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Previous stories:
* The New Pop Idols

* Pop Star to Porn Star

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Pop music had always sent teen girls confusing and contradictory messages.  And ever since teen pop idol and sex symbol Sophia had let her manager rape her on stage before a live audience of tens of thousands during her “Coming of Age” tour, the world of pop had become even stranger and more sexually charged.

Girls were horrified by the instantly iconic footage of Sophia being vigorously fucked in her pussy on stage by an older man while continuing to sing her hit songs, and then concluding her performance after he orgasmed with his sperm visibly dribbling down her legs.  That horror was intensified by subsequent interviews where Sophia confirmed the sex had been totally non-consensual – “But that’s okay, because I deserved it – have you seen how I dress?”  There was a fixed smile on Sophia’s face as she said this, leading many to speculate that this statement, too, was not her own choice, but at the end of the day no one much cared – “naughty teen fuckpuppet porn star” was a much more palatable idea than “teenager abused in public”.

But even as girls were repulsed by this girl their own age being raped on camera, they couldn’t help but notice how much attention their male friends paid to Sophia, and how she featured in so many of their fantasies.  And not just their friends – their fathers, and teachers, and brothers.

And Sophia was glamorous.  She had her own perfume line, her own lingerie line, her own revealing teen fashion line.  “Don’t you want to be like Sophia?” the advertising asked seductively.  “Don’t you want to be as rapeable as Sophia?”

And girls answered with how they spent their money: a resounding “yes”.

It was into this world that 17-year-old Yvonne Wells was signed to Leash Records label.  She had a strong singing voice – but more importantly, she had an angelic face; firm, swelling tits; and the unwitting aura of mixed flirtation and victimhood that immediately inspired thoughts of rape in anyone who saw her. 

Her contract agent, Russell, explained to her that the plan was to package her as a star.  The label would buy her songs to sing, design outfits for her to wear, and book her concerts and media appearances – all she had to do was look pretty, stay on-brand, dance, and sing.

“Oh, and one last thing,” he said, “we need to do something about your name.”

“What’s wrong with my name?” asked Yvonne.

“It won’t sell,” he said.  “It’s not on brand.  You’re going to be ‘Sex-Kitten’ now, okay?  Just one word, like Prince or Madonna.  I’ve drawn up the paperwork to make it legal.”

“Yvonne” felt a twinge at giving up her name – but there were still stars in her eyes, and the conversation was all happening in the back of a limousine as she drank expensive champagne – and so she signed, forever changing her name to Sex-Kitten.

She spent the next months recording her debut album, “Kitten Licks”, and filming the videoclips for it. 

The first single was “I Get What I Want”, in which she sang about cockteasing men to get her way.  In the videoclip, she scampered around in a sexualised schoolgirl outfit, twitching a short skirt that barely covered her butt, and seductively emphasising the way her tits were bursting out of her white button-up shirt.

My daddy wants a good girl
a special little pet
But this Kitten wants a sportscar
And what I want, I get.

Half-naked in the yard
I make my daddy hard
I play my cocktease card
… and I get what I want.

Over subsequent verses, she cockteased her teacher for good grades and a police officer to get out of a speeding ticket, until in the final verse an attempt to cocktease a man in a nightclub goes badly for her when he follows her into the women’s toilets.  The videoclip showed him pushing Sex-Kitten into a toilet stall, the door closing behind him, as Sex-Kitten sang the final words of the song.

And in the end… I get what I *deserve*
(whispered) … and it makes me cum.

The title track, “Kitten Licks”, featured a video where Sex-Kitten licked sensuously at a series of lollipops – each time while kneeling very close to a standing man, her head near his groin.

Good girls give kitten licks
Good pets are men’s top picks
Use my tongue to please a man
Do the thing that all girls can

The third single, “Punishment”, featured Sex-Kitten lying over the knee of a suit-wearing man, her skirt pulled up to reveal a tight G-string that covered her butthole and not much else.  The man rhythmically spanked Sex-Kitten’s ass in time to the music as she sang.

I’m too dumb to behave without…
… punishment.
I’m just lust’s slutty slave without…
… punishment.

I’m a whore and a twit
I think with my clit
my cunt and my tit
unless I get hit
… like we both know I deserve
I need punishment.

Sex-Kitten had trouble with this clip.  The spanking, she discovered, would be real – and it hurt.

“I don’t care,” Russell told her.  “Your ass will keep getting hit till we finish filming.  You don’t have a contractual right to say no.  If you’re finding it hard, my advice to you is to masturbate.”

“Masturbate?” asked Sex-Kitten, blushing.

“It releases endorphins.  Masturbate between takes, and you might even find the spanking fun.”

Sex-Kitten was far too star-struck, naive, and vulnerable to say no to Russell, and she took his advice and blushingly fingered her pussy inside her private trailer as they set up the cameras and lighting for the next take.  When she came back out, her face was flushed and her cunt was wet, and that made all the difference in the world.  Suddenly the spanking was maddeningly pleasant, and the way it drove her pussy down against the male actor’s knee was very distracting, and to the entire crew’s intense pleasure (and Sex-Kitten’s humiliation) she ended up orgasming on camera right on the final line of the song.  The camera captured every detail of her facial expression as it shifted from slutty vacant need to sudden horrified awareness of what was about to happen, and then mixed ecstasy and overwhelming shame as the orgasm took her.

They used that image as the cover of the album, and Punishment shot straight to the top of the charts. 

Sex-Kitten was a star – and that’s when the reality of it all came crashing home.

As she’d been recording the album and filming the clips, it hadn’t felt real.  The suggestive lyrics and videos were a bit of naughty fun.  All pop stars did it. 

But suddenly her face was everywhere – on billboards, on the internet, on TV.  She was popular, and her music was selling – but with popularity comes an inevitable backlash, and her brand made her so easy to criticise.

One of the remaining prestigious hardcopy music magazines ran her face on the cover, with a huge glaring headline – “SLUT”.  A leading pop culture internet site ran an article on her entitled, “The Face of Rape: How Sex-Kitten made raping teenagers cool again.”  She learned to her horror that “kitten rape video” was becoming a leading Google search term, and the porn industry had gone to work with a legion of lookalikes, Photoshops and deepfakes to satisfy a national interest in jerking off to photos and videos of her being raped, ejaculated on, and tortured.

She watched as her name and face became synonymous with the archetype of the shallow, brainless teen cocktease.  She heard multiple stories on the internet, on talkback radio, on television, of fathers finding their teen daughters suddenly being sexually provocative towards them.  Two high profile cases of men who fucked their daughters after weeks of sustained and focused cockteasing resulted in acquittals after the juries found it was unreasonable to expect the men to continue to resist, and then afterwards the government passed “Sex-Kitten’s Law”, which protected men from claims of incestuous rape where evidence existed of a sustained campaign of sexual provocation, and made it legal for a man to spank or beat his daughter – including on her breasts or pussy – in order to discipline her for whorish behaviour. 

Sex-Kitten felt horrified and ashamed and consumed with guilt that her behaviour had caused all of this.  She begged to be let out of her contract and go home, but Russell reminded her that she owed the label four more albums, and reminded her that not only would she have to pay back all her profits if she broke the contract, but the label could sue her parents into bankruptcy as well.  Reluctantly, Sex-Kitten agreed to continue on.

Her second album was “Breed Me Like A Bitch”.  Sex-Kitten hated the name, and threw a tantrum, demanding something “nicer”. 

Russell responded by taking the starlet to his office, pulling her down over his knee, raising her skirt, pulling down her panties, and beginning to beat her ass with his hand.

“You can’t do this!” she protested, trying to pretend her pussy wasn’t getting wet.

“I can,” he told her.  “Your contracts give me parental authority over you, and it’s now legal to discipline you this way.  If you don’t be a good girl and get with the program, next time I’ll beat your cunt.”

She wailed and cried – but he kept spanking her, until eventually, as they had both known she would, she orgasmed, and after that she couldn’t look at him without feeling full of shame, let alone protest, so the album name stayed. 

However, by way of compensation, he gave her a bottle of pills.  “When you feel bad about anything, take one of these,” he told her, and got her to take one on the spot. 

The pills were slightly addictive, and each one produced mild euphoria, tranquility, and arousal.  In short, they made her happy, stupid and slutty, and from that day on Sex-Kitten rarely went 24 hours without taking one.

The first single off the new album was “Virgin”, in which Sex-Kitten sang about how she’d sucked cocks, danced stripteases, given men handjobs, fingered her anus, and stuffed objects into her pussy, but she was still a virgin because she’d never had a cock in her pussy.

I’m still a virgin
I’ll tease to please but I won’t give it up
You’ll have to take it
You’ll have to rape it

Sex-Kitten initially rebelled at the videoclip.  In it, she was kneeling, knees apart, wearing a bikini.  The bikini briefs had a bullseye over her pussy, and the words “Rape Goes In Here”.  Over the course of the video, anonymous men (only visible from the waist down) came up to her, masturbated, and ejaculated onto her.  After the first verse, a big titted woman came up behind Sex-Kitten and removed her bikini top, exposing her tits.  Through it all, Sex-Kitten stared sluttily into the camera, ignoring everything happening to her, even after one man ejaculated right in her eyes.

Sex-Kitten didn’t want to do it, and this time Russell actually had to beat her pussy – in front of the entire camera crew.  Sex-Kitten yelled at the top of her voice – but she came not once, but twice, from having her pussy abused, and after that she was too ashamed to object further.

Sex-Kitten actually messed up the first take, losing her place in the song when the man ejaculated in her eyes.  The scene had to be cut and reset.  Sex-Kitten wanted to wash off, but Russell told her to stay where she was, and instead had the big-titted extra who had removed her bikini *lick* her clean.  Sex-Kitten went bright red as the gorgeous bimbo licked the cum off her face, shoulders… and tits.  Her breathing quickened as the woman’s tongue flicked her nipples, and Sex-Kitten’s involuntary moans made the whole film crew chuckle.

On the second take, Sex-Kitten did better, and made it all the way to the end.  The crew called a wrap, but still Sex-Kitten wasn’t allowed to clean off, and was made to stay there, dripping with cum, as a range of people walked through the set – music execs, lawyers, and a few fans.  Russell made her talk to some of them, and Sex-Kitten tried to act as if she wasn’t mostly naked and covered in the sperm of a dozen men.  She felt sub-human.  Nice girls didn’t do this.  Only sluts like her. 

Many of them men she talked to made references to her lyrics.  “Are you really still a virgin?  I can’t believe no one’s raped you yet.”  “Are you looking forward to being raped?”  “You really do deserve punishment – and I hear you cum from it…”

Finally, she was allowed to let the bimbo lick her clean again.  The bimbo insisted that some of the cum had soaked into the crotch of Sex-Kitten’s panties, and so, despite Sex-Kitten’s protests, the bikini briefs were removed – still in front of the entire film crew – and the bimbo began licking Sex-Kitten’s pussy clean – which resulted in a final humiliating orgasm for Sex-Kitten.

Russell let her know later that the encounter had been captured on film, too, and distributed among the film crew for their personal collections.

The second single off the album was “Take Me (My First Violation)”, and Sex-Kitten felt nervous singing it.

Take me
When you want me
Take me
When I’m slutty
Take me
When I say no
When I won’t go
When I don’t know

Just use force
Give me my first violation

I’ll struggle so it’s fun
I may even try to run
It doesn’t matter what I’ve done
Just take me
Make me
Rape me
It’s what I was born for.

And she was right to feel nervous, because the label had a very high concept idea for the videoclip for this one.  For a week before shooting, they dosed Sex-Kitten twice daily with aphrodisiacs, but never left her alone or allowed her to masturbate.  By the time of the video shoot, she could think of nothing but her cunt, and was constantly pleading with Russell in a desperate, whiny voice to be allowed to masturbate, which he ignored.

They stripped her naked, and put her in a gynaecological chair, her legs spread apart and locked in stirrups, her hands tied tightly to her sides.  Then a man came in.  Sex-Kitten recognised him as one of her schoolteachers – a creepy man, who she had hated, and had never made her feel anything but uncomfortable.  He grinned at her, and Sex-Kitten squirmed.  She didn’t know how they had found this man, but it was clearly to deliberately elicit a reaction from her.

Then he adjusted his pants, and exposed his erect cock.  Sex-Kitten’s eyes bulged as she realised what was about to happen.  This man was going to take her virginity!  And she was horrified by the thought – but at the same time, she wanted to cum *so badly*… maybe it wouldn’t be so bad.

Then Russell said, from somewhere off behind the cameras pointed at her, “Just so you know, Sex-Kitten, we’ve replaced your birth control with sugar pills for the last month, so you’re very fertile right now.  Oh, and I bought a Taser – it delivers very nasty electric shocks – and for each time you orgasm during this film shoot, I’m going to discharge it directly into your pussy afterwards.

Sex-Kitten’s eyes went round like saucers.  She immediately began to struggle desperately.  She didn’t want to get pregnant!  She didn’t want to be raped!  She didn’t want a Taser used on her pussy!

But she had nowhere to escape, and her teacher stepped up and effortlessly sank his cock into her virgin pussy.

“We tried to get your father,” Russell explained, “but he wasn’t quite ready to take money to rape you yet.  Maybe after he sees this he’ll change his mind.”

Sex-Kitten put on exactly the show the record label had wanted.  She screamed, she struggled, as she had her virginity taken by rape – but she was also visibly aroused the whole time, and orgasmed again and again and again as her teacher violated her.  Her sexy, soulful singing would be layered over the top of the final video, adding to the implication that all her protests and struggles were just an act to increase the pleasure of her sexual partner.

Finally, Sex-Kitten’s teacher came inside her, filling her fertile womb with his cum.  As Sex-Kitten lay there sobbing, her teacher pulled out, then Russell walked up – and fired his Taser into her pussy.  Sex-Kitten squealed, and as her cunt muscles twitched uncontrollably, Russell took his own turn fucking her.

Then, one by one, the rest of the crew took a turn with her.  Russell fired his Taser into her pussy before each one started.  She’d actually orgasmed more times than there were crew members, so Russell told her he’d save the last five or six shocks for another day, or whenever he thought it might be fun to give her one.

By the end, Sex-Kitten was barely conscious, with a dozen loads of cum slowly trickling out of her womb and dripping to the floor.  Russell called in the same bimbo from the “Virgin” shoot to lick Sex-Kitten clean, and the big-titted whore knelt between Sex-Kitten’s legs from some time, licking her clit and drinking the sperm that flowed out of Sex-Kitten’s fuckhole.

After all this, Sex-Kitten had little resistance left for the third single off her second album, “Breed Me Like A Bitch”.  The song lyrics suggested that women were domestic pets who had no rights, while simultaneously suggesting that Sex-Kitten had fantasies about being raped by animals.

In the videoclip, Sex-Kitten was naked in a wading pool, wearing a dog collar with a nametag that said “Fuckpuppet”.  The final video interspersed shots of Sex-Kitten on all fours, being fucked from behind by men wearing dog masks, pig masks, bull masks and horse masks, with shots of masked men ejaculating into the wading pool.

By the end of the first phase of the shoot, nearly a hundred men had ejaculated into the wading pool, and to this the producers added a white milk mixture that they told Sex-Kitten was a mixture of animal semen and a neutral medium, resulting in a small wading pool full of sticky white sperm-like liquid.

Then they made Sex-Kitten push the liquid up her pussy, masturbating it into her until she had reached several orgasms.  They spliced this footage throughout the video, showing Sex-Kitten eagerly impregnating herself with anonymous sperm.  And then finally they had Sex-Kitten wrestle the blonde big-titted bimbo – she still didn’t know her name – in the pool of cum, drenching both of them, before 69ing each other to orgasm amongst the sperm.  Sex-Kitten had never licked a woman’s pussy before but by this point it was easier to concentrate on the pleasure of the bimbo’s tongue on her own clit and try and tune out the overwhelming shame and humiliation of the whorish things she was doing.

As Sex-Kitten had known, by the end of all this she was pregnant.  The record label insisted she keep the baby – it was great publicity – but she wouldn’t show for a while, and in the meantime she had a concert tour to do.

Sex-Kitten’s public image had smoothly transitioned to national whore.  Russell delighted in bringing Sex-Kitten statistics showing how sexual assaults went up whenever she released a new single; how girls sang along to Sex-Kitten’s lyrics at nightclubs until their male friends raped them – and then went back and sang the lyrics again, because they were just that catchy.

A national survey showed that 79% of men believed that if a woman struggled or said “no” during sex, she was doing it to increase his sexual enjoyment, and 68% of teen girls agreed with the statement “rape is what I was born for”.  73% of girls also believed that they were probably more enjoyable to fuck when they weren’t consenting, and 67% of men believed that women preferred to be raped than to have consensual sex.  Overwhelmingly, in discussion of what led to these attitudes, people would refer to Sex-Kitten and her songs.

Sex-Kitten practiced hard for the dance choreography for her concert tour.  She would be performing naked, with weights hanging from clamps on her tits and clitoris.  Her every move made them swing and bounce agonisingly.  Her choreographer recommended that she practice bouncing up and down on the spot and masturbating, so that she’d come to associate the pain with arousal, and that did make it easier – soon her body began naturally responding to agony in her breasts and pussy by making her horny.

She also learned dance moves that involved spreading her pussy lips open; dancing in sync with a man who had his cock in her pussy, so that his cock wouldn’t slip out; and a move called “milking the cow” that involved squeezing her own tits so hard it hurt.  At the halfway break in each concert, the stagehands would ejaculate on Sex-Kitten, and she would go back out with cum dripping off her face and tits. 

She finished each concert with a slow, sultry cover of “Rape Me” by Nirvana, as the nameless bimbo licked her pussy in front of all of her fans, inevitably rasping out the final lyrics through a series of powerful orgasms.

After the concert, Russell would lead in a series of male fans who had paid a huge premium for “VIP tickets”, and Sex-Kitten would be expected to sexually service them, although in practice she usually had little agency – she had primed every male in the world to want to rape her, and when they had the chance they were usually quick, cruel, and vigorous in doing so.

The cover of Sex-Kitten’s third album featured her naked, with a now swollen pregnant belly, engorged tits visibly leaking milk, and a collar with a large cowbell around her neck.  Her face was lost in an expression of lust, one hand was squeezing milk from her left tit, while the other was needily fingering her pussy.

The title of the album was “My Body, Your Choice”, and in the title song Sex-Kitten urged men to take rights away from women.

If my tits are disappointing you then fill them full of plastic
So big that they humiliate me, I think that that’s fantastic
Dye my hair, I don’t care, blonde jokes make me wet
Plug my butt with a kitten tail and leash me as your pet
My body.  Your choice.
Men know best.  I’m just a whore.
My body.  Your choice.
I don’t deserve rights anymore.

The second single, “Woman’s Lament”, didn’t have any real lyrics.  Instead, Sex-Kitten was made to moo like a cow to the tune of the music.  The videoclip featured real footage of Sex-Kitten being painfully and agonisingly milked by rolling her tits between two rolling pins, and orgasming from the pain.

And the final single, “Do I Look Like I Deserve Respect?” was a long, slow ballad in which Sex-Kitten reflected on all the whorish things she’d done so far in her career, and told the audience that no one who’d done those things deserved to have opinions, or be listened to, or respected, and finished by telling them that every last woman they knew secretly fantasised about the same things, and therefore didn’t deserve respect either.

And as a final, humiliating capstone, the filmclip used footage of Sex-Kitten actually giving birth to her baby – completely naked, in hospital, with her tits in bondage, clamps on her nipples, her hand desperately playing with her clitoris as her cunt dilated to deliver her baby – and her father, who had finally come around to the view that his daughter no longer deserved his respect, standing at the head of her bed, his cock in her mouth as she suckled submissively

The filmclip ended on a piece of footage shot in an interview right back when Sex-Kitten had started her career, before her first album had launched, in which she was innocent, bright-eyed, and excited to enter the world of music.

“I think the thing I want most,” she enthused to the camera, “is to be a role model for other young girls, and let them know that if they don’t give up, their dreams really can come true…”

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