor.
  Some TV catfights aspire to higher standards, of course, with no better example than the battles fought by Emma Peel on "The Avengers." (Mrs. Peel, of course, warrants her own section on kingofhairpul.com!)
  What we present here in "Catfighting" reflects the broad nature of the term. We've got some "glamour" fights; TV and movie encounters; even a hair-pulling contest. Whenever two (or more) women fight outside of of the ring, this is its home.
Appropriately, Sharon Tate lets out a hiss as she takes on Nancy Kwan in "The Wrecking Crew."
Above, the iconic porn star Bettie Page gets her hair pulled.
At left, a classic blonde-brunette catfight, photo dated to 1950.
Martine Beswick vs. Aliza Gur in the "Gypsy" fight from the James Bond adventure, "From Russia With Love"
Linda Evans, left, and Joan Collins engage in perhaps the most-watched catfight, on the American hit TV series, "Dynasty"
Diana Rigg as Emma Peel, right, brought skill and panache to her catfights, like this one against Katherine Schofield in "The Cybernauts"
On of the great movie battles involved Brigitte Bardot, left, and Claudia Cardinale in "Frenchie King." But was it a catfight, or just a fistfight?
Una Merkel and Marlene Dietrich about to engage in a long, floor-rolling catfight amid cheering cowboys in "Destry Rides Again"
Wrestling in mud is one of the less dignified forms of catfighting, as Pam Grier and Roberta Collins find out in "The Big Doll House"
Penelope Cruz and Salma Hayek in "Bandidas," where their delightful slap-fight was just crying out for some good hair-pulling action.
Fetish publications still featured "apartment wrestling" into the 1980s, such as this hair-pulling matchup from "Fighting Hellcats" magazine.
In a post- apocalyptic future earth, disputes are settled through...
For All Your Catfighting, Women's Wrestling and Hair-Pulling Needs
The savage art, this iconic female fighting tactic is meant to deliver pain and
...and it signals that the fight will only get nastier .
Take a deep dive into this most erotic of moves with our hair-pulling gallery.
On a post-apocalyptic Earth terrorized by roving gangs of mutants, a female-dominated society arrises. Men are slaves and disputes are settled -- how else? -- with catfights!
Minnie and Marguerite have had a feud since high school -- it took their sons to make sure they settled their differences with a hair-pulling catfight!
When Tina and Sylvia finally decided to settle their differences, it was a battle for the ages. And now we have new scenes from that epic catfight! More back-breaking, belly-stomping, head-scissoring, hair-pulling action!
Everyone Wants to Get Their Hands On Her 42-Inch-Long Tresses
Foxy gets two points by using the Hair to secure the Breast Smother , while
   A tribute to womens' powerful lower bodies, and the damage they can do.
   It's a headscissors, with a salacious twist. Are you ready for it?
We call it "Hair Storm," when one woman, angry beyond reason, makes good on her threat to yank the hair out of her foe's head.
That's why we're here, folks. Two angry women digging their hands into each other's long locks -- our lifelong passion. We bring you the finest examples we can find!
The cost of defeat for Tina is to be bound, picked up and paraded in front of the cheering crowd. Huzzah!
The Girls Fight Club Presents: `Bikini Battle Royale,' Part II
Anger suddenly boils over, and Carla and Beth go at it with feminine fury. The two beauties are complemented by their stunning locale, the Santa Monica Mountains!
Models pulling each other's hair, for a cash reward -- what could be a better idea?
It actually happened, and we've got it for you.
Miss Pegram show shows how to stretch out a woman -- Mrs. Peel, in this case -- in preperation for the pin.
It's a fan favorite that deserves a showcase of its own!
Dean Martin's the star, but the film is notable for a karate catfight between rising star Sharon Tate and the lovely Nancy Kwan.
For all your catfighting, women's wrestling and hair-pulling needs!
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As a reader, I am drawn to themes in story collections. Some overarching thematic flow that connects the stories in

The aurora of fireworks over the Hudson has passed and New York’s Finest are cordially inviting everyone to move the

Old School Mission
[for “Why I Write”]
I’m writing this essay in March 2018, eleven days out of an ele

I’m writing this essay eleven days out of an eleven-day hospital stay with a COPD exacerbation, the third stark r

Chad Lutz
Alice Walker
Graduate Workshop
October 17,

If dreams are the royal road to the unconscious mind as proposed by Freud, then what are the stories that we write?

*Translation of an essay by French author Jean Chavot.

A

I’m writing a fictional story that takes place in 1969. When the main character, Patsy, is anticipating the arrival o

I wish there were a word for when you go to bed too early and wake up in the middle of the night because your body

I wish there were a word for when you go to bed too early and wake up in the middle of the night because your body
About Michael Garriga Michael Garriga's work has been published extensively in magazines and journals, including New Letters, the Black Warrior Review, storySouth, and the Southern Review. He has worked as a sound man in a blues bar, a shrimp picker, and a bartender, but currently teaches creative writing in the English department at Baldwin Wallace University. Garriga currently lives with his family outside of Cleveland, Ohio.
Copyright Fiction Southeast. All rights reserved.
Two Whores Brawling in a Storyville Brothel, French Emma Johnson’s Circus, During the Last Week of Legalized Prostitution, New Orleans, Louisiana, April 13, 1917.
Cora Carol, 19, A Prostitute in French Emma’s Circus.
Pap sets his lens just so and measures the light and lights the flambeaux and measures again before he duck waddles his dicty self back to the camera and whines in his high nasal voice, Stay still now, Sistuh —for the five dollars he offers I’d stretch his bellows let alone sit here naked on a clean couch—I shake, laughing, and he says, Corpse-still now, les ya ruin da print , and I wish for a flash I’d been a stillborn and not a trick baby delivered in this Tenderloin District of men, though they mean very little to me save the money they bring, like when I walked in on Ma as she dissolved the purple salts in a washrag to clean her john who stood there naked and limp, potbellied and hairy, gazing at me in my white party dress that made me even younger than my ten years allowed, and he said, Why don’t you give your mama a hand? and I shrugged and took up the cloth with no more thought than when each Monday I’d take the gals’ bed sheets out—all yellowed with sweat and spilled seed and Rolly Rye—to scrub and tug them clean, which I did to his prick and it swoll up in my palm, straining against its own fleshy self, and so I squeezed it more till its top pushed out like some purple-headed turtle, and the man moaned and tangled his fingers in my locks and tugged my head back till I saw his eyes closed and Ma guffawed, Well Hell, honey, go on ahead , and I froze till she put her warm fingers over mine and we tugged together only twice more before he spit his load on my forearm, which I yanked back as if it was snake bit, and Ma laughed hard—hair and boobies bouncing, head thrown so far back I could count her cavities—and his grip loosened in my hair and my scalp tingled good and he slumped down in the chair, fuddled his drawers midway up, and took from his pocket a five dollar tip and Ma come up with a clean rag and said, Oh my , and took me next day to Krauss’ Department Store where I bought white gloves and opera length stockings like any other whore.
Now Vivian crosses the floor—the odor of rain and roses, all legs and eyes and a sneer spread across her fine face—and under her breath she says, Bulldagger , and I’ve never felt shame for being a whore any more than for being human, but just now I feel as if she’s caught me diddling myself to a sticky picture of her split lips, my nipples stiffen and as she passes between me and the lens, touching her chippie ribbon, I leap from the couch and snatch that bitch by her long hair and I bang her against the wall.
Vivian LaRouche, 15, The Flying Virgin, A Featured Attraction in French Emma’s Circus
I walked in the parlor and saw Bellocq acting prissy as a queen in heat, fluffing a pillow and worrying the knot in his pale violet scarf, set to make a likeness of ugly ass Cora, the heavy degenerate—God only knows why, when not one man I’ve known has screwed her in the light of day nor lamp—when he should be making my picture again, because I’m the one here the men come to see, when in the theatre I hang from my silk ropes, swinging bare-breasted and be-winged above braying Emma, while she is mounted by her rutting Great Dane, my braids rising and falling against my pale back, my feet pointed far out as I can stretch them, admiring my own knees and thighs and thrush, and I know the men have paid dearly to watch me and touch themselves—and I can’t read a lick except that look in a man’s eyes, but Daddy wouldn’t even glance my way when he dropped me here three years ago today—Emma putting that stack of money in his left hand, the tan line precise from the wedding ring he’d buried with Mother—and I’m going to be a star on the big screen like Lillian Gish or Marguerite Clark, whose films I’ve snuck out of the District and into the Quarter to see, and though I know if I’m caught over there I’ll be arrested or beaten or raped, I will continue to cross busy Basin and Rampart Streets on down to the Louis Gala House where they show films for a nickel a piece, and as I sit in the dark watching their large eyes on screen, I say to myself, Vivian, that is going to be you someday soon, and Daddy, I swear, you will have to pay to see me again.
As I cross the wide-plank floors, I happen to pull the string of my dress and it comes undone and my chest rises against the lace and pushes it apart and I stare first at Bellocq and then at his camera’s one big eye and my lips swell and sweat and begin to itch a bit—does he touch himself when he holds the portrait of my nakedness?—and my head snaps back and I’m pinned on the wall with that dyke’s breath in my ear and I bite her forearm and twist her chin back and bury my thumb in her eye and we crash to the floor and she’s pounding my head into the wood and I wish I had my razor to undo her with, because though I am very small, I am not an easy row to hoe.
John Earnest Joseph “Pap” Bellocq, 43, Witness & Photographer
Cora and Vivian tuggled and tussled and upset the lit flambeaux though I caught it, screaming, Watch da flames , my voice high and shrill like the horror of a baby’s wail— Watch da flames , my Parrain yelled—him, swatting mad with a blanket in both hands trying to put out the blaze that climbed up Sister’s crib; her, squalling as fire caught her flannel gown and hair; me, having begged for him to leave the lamp light lit while I slept a bit longer and who in dream-terror of wild worms and rutting rats in my brain had kicked it over and burnt my baby sister to damn death—and gone now is my father and mother and my sweet big sister too, my only brother off in the ministry, and I alone am left to stand against Death like Madame Josie, the grand demimondaine, whose portrait I made to hang on her crypt door beneath the statues of the little girl and the twin pillars of flame, and though I set her likeness a mere seven years ago, the sun has bleached it back to a silver-slabbed mirror and now when you visit her memorial you stand agawk greeting your own gape-mouthed visage on the bronze door of her tomb, which reminds me of my own burial plot—I can see it from my bedroom window and there too I can hear the pistol fire from Marcet’s shooting gallery and see the government eviction posts on every building in the District and the paint peeling off Willie Piazza’s mansion in great white swaths long as funeral tunics—all this after I’ve returned from my pleasure at Anderson’s Annex where the boys belly to the hand-carved bar and snook schooner after schooner of beer under the one hundred electric bulbs blasting the dark back in a blaze of white light, but up in my room it is quiet and dim and I wash my face in the basin and remove my clothes and put on my nightshirt that smells clean from powder and climb into bed to sleep with the lamp lit beside me.
Cora and Vivian continue to wrestle, both now nude, and they spill onto the sofa like champagne outflowing its flute and in a flash I uncover the lens and shoot their picture even though I know full well the glass will not contain their image any more than our bodies can hold our lives and the portrait will be a blur, a pale smear like smoke rising dark against a darker wall or like cotton sheers billowing in an open window, because nothing here will ever last.
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This story started with a vague but familiar feeling. I sometimes have the sense that I’m trespassing in the world, and I wanted to try to capture and explore that feeling in concrete terms. At first, I had no setting, so I let my mind drift, and I ended up on a road near where I grew up. What better place to explore feeling like a trespasser than one’s childhood home, right? The road passes by my father’s best friend’s field, and he, of course, grows sugarcane every year. My wife is from Indiana, so I imagined some sort of American-made car with Indiana plates stopping near the field. I can’t describe the person whom I imagined. It was me, but he didn’t look like me. I had to get into third person to understand what was happening. I never saw his face.
I realize this is turning into self-analysis instead of a piece about craft, but the process in this piece is inseparable from the latent content that produced it. My father and his friend also hunt quail, and I sometimes went hunting with them when I was younger. Even when I knew a covey of quail was about to

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