Bueno como hoy no hay mucho que postear debido a que las “celebridades” al parecer se tomaron un descanso por las festividades del thanksgiving, les dejo unas fotos de Jessica Alba luciendo como una sirvienta latina, a J.Lo comprando ¿libros? aunque no lo crean, y a Tila Tequila enseñando los pezones en un intento mas por llamar la atencion.

click en las pics para agrandar

JESSICA “NO SOY LATINA” ALBA DE SIRVIENTA

J. LOL COMPRANDO EL LIBRO VAQUEROTILA TEQUILA Y SUS PEZONES

LOL para los que dudaban acerca de el “talento” de esta bitch he aqui la prueba, en un intento mas por llamar la atencion Tila se filmo mientras realizaba un intento de striptease, tacones y lenceria incluidos, el resultado es uno de los momentos mas graciosos que he visto, ni siquiera fue capaz de hacer “su trabajo”, se nota que para lo unico que sirve es para mostrar su tetas y cobrar 500 dolares por blow job… XD

Young looker Sheba Irons comes from a destitute white trash family from the slums — a father who is a drunk and spends bill money on booze, a brother who does the same and can’t hold a job and chases girls, and a mother who is miserable, with leg vein problems, but stays in the marruage because she’s trapped and has no alternative.

Sheba does not want to be trapped in this family anymore, after her father blows the money she gave him to pay a finance company on an old $500 loan.  The payments are four months behind and the fat man who runs Old Fashion Finance is pressuring her.

She works as an office girl at a car dealership.  The finance company guys wants her to steer their customers to him for down payment loans, instead of going to the bank. She will get $50 for every new account she refers, and can apply that to the loan.  Seems good, but it’s the 1950s and woman are not car salesmen.  Still, when the salesmen are out to lumch, she refers a couple to the finance company and makes the sale, getting a $50 credit and a $180 commission on the car. That’s better money than the $50/week she was earning before.

The owner figures, why not use a woman to sell cars?  It could work with Sheba’s looks and rack and legs.

Sheba has left her family and rented a room, leaving them without her income.  She gives some money to her mom, feeling sorry for the sad woman, but refuses to give any to her dad or brother — she feels they are weak excuses for men, not working and leeching off her.  When things get tight, and they need booze, they come crawling to her, begging, like the pathetic excuses of the male sex they are.

Orrie Htt tends to have a number of male characters who refuse to work and sponge off a working girl, and these girls give in until they get fed up being suckers.

Sheba excels as a car seller.  She’s a lot like Della in She Got What She Wanted (not reviewed yet), trying her hand in the men’s business world out of desperate necessity — to pull themselves out of poverty and nothingness, faced with a future that includes submissive wifehood, children, cheating husbands.

She’s a virgin at the start, keeping it for marriage, despite the urges she gets no and then.  Going out with a fellow car sales guy to celebrate her first sale, she gets drunk and careless and loses her cherry to this guy. Needless to say, she feels horribnle the low the next day.

And that next day, she winds up in a car with the fellow she’s been casually dating, whom she has been keeping at arm’s lnegth…he heard she went with a guy and got drunk and he loses it.  He parks the car and rapes her.

Two men in two days…she feels hate for all men.

And all men seem to want only sex from her — the sales guy, customers, her boss…she hates that the world revolves, for men, on sex, and to sell cars, men expect her to put out the way magazine subscription girls do.

But as she continues to sell cars and make good money — up to $1,000 a week now — living in a nice furnished apartment, she starts to cut corners and secure somewhat unethical deals with the shady finance company, until she backs herself into a corner where the men she’s said “no” to attempt to blackmail herand cut down her success.

There’s also some lesbiana tossed in for good measure — a redhead at Sehba’s romming house, a hard drinking party girl who also hooks on the side, has a yen for Sheba.  After getting Sheba drink and in bed, Sheba is sexually confused, so goes to slummy bars to find men and determine if she’s straight or gay.

This is a pretty good one, a 9 on the Hitt Scale, minus one for the somewhat predictability here and there. A recommended read anyway.

El mensaje original es el siguiente: “Court of Appeals has overturned the death sentence of Nemat Safavi in Ardebil”.
La información procede de la fuente radicada en Teherán llamada persianbanoo un seudónimo tras el que se esconde un periodista opositor que utiliza la red Twitter para transmitir noticias de Irán al exterior. Según activistas LGBT de Gran Bretaña a los que hemos consultado esta tarde, la fuente les merece credibilidad al estar en su lista de contactos de origen.

Por el momento hemos pedido confirmación tanto a las redes iraníes en el exilio, activistas LGBT iraníes, la propia embajada española en Irán y la corresponsalía de la Agencia EFE en ese país y estamos a la espera de que alguno de ellos nos dé respuesta. Igualmente esperamos nuevas confirmaciones de la noticia por lo que se mantiene la reserva, aunque está claro que de Nemat hay mucha más información de la que hasta ahora se barajaba.

Al parecer, según Human Rights Activists y otra web persa opositora (la misma información se repite aquí), ambas son noticias de hoy, en un expediente de 4 de marzo de 2009 (14 Esfand 87), se establecía que la Corte de Apelación de Ardebil debía revisar el caso de Nemat Safavi (tras haber sido rechazado el expediente en el Tribunal Supremo). Aquí hay una ajustada traducción al inglés donde se habla de otros casos, algunos ya citados en este blog.

Esto parece confirmar la posibilidad de que la vista se haya celebrado ya o que tal vez, de acuerdo con la información que facilita el tweet de Persianbanoo, se haya celebrado hoy.

Según creemos, que la Corte de Apelación haya fallado esto, no significa que el proceso esté agotado y puede ser que el Tribunal Supremo deba aún resolver. Igualmente podría haber, como en el nefasto caso de Makwan Moloudzadeh, alguna suerte de apelación del propio Juez de Ardabil o de algún comité superior de los propios ayatolás que impriman un nuevo giro al asunto y reactiven la sentencia de muerte. Por último, no conviene olvidar que Nemat sigue en prisión y que su suerte final depende de muchísimos factores. En Irán todo es posible.

Como veis toda cautela es poca, sin embargo, el caso Nemat cobra desde hoy un nuevo rumbo. Ya no se trata tanto de saber si existe o no, dónde está y cómo, sino de saber en qué situación está su caso, pues no depende del Tribunal Supremo, sino de la Corte de Ardabil y de actuar urgentemente para su liberación.

XD es que no puedo dejar de recordar las declaraciones de la sexy Megan, alegando que TODAS las mujeres piensan que es una zorra solo porque es bonita y por el cuerpo de tentacion que tiene, pues para que vean que ella es una actriz seria y dama de sociedad, salieron a la luz las fotos que realizo para el New York Times Magazine, abriendo las piernas como es su costumbre y dejando ver un poco de su vajay yay!! claro Megan, despues de esto NADIE creera que eres una puta… bitch please!

click en las pics para agrandar

]]> http://josemanuelortiz.wordpress.com/2009/11/22/jose-ignacio-pichardo-galan-antropologo/ Sun, 22 Nov 2009 16:44:57 +0000 josemanuelortiz http://josemanuelortiz.wordpress.com/2009/11/22/jose-ignacio-pichardo-galan-antropologo/

Nació en Madrid en 1971 y es Doctor en Antropología Social por la Universidad Autónoma de Madrid y miembro del Instituto Universitario de Estudios de la Mujer de la misma universidad. Para la elaboración de su tesis doctoral sobre “Opciones sexuales y nuevos modelos familiares” realizó estancias de investigación en la Universidad de Barcelona, San Francisco State University y el Laboratoire de sciences sociales (ENS / EHESS) de París.

Consciente del papel de la investigación en los procesos de transformación social, sus trabajos de investigación se centran en cuestiones de género y sexualidad. Ha llevado a cabo y publicado diversas investigaciones sobre diversidad sexual; mujeres lesbianas y derechos humanos; sobre familias formadas por gays y lesbianas y sobre la situación de los adolescentes gays, lesbianas, bisexuales y transexuales en ámbitos educativos.

Es uno de los organizadores de las Jornadas de Cine y Sexualidad en la Universidad Autónoma de Madrid y ha sido co-director de las I Jornadas sobre estrategias de reivindicación de derechos LGBT en organismos internacionales y del curso de verano Unas sexualidades otras: repensar la diversidad sexual en la Universidad Autónoma de Madrid (UAM).

ADOLESCENTES ANTE LA DIVERSIDAD SEXUAL

HOMOFOBIA EN LOS CENTROS EDUCATIVOS

Como si la diversidad sexual apareciera de forma repentina en la edad adulta, el sistema educativo español sigue ignorando la existencia de los y las adolescentes lesbianas, gays, bisexuales y transexuales así como de aquellos que, simplemente, no sienten ni desean como la mayoría heterosexual. El silencio y la desatención de este tipo de diversidad refuerzan determinadas actitudes homófobas que, como se muestra en este estudio, provienen de un grupo minoritario pero rigen el día a día de los centros de primaria y secundaria.
En las páginas del libro, se describen los mecanismos que, todavía hoy, convierten las aulas en uno de los lugares más peligrosos para las personas bisexuales, transexuales, gays o lesbianas. Así mismo, se detallan las consecuencias que conlleva esta situación para el conjunto de los adolescentes. Finalmente, los miembros de la comunidad educativa encontrarán pautas y recomendaciones didácticas para afrontar la tarea de hacer que todos nuestros adolescentes, sea cual sea su orientación sexual o identidad de género, se sientan acogidos, reconocidos y respetados en el ámbito escolar.

ENTERDER LA DIVERSIDAD FAMILIAR

Durante los últimos lustros, se han producido en España importantes modificaciones en las configuraciones y concepciones de la familia. Las personas que mantienen relaciones sexuales con personas de su mismo sexo han sido protagonistas, entre otras, de estos cambios, por lo que se hace necesario conocer de primera mano cuáles son sus impresiones, vivencias y experiencias al respecto.
Este libro se acerca al colectivo de personas homosexuales para explorar cómo la familia se mantiene como referente de organización de su vida cotidiana, de sus relaciones afectivas, de cuidado y convivencia. Si anteriormente habían estado expulsadas de las concepciones familiares a causa de la asunción heterosexual, ahora ponen en cuestión la heteronormatividad incorporando la presencia de hijos e hijas a sus vidas, desafiando la división sexual del trabajo y proponiendo formas de gestión de la sexualidad diferentes a las que las ideologías tradicionales han mantenido como hegemónicas durante décadas.

En todo proceso de cambio existe el riesgo de reproducir el orden social, pero en el caso de las familias formadas por personas homosexuales –con el reconocimiento legal del matrimonio entre personas del mismo sexo como máximo exponente– son más las transformaciones que las continuidades. Estas páginas nos invitan a acercarnos a ellas para entenderlas.

Possibly Orrie Hitt at his literary smoothest, I was wonder if he consciously wrote in a different style that denoted “this is Kay Addams.”  Gone are the clipped sex scenes and dialogue, yet the same desperate characters trying to make a living are present.

The Strangest Sin is also a sociological and economic novel that examines what happens to a community when it loses its main source of revenue.  Sandersville is sleazy working class town that depends on the big shoe factory to employ half the citizens.  When the factory closes and moves, the economic downtown has a domino effect — when people don’t have money for food, they definitely don’t have money for vice.

Sharon feels the crunch the most.  She’s 22 with a 42 inch bust and owns a small bar that caters to the working stiffs.  She inherited the bar from her parents, now dead; all she knows is bartending and the bar world.  she’s had offer to sell but turned them down; now that there are no customers, she couldn’t sell the place for a dime.

This reminded me of the Catch-22 situation of communities built around mines — the mining town owns the rental homes, the stores, everything around; thus, workers use their pay from the mining company to give back to the mining company for housing and food.  The mining company comes out rich in the end.

With the shoe factory gone,  people can’t pay rent and buy food in Sandersville, nor can they spend money on booze and beer and the hookers who hang around.

Sharon has been sleeping with Jimmy Shade and every morning she wakes up in his stinky bed in his room, a room she gives him money to pay rent on.  She also gives him money for beer, food, and cigarettes.  He’s a lazy heel, but big and strong and good-looking.  There’s no future with him, especially when he starts working for the local mobster, Robinson.

There’s also the tool salesman, Carl, an average nice guy she dates now and then who wants to marry her.  He won’t have sex with her until they are married, even when she offers herself. He has no idea she has been going to Jimmy for a pounding.

Then there’s her bartendress, Lucy — another Lucy! — who runs away when she’s robbed at gun point and gives over the $3,000 in the safe, putting Sharon deeper in the hole.

But when Lucy comes back, something sparks between her and Sharon — the strangest sin, the twilight desire. Yes, the two go out at and here we have a Hitt woman jumbling three lovers instead of a man.

This book has a similar feel as The Cheaters — centered around a bar, a bad guy shaking the bar owner down, a seedy area of town populated by hookers, shills, gangsters and losers.  Hitt jumps between three points of view well — from Sharon to Lucy to Jimmy — delving into the desperation of each, as they grow destitute and their backs against the wall, and how the sink to the lowest extremes to get out of poverty.

On the Hitt scale, a 9.

In the vein of Sloane Britain, BDSM Books has published Daring Karin by Kim Mitchell, who says she was influenced by Britain’s work.  It’s a pretty wild lesbian D/s novel in ebook format.

See/order here.

De nuevo vuelvo tras un tiempo de silencio con otra entrega más de versiones de canciones, esta vez dedicada a canciones que tratan temas LGTB o bien que son puros hinmos de esta comunidad. Aqui traigo unas cuantas de esas canciones conocidas por todo el mundo creo yo, pero con un trasfondo y significado especial para esta comunidad.

¿A quién le importa? (Alaska y Dinarama)

Esta canción es la mas conocida de la cantante Alaska y es uno de los himnos mas reconocidos de las comunidades gays de hispanoamérica y es que su letra es todo un grito de rebelión y libertad : ” ¿A quién le importa lo que yo haga? ¿A quién le importa lo que yo diga? Yo soy así y así seguire nunca cambiare” Fue versionada hace unos años por la cantante Thalia, que le dio un toque más electrónico y más moderno, aunque en lo personal sigo prefiriendo la de Alaska.

Original:

Versión:

All the Things She Said (TATU)

Las rusas TATU, tubieron su epoca dorada hace unos años gracias a que vendieron su imagen de lesbianas, que más tarde se desmintió, lo que hizo que su carreta se tambaleara. Aún asi sus canciones perviven en la memoria de muchos  y a pesar de todo la farsa que las rodeó, no se puede desmentir que lo que dicen muchas de sus canciones son situaciones muy reales.  Buscando en la red encontré una versión muy curiosa (y graciosa) que se hizo de esta canción interpretada por Deborah Ombres, para su programa de la MTv.

Original:

Versión:

You Spin me Round (Dead or Alive)

Canción versionada en multiples ocasiones, que es conocida en estos tiempos por un cover del rapero Flo-rida que le ha dado un punto de vista totalmente diferente al original, pues el cantante de Dead or Alive: Pete Burns, no era muy de damas, para que engañarnos. Aqui dejo unas cuantas versiones de la canción, para ver los diferentes enfoques que se le ha dio dando con el paso del tiempo.

Original:

Versión I (Dope):

Versión II ( Thalia):

Versión III (Flo-rida):

I Will Survive (Gloria Gaynor)

Y como no podia ser de otra manera, que mejor para terminar que el hinmo gay por excelencia: “I Will Survive” de Gloria Gaynor, de la que se han hecho versiones a mansalva, pero que siempre como bien dice su letra la canción original sobrevive y es que su fuerza no ha decaido con los años, lo que solo ocurre con los grandes hinmos, son eternos.

Original:

Versión I:

Fuente: www.rtve.es

• La empresa propietaria de la revista está en situación concursal
• Zero lleva cuatro meses sin publicarse y su página web no está operativa
• Los responsables no confirman ni desmienten su posible cierre
• Zero es la revista de temática gay pionera en España

La revista Zero podría tener sus dias contados. La empresa propietaria de la revista, Zero Press S.L., se encuentra en situación concursal según la información publicada en el Boletín Oficial del Registro Mercantil del 6 de noviembre. La revista pionera en temática gay lleva cuatro meses en silencio. El último número se publicó en julio, y desde entonces su página web tampoco se ha actualizado. A pesar de que los responsables de la revista ni confirman ni desmienten su posible cierre, todo apunta a que el número 120, que aseguran que se publicará en unas semanas, va a ser el último.

Zero es una revista de temática gay española, de publicación mensual, que comenzó su andadura en 1998, y tras una primera etapa como publicación gratuita en Madrid, pasó a ser de pago y de ámbito nacional. Con Miguel Ángel López al frente y una tirada media de 50.000 ejemplares, Zero se convirtió en la revista de referencia del mercado homosexual en España por su férrea defensa de los derechos de este colectivo.  Su popularidad se la debe, en buena parte, a las personalidades públicas de renombre que ha acogido en su portada, y que han apoyado de forma más o menos intensa las reivindicaciones del colectivo de lesbianas, gays, transexuales y bisexuales.  Entre los políticos destacan Gaspar Llamazares, Alberto Ruiz-Gallardón, Pedro Zerolo e incluso el propio presidente José Luis Rodríguez Zapatero, que utilizó la publicación para dar a conocer la Ley de matrimonios homosexuales.  Actores, músicos y periodistas como Javier Bardem, Alaska e Iñaki Gabilondo también han ofrecido su imagen a la revista.

Pero, sin lugar a duda, Zero debe su fama, fundamentalmente, a su esfuerzo por hacer visible la homosexualidad con personajes de relevancia que “salieron del armario” en la revista. Es el caso de reportajes realizados al sacerdote católico, José Mantero, el teniente general del ejército, José María Sánchez Silva, o el juez de la Audiencia Nacional, Fernando Grande-Marlaska. Y también personajes populares como el presentador Jesús Vázquez, el bailarín Nacho Duato y el director de cine Alejandro Amenábar declararon su homosexualidad en Zero.

I wonder how a lesbian author felt having to, for marketing and legal reasons, have “Two women sharing a love that was unnatural” and “forbidden love in the twilight world of the third sex” on the cover of her novel, especially when she was also her own editor.

Unnatural is the story of Allison’s wandering maze through the lesbian world, and her love for Lydia, a woman who has made Allison her submissive in a D/s relationship.

Is this the same Allison in These Curious Pleasures?  Do the events in this novel take place before the other?  Britain doesn’t say, but it’s possible.  The Allison in Pleasures is hesitant to get into a serious gay relationship with another woman because of past bad experiences, and Unnatural is all about Allison’s bad sexual experiences.

The first is a rape by her boss at her first job in New York. She has come to the Big Apple with Big Dreams.  She does secretarial work and her boss had taken notice of her.  He calls her into his office, plies her with booze, and then makes his move on her…she is frozen, not knowing what to do.  She’s a virgin.  She lets him fuck her.  When he sees the blood on the couch, he freaks out, saying he would never have done it had he known.  Worried about repercussions, he gives her $100 and tells her to go home and look for another job…

She spends days in bed, shellshocked by the experience.

She walks around the city, wondering what to do with her life.  She winds up in Greenwich Village and goes into a gay bar.  After a few drinks, she meets Lydia, a woman with pale blonde hair and a fair complexion.  Lydia picks Allison up, they go to Lydia’s spacious apartment and have tremendous twilight sex.  Allison never knew it could be this way, etc.

Several days later Allison moves in — Lydia insists, presumes, never asks. Lydia is controlling. Allison goes along with anything she says, which gradually gets depraved.

Lydia id a theater actress but seems to make more money than she should. Lydia prostitutes on the side.  She does it for “kicks.”   She seems to get off making men pay her for love.  She brings men home, and the agreement is that the men get to watch Allison and Lydia make out and undress.  For $125-200, the men can join in.  Allison’s first time doing this is a bit strange for her.

He took Allison first.  It didn’t hurt.  It was just, well, sort of nothing. She could feel him, the nerves responded to his movements.  But the sensation stopped there. (p. 35)

The debauchery also includes women:

Sometimes she took Allison to a gat bar in the Village.  Lydia would pick up girls in the bar — sometimes two or three — and take them home. They would have wild orgies.  Lydia liked having Allison watch her making love to another woman. Lydia would taunt her that she wasn;t as good a lover as the other women.

Then Lydia had hit on the idea of having Allison go to bed with men for money.  She knew that Allison hated being touched by a man.  The issue of money made it even more humiliating.(p. 58)

Why would a woman put up with such treatment?  Why does anyone?  The relationship is based of depravity and pain.  The games are: Allison is the good or bad little girl and Lydia is either the nurturing loving Mommy or the Mommy who punishes.

Allison grew t hate Lydia. And she loved her at the same time.  She needed Lydia. Everything about her that was mean and cruel excited Allison, made her desire Lydia more.

More than she hated Lydia, she hated herself. (p. 58)

Allison has never been in a situation like this, nor does she understand the complexities of D/s or BDSM, so it’s all the more confusing. Perhaps the title of the novel doesn’t have to do with lesbiana, but the dynamics of their sexual interactions, which makes Allison “

feel sick and rotten inside and she couldn’t break away from the sordid mess.

She was no good inside, evil. Evil should be punished.

And Lydia punished her. (p. 58)

Lydia has her own hang-ups as well.  She liked to “make love” (i.e., go down on) women, but doesn’t like it done to herself.  It

wasn’t enough for Lydia.  She liked to be made love to also. Only it had to be a man. She said that the two kinds of love-making were completely different for her.  The kocks she got from a man were different from the way she felt with a woman. It was the other side of the coin for her.  Lydia liked a man to abuse her in bed. Even though she was a controlling bitch with everyone in every other sort of situation, in bed Lydia liked a man to act as if he were her master.

Allison had watched her make love that way many times. It looked ridiculous. The men only slapped and whipped Lydia because she wanted them to.  They didn’t force her, she was the one controlling everything. (p. 61)

Much more explicit than your usual 1960 sex paperback.

At a wild party that becomes a drug-happy orgy, Allison meets Calvin Stanton, a tall skinny guy with a blonde beard.  He’s more interested in her than she is in him; waking her up in the aftermath of a multi-girl sex romp, drunk and abandoned by Lydia, she goes home with Calvin to sober up and ponder on why she agreed to go to an orgy and do whatever Lydia wanted.  Cal seems to be aware of the D/s relationship and knows Allison isn’t happy.  He thinks she needs a man, him, not a woman.

Cal is a curious character…

“I thought you said you were an artist.” [Allison]

“Oh, I probably did.  I’m not,” he said.

“You talk and look like one.”

“That’s because I’m really a writer. Unsuccessful painters and unsuccessful writers look all alike.”

“What do you write?”

“Did. I haven’t written anything in over a year.”

“Why?”

“They call it writer’s block.  Can’t get the words out of my head and down on paper.  When I could, I wrote novels.  Mostly cheap things for the trash paperback market.” (p. 82)

Cal is similar to Gabe in Meet Marilyn, trapped in the hackwork of sleazecore paperbacks, something Britain/Williams knew well.

We learn that Cal was once married to a girl he loved, a simple farm girl from New Hampshire, and he write a mainstream novel that was published to good reviews and decent sales.  Then his wife was killed in a freak car accident and after that, all he could write were sex books, sleaze, and tawdry detecttive yarns.

Allison succumbs to him and has sex with Cal and is shocked that she feels something — the sex is better than with Lydia.  How can this be?  because Lydia is cruel and Cal is sweet and kind?

She goes home, afraid Lydia is scold her for being away, but Lyda is not there. For days she doe snot show, and she learns that Lydia was arrested in a raid for prostitution, and because she was high ion reefer, she acted like a mad woman and attacked the cops.

Lydia is in jail for a week, having fun with her teenage cell mate.  Allison wanders into a gay bar and gets picked up by a gal named Sally.  Allison decides to switch roles — instead of being the demure one, she tells Sandy, “I want to be the Daddy tonight” and tops the surprised Sandy.  She likes having Lydia’s role.

She stays with Sandy for a week…it’s great but is temporary.

She returns home and Lydia is there, furious.  She gets out of jail and her bad baby girl was with another woman?  Lydia punished Allison sadistically, whipping and beating her to a near pulp, then clawing her nails into Allison’s bruised ass.  Allison attacks Lydia, bashing her Mommy’s  head into the wall.

All along Cal has been searching for Allison, professing love, but she has been avoiding him.  Now homeless, she seeks Cal out and he says she will live with him and they will get married.

What the hell?  After her other books did not adhere to the genre formula of the repenting lesbian, is Sloane Britain going to have Allison find happiness with a man, turning her head back on dykedom?

I was shocked, surprised, disappointed in this, as much as Vin Packer hated to have the “lesbianism leads to tragedy and madness” ending of Spring Fire.

And yet…reading between the lines, I can tell that Elane Wlliams/Sloane Britain is making fun of this genre trick to keep the pure ones happy, to keep the government from charging Midwood with obscenity.

The book ends this way:

Cal would always be near her.  From now on. For always.  Alllison sipped the wild sweet wine of happiness. (p. 158)

But we know this isn’t so, this is not real life, there will not be any happily ever after.  How could there?  They hardly know each other, only had sex once.  The true reason she’s with Cal in his home is because Lydia threw her out and she had nowhere to go.  She’s using a man the way Lydia used men for money. When Cal isn’t looking, Allison will slip out to the gay bars for quickie sex with strangers.  She may find another woman for love and leave Cal.

Or maybe she will get the acted bug like Lydia and eventually do a TV pilot and meet “Sloane Britain” and move out to L.A. with her?

Because as much as she may have hated the D/s relationship and the depraved kinky sex, deep down she loved it, and she knows she can play both little good girl and Daddy, too.

Between  the lines, Sloane Britain tells us: “These patent happy endings of men and women are bullshit.  She’s a dyke and will always be a dyke.”

When pop culture historians and critics write about the lesbian paperback pulp era in the 1950s-60s,  the same names are often use das examples: Vin Packer, Randy Salem, March Hastings, Valerie Taylor, Paula Christiansen, etc., with such classics in lesbian pulp Spring Fire, Three Women, Baby Face, Women’s Barracks,  and so on.  Seldom is the name Sloane Britain mentioned, the pen name of Midwood-Tower editor Elaine Williams, although as both a writer and editor, Williams/Britain etched her own legacy in the history of early commercial lesbian fiction.

Williams started with Midwood in 1959, when the company first formed, acquiring and editing novels by Lawrence Block (Shekdon Lord), Donald Westlake (Alan Marshall), Robert Silverberg (Loren Beauchamp), Orrie Hitt, and Mike Avallone, among others.  It’s not clear when she left Midwood, if she did, but she committed suicide in 1964. Seems her family did not approve of her gay lifestyle and had disowned her, a matter she hinted at in her fiction.  She was 33.

She published her first novel with Newsstand Library in 1959, a paperback house out of Chicago: First Person–Third Sex was a deeply personal account of a third grade teacher’s discovery of her “third sex” passion and desire of a “twilight woman.”  It was reprinted in 1962 by Dollar Double Books as Strumpets’ Jungle (see above pic) , back-to-back with Any Man’s Playmate by James L. Ruebel.

Also in 1959, she published with Beacon Books, The Needle, a story about a bi-sexual heroin addict prostitute.

Her next novels for Midwood were 1960’s Meet Marilyn and Insatiable, like The Needle, written commercially for the market; These Curious Pleasures (1961), however, has the same autobiographical, first-person narrative that her first novel does. In fact, the narrator’s name is “Sloane Britain,” perhaps Williams’ indication that this book is based on her own life, rather than the writer’s imagination. 1961 also saw That Other Hunger. Both books sported cover art by Paul Rader.

Other titles were Ladder of Flesh plus two posthumous short novels published as Midwood Doubles: Summer of Sin and Peep Booth.  Three titles, Ladder of Flesh, That Other Hunger, and Unnatural,  were reissued in the late 1960s with new titles: Taboo and Delicate Vice.

Both First Person–Third Sex and These Curious Pleasures break away from the genre norm of lesbian paperbacks in that they end on a gay-positive note, rather than having the protagonist meet with tragedy for her sins of the flesh or meet a male she falls head over heels with, marries, and lives forever after in heterosexual marital bliss.  Publishers such as Fawcett Gold Medal, Beacon, and Nightstand often required this so the Postal Inspector would not prosecute for mailing obscene material in the U.S. Mails — if the lesbian character meets a horrible end or goes insane over her unnatural lust, or repents from sin and finds true love in the arms of man, then the books were deemed to have social value as morality and cautionary tales; if the books ended on a positive note with women loving women, that, in the 1950s-60s, was considered perverted and sick.  Homosexuality was still considered a mental disease that could be cured with medicine, psychology, or religion…

Lesbian paperbacks were initially marketed to male readership, often written by men under female pen names–the writing was often obvous, with the male point of view, although some men (such a Lawrence Block and Orrie Hitt) wrote so convincingly as women and lesbians that even to this, some readers have misten Block’s Jill Emerson and Hitt’s Kay Addams as being bonafide females.  On the other hand, writers such as Robert Silverberg (Marlene Longman) and Gil Fox (Kimberly Kemp, Dallas Mayo) were not as adept at capturing the lesbian voice and experience — Silverberg has stated he just relied on his fantasies and imagination whereas Fox, in an interview with Lynne Munroe, stated that he would watch romantic scenes in movies and imagine two women doing/saying the same, and would write from there.

In his essay, “How Can You Put Your Name on Books Like That? or Make Mine a Midwood” in Paperback Parade #32, prolific author Mike Avallone reveals that Williams accepted a manuscript from him:

…a lady editor at this very new Midwood snapped up ADAM GREENE  as if Avallone was the new F. Scott Fitzgerald, expediated an advance of five hundred and fifty dollars, and asked for aother novel. (p. 50)

Adam Greene was an attempt at a mainstream literary novel by crime and thriller writer Avallone that he had not been able to sell for its sexual content. It was welcome at Midwood and published as All The Way.  She acquired several more books from Avallone until she suddenly vanished.

I should say here that the first lady editor died under mysterious circumstances — suicide was suggested. I didn’t know, really. She was only a nice, low telephone voice to me named Evelyn [sic]. (p. 54)

While he never met his editor, at an office party he notes meeting “lesbian author Sloane Britain,” an attractive woman who had no interest in men but had exquisite and big “manly hands.”

In an interview with Lynne Munroe, Gil Fox states:

[The] first editor was Elaine Williams, who wrote as Sloane Britain. Her family refused to accept the fact that she was a lesbian, and she committed suicide.

While men certainly purchased and read lesbian paperbacks for twisted entertainment, these books found an unexpected underground audience among the housewives and teen girls across the country: women with secret longings who discovered they were not alone and other “women” had similar feelings and experiences and doubts that they had.

Perhaps some found a kindred soul in Williams/Britain’s First Person–Third Sex. The narrator, Paula, does not discover she’s gay until she’s twenty-one.  Before that, she’d had sexual encounters with men but couldn’t understand why she derived no pleasure from it, figuring she had to fall in love and get married before the true joys of sex were apparent.

Paula does comprehend, at age 15, the allure of her body and how she can manipulate men.  Lying about her age, she gets a waitress job in a diner; the older man is always eying her and she’s aware of it, as well as the looks of customers.  She doesn’t make enough money at the job to buy all the material possessions she craves, so she tells her boss that she will let him have her but it’ll cost $30 (pretty pricey for what would have been the mid-1950s, when your common streetwalker charged $5-10 and call girls went for $20/hour or $100 a night).  Her boss is a miser and won’t do it but she continues to taunt him, not wearing a bra, bending down in front of him, so he finally gives in.  They have sex twice a week and she makes an extra $60 on top of her weekly salary of $40.

She also carries on with the fry cook, a young Hispanic man who can’t afford the $30; she charges him $10 because he at least is young and good-looking.  She cannot, however, reach orgasm with these men, or even find pleasure in the act, as much as she tries.  It’s just a teen girl’s means to afford new clothes and jewelry and goes on for a year until her boss catches her with the cook and things get violent.

After college, Paula roommates with Janet, also a young school teacher. They get hired at the same school and are close friends.  Janet had regular dates but Paula has no interest; she dates no and then but just to do something, not interested in having a relationship. Even when she does have sex with a man, she still feels nothing.

In the summer, the two go off to summer jobs in different states.  Janet has a whirlwind romance while Paula is seduced by another cap counselor, Karen, who sees in Paula what Paula does not know: that she is gay.  Paula discovers orgasmic ecstasy with Karen, and is happy juts to lay in bed and talk as well.  Paula is okay with the realization of her lesbianism — she’s also possessive.  Karen is proiscuous and is carrying on with another girl at the camp, and is open for more lovers, even sharing them with Paula.

Karen tries to subdue her jealousy, tries to act like she is a free-loving dyke, but is doesn’t bode well, and she leaves the camp with a starined ending with Karen.

Back to rooming with Janet, Paula sees Janet in a new light: as an attractive female she’d like to have sex with.  She fights herself from making advances on Janet, afraid it might ruin their friendship.

Later, Paula takes a trip to Manhattan to visit Karen and is introduced to life in Greenwich Village, where gay men and woman openly cavort, there are many shops catering to the lesbian fashion, as well as gay bars and clubs.  Needless to say, Paula realizes she could live here and feel free to express her sexuality in public.

Janet meets Paula’s New York friends and notices something; she confronts Paula and asks if Karen is gay, and this is when Paula admits she is also gay, and she is okay with it, even if it does ruin their friendship.

Janet surprises Paula not by condemning her but by taking Paula’s hand and leading her to the bedroom, saying she feels the same — Janet is more bi-sexual than strictly lesbian, and a new chapter in their relationship opens.

The next weeks were the happiest in my life. No longer did I have to hide my love for Janet as if it were something I should be ashamed of [...] The only thing missing that would have made my happiness complete was the belief that it would last. (p. 142)

This presents a problem:  can they both be roommates and lovers, especially since Janet sees men and Paula has possessive issues?  Such matters of sexual and intimate jealously has been explored in Jill Emerson’s Warm and Willing –although written by a man (Lawrence Block), the novel reveals that the intricate pettiness and fallacies of lesbian relationships are no different than the heterosexual experience. Jealousy is also explored in March Hastings’ The Drifter, which may have been edited by Williams at Midwood. (It is interesting to note that March Hastings, pen name for Sally M. Singer, published a number of novels with Beacon and Newsstand Library, and then went exclusively with Midwood in 1960.  So did Singer’s lover, Randy Salem, pen name of Pat Perdue.  Did Williams, also with Beacon and Newstand, bring these women authors over?)

Yes at first, no later. Janet turns out to be the more possessive one, although it seems to be a ruse, for all of Janet’s insistence that they are one another’s property, Janet turns out to be the one who steps out on the relationship, with both women and men.  The revelation for Karen is deeply painful, yet almost inevitable “in the strumpet’s jungle” of the sexually active of the late 1950s.  Paula bears his soul to Janet:

“…I was in love with Karen but I have a confession to make. I was attracted to you for a long time.

“When we decided to live together I decided that nothing could make me happier than sharing the little details of daily life with you. This summer I realized that I wanted more from our relationship.  It seems strange to say that my relationship with Karen made me love you more.  What I mean is that through her I learned how beautiful a woman could be  when she gave you her love…on all levels.” (p. 148)

Still, Janet’s sexual needs outside their love ruins what they had.  They depart friends, in tears, and Paula has a hardened heart as she awaits the next woman to come into her life.  The next summer, Karen leaves to a camp again but Paula does not; she heads to New York and lives in Karen’s place for three months.

I don’t know if I expected to find someone in New York.  It didn’t matter. I was in no hurry. All I was sure of was that someday, somewhere, I would find the woman who loved me as I loved her [...] I don’t know her name or what she looks like or anything about her. Only that as I write this she, too, is waiting. (p. 191)

Is that woman Allison in These Curious Pleasures?

“Sloane Britain” in These Curious Pleasures works as a secretary in a New York TV producer’s office. She has a room in the Village and a number of part-time lovers; she also likes to cruise the bars, seeking one-night stands with strange women.

She is essentially Paula with a new name as Elaine Williams is Sloane Britain: remade in New York as a dyke in search of good sex and maybe, if the cards are right, love.

Sloane meets an actress that her boss hires for a new TV pilot, Allison.  There is an immediate connection between the two women; Sloane is confused but Allison says she knew Sloane was gay the first second, she has a way of telling.

A note on the boss: Harry “Happy” Broadman seems to be a thinly veiled rendition of Midwood Books publisher Harry Shorten — Shorten, Broadman.  Happy, as Sloane calls her boss, is unpredictable, at one moment yelling incoherently on a tirade, the next moment calm and collected.  She has learned to deal with herboss’ eccentricites.  Was Harry Shorten like this?  Descriptions of him by his authors seem to indicate this is so.

It was three in the afternoon and Happy hadn’t shown up at the office.  What a day it had been.  His numerous lad friends called frst on his private line and then, when they didn’t get an answer, they called back on the office phone. They drve me nuts with their questions. (p. 34)

So how did an editor publish a novel with such a portrait of her boss within the boss’ own publishing company?  It seems that Harry Shorten never read the sex books he published, coming from a background of comics (the money he made in that field was used to start Midwood).

The relationship between Sloane and Allison begins slowly then goes whirlwind — Allison doesn’t want things to get serious until the pilot is shot, so her work will not be affected by romance.  Frustrated, Sloane reacts to this by going to see one of her part-time lovers, including a girl whom she has not seen in three weeks; Sloane just knocks on her apartment door, unannounced, and the girl lets Sloane in to spend the night.  Sloane’s aggressiveness almost seems…manly. She goes on a dark prowl. She is sardonic, too.  While out dancing, Allison asks Sloane why she always speak in clipped, glib sentences like a character out of a detective novel.

She also cruises the lesbian bars in the Village, rejecting women based on hos they dress or their taste in literature.  No one at the production company knows she’s gay — it’s not something she  hides, she just has no need to mix her private life with work, until Allison shows up.  Men — actors, directors, producers — constantly ask her out, but she politely turns them down or suggests she’s in a relationship and not available.  She wishes this were true.  Like Paula, she is searching for that one woman she can love, a woman to love her back, and she sees this future in Allison.

Then something bad happens.  With the pilot finished and ready to market, Happy throws a large party at his Long Island estate.  There’s a lot of drinking and some drug use going on.  An actor and the director of photography, both stoned out of their reasonable minds, corner Allison in a bedroom and rape her.  Sloane hears Allison’s cries for help and goes in the room; she tries to stop the rape but one of the men hold her back as the other assualts the woman Sloane loves. It is a moment of horror for Sloane: she has to watch Allison violated and there’s nothing she can do about it.

After, Sloane holds Allison and soothes her; Allison is shaking, crying, she has never really been with men, she has never experienced forced sex.

Sloane wants her to go to the cops and report this but Allison refuses — she is career ambitious. She’s an unknown actress and this pilot could be a career break; the two rapist are well-known and respected in the field and if she smeared their names, if she put them in jail, she would become blacklisted in the entertainment field, and the tabloids would afford her the wrong kind of publicity.  The best thing, she feels, is to recover and forget — the two men don’t even remember what they did, based on how they act the next day.

Although watching Allison’s rape was horrid for Sloane, it works out for her need for Allison — Allison stays with her for two weeks and Sloane nurtures the actress. Their relationship gets deeper, the sex is tender and loving.

Much like Paula and Janet in First Person–Third Sex, the relationship starts off good as the two live together, but it doesn’t take long for the little green monster to poke its head out of the mist of the lesbian psyche.  As Sloane and Allison interact with other lesbians in the twilight jungle, Sloane becomes jealous of the way other women look and flirt with Allison, and how Allison responds.

Despite all the problems and a short break-up, the novel has a happy ending — Allison gets a job on a TV show in Hollywood and has to move to California. Unable to see her life without Allison, Sloane says goodbye to her job and Greenwich Village life and goes west, young lady, with the gal she loves.

We kissed for a long time. Not one of those kisses where we teased each other. Just a matter of contact that would take the place of words that would say I need you, I love you, you give me strength, I want you near me always. (p. 185)

Both these novels are elegantly written, emotionally charged, and deeply personal — autobiographical revelations that there is a universality of love and lust’s many avenues and streets.  “She died too young,” said Midwood author Joan Ellis, talking to Lynn Munroe.

Indeed she did.

In the lesbian journal Ladder, Marion Zimmer Bradley (who wrote lesbian novels under a variety of names) examined the output of Sloane Britain and both praised and condemned her work, according to Susan Styrker in Queer Pulp (Chronicle Books, 2001).  Williams/Britain’s  First Person–Third Sex was lauded as “one of the best books” of 1959 for its honesty, as was These Curious Pleasures (“excellent writing and characterization”) but The Needle and Woman Doctor were written off as paperback trash that succumbed to genre demands of sleaze fiction.

Woman Doctor is about an unethical shrink who seduces her female patients; MZB viewed this as beneath serious lesbian literature and Britain’s earlier work.

A final note stated:

Sloane M. Britain died, by her own hand, in her New York apartment in early 1964.  In spite of the gradually declining and cynical characters of her later books, we feel that the literary world has lost a promising talent.  She might well have escaped the rut of hackwork, and written something well worthwhile. We’ll never know. (Queer Pulp p. 61)

Talk about cynical!  But true.

Yet how many sleaze paperback writers actually did escape hackwork? Did MZB with her fantasy and SF?  Some will say no.  Did Lawrence Block and Robert Silverberg?  They remained genre authors.  Evan Hunter?  The Blackboard Jungle suggests so.  Some, like Gil Brewer and William Knoles, killed themselves because they were unable to make that escape and the literary break-through they hoped for.  Elaine Willaims/Sloane Britain killed herself because of the disapproval of her open twilight sexual identity — the gradual cynicism of her later books reflected such.  Her character Paula and her alter-ego Sloane may have found peace, acceptance, and love on the page, something Elaine Williams could not acquire in life.

¿Quien de ustedes no ha visto o por lo menos ha oido mentar a la saga de Star Wars (aqui en Mexico, la Guerra de las Galaxias)? Todos los que hayan nacido en la decada de los 80’s sufrieron los embates mercadotecnicos de estas cintas. Y es natural, cuando uno es un crio que no sobrepasa el metro de altura, queda boquiabierto ante el despliege de rayo lasser, naves intergalactica y esas maravillosas espadas de luz. ¿Que niño no quiso una de ellas? Eran brillantes y hacian ruidos chidos. Y claro, como no te la podian comprar pues ni siquiera existian, pues no quedaba mas que esperar a crecer y comprar una cuando ya las inventaran. Ya pasaron 20 años y yo sigo sin ver ni una sola en venta. Que desilusion…

A grandes rasgos, la primera peli estaba chida (cuando uno es niño no es muy exigente) pero las demas estan de weba. Ya de grande, veo la cintas y me pregunto como pudieron y pueden ser tan populares e influyentes cuando en el fondo todo es el vacio oropel de una producto “impactapendejos” ¡hasta una religion nerd surgio de ellas, y su biblia es un libro escrito por un fan llamado “Yo, Jedi”! ¿Asi o mas idiotas?

Pero siempre hay algo rescatable hasta en las peliculas Lado B (Star Wars tiene todo para ser una, a pesar de su alto presupuesto: Una historia pendeja y llena de huecos argumentales, malas actuaciones, villanos de risa, mostruos cagados, etc.). En este caso en la princesa Leia. Anque toda las saga fue una plasta que no sabia ni donde estaba, en la tercera, el Regreso del Jedi, aparecio de una forma tal que nos marco para siempre en nuestro futuro tiranetero. Vestida con un extremadamente sexy vestido de esclava sexual, atada con una cadena que sujetaba un gordo asqueroso y lujurioso (ejem, nada que ver conmigo) y mostrando esos encantos que tanto tiempo mantuvo ocultos, hizo que cuanto niño viera la cinta disfrutara de su primera fantasia sexual y tal vez, a su primera ereccion. Nuestras inocente mentes fueron corrompidas de forma precoz debido a las torneadas piernas de Carrie Fisher. Y a ustedes ¿no les paso? 

La actriz en sus muuuy buenos tiempos

Es mirada dice: “Estoy a sus ordenes, amo”

¡Que no darias por tener a una hembra en esta forma!

Modelando la ultima moda en esclavas sexuales intergalacticas

 Ante esa mirada y ese cuerpo solo podemos decir: ¡Princesa, estamos a tus patas, ordenados y obeceremos!

La cadena es para practicar la afixiofilia

¡Hooola ma’cita!

¡No me mire asi princesa, yo no estaba intentando verle la tanguita!

Meditando si tiene o no futuro el ser la esposa de Jabba

“¡Que buenota me veo! ¿Verdad?”

Despues de los eventos de Star War, a Leia le gusta escaparse por la noches, ponerse su traje sexy y trabajar en las esquinas

 ”¡Ay papi, que espadota laser te cargas!”  -  “Gracias hija, cuando quieras te doy una… exhibicion de esgrima”

“¡Estoy tan feliz de que me recuerden y me hagan una Chica Tiraneta!”

Mejor conocida como Tila Tequila, esta wannabe – actriz, cantante, modelo, zorra, bisexual – nos muestra lo unico bueno que tiene, sus tetas operadas XD, ha si, y su nuevo color de cabello, porque ya saben lo que dicen, las rubias se divierten mas…

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No us heu preguntat mai quin percentatge de persones amb tendències sexuals fora de la normativitat heterosexista hi ha  al la nostre societat? No? Doncs bé jo si i forces sociòlegs també, així com diversos ultres catòlics obsessionats en dir que som quatre gats, per tal de negar-nos la igualtat de drets.

A continuació us exposaré les diferents teories plantejades fins al moment i finalment desenvoluparé un experiment ideat per mi, pel qual us demanaré col·laboració!

Teoria clàssica d’Adam Kinsley (llegiu-la aquí)

Publicada en dos volums als anys 1948 i 1953, es tracta de les conclusions d’un ampli estudi sobre el comportament sexual de la societat americana dels anys 40/50, on bàsicament arriba a la conclusió que un 10% de la població realitza habitualment pràctiques homosexuals i que, al menys un 60% dels homes i un 33% de les dones, han tingut una relació a al seva vida amb algú del mateix sexe. L’estudi es va realitzar a partir d’entrevistes directes a més de 20.000 persones.

Crítiques a la teoria: Els ultra-catòlics han assenyalat com a pegues del estudi que Kinsley era expert en insectes, no tenia rigor metodològic i que a la seva mostra estaven sobre representats col·lectius com els xaperos o els presos, especialment els condemnats per delictes sexuals.

Teoria ultracatòlica (llegiu-la aquí)

Es basa principalment en una enquesta realitzada l’any 2003 per l’Institut Nacional d’Estadística d’Espanya que sota el títol “Encuesta de Salud y Hábitos Sexuales” (només amb homes) afirmava que tan sols el 3% reconeixia haver tingut esporàdicament relacions homosexuals i un mísere 1% tenia relacions exclusivament gais. Segons aquest percentatge a Espanya hi haurien escassament 300.000 persones homosexuals.

Algunes coses interessants del estudi eren que el percentatge de gais pujava segons l’entorn fos urbà, tingués estudis superiors o un sou elevat.

Crítiques a la teoria: El 80% de les persones varen declinar participar a l’enquesta, la qual cosa desvirtua totalment l’estudi i ta sols posa de manifest que al 2003 existien encara molts perjudicis per sortir del armari, inclús en una enquesta anònima. Aquest índex tan baix no encaixaria ni de conya amb els xifres d’assistència a manifestacions, discoteques o altres actes destinats a la comunitat GLTB.

L’experiment de l’Arqueòleg

Es molt senzill i us demanaré que el repetiu a veure que us surt: es tracta d’agafar a totes les vostres amistats de Facebook, comptar quantes son homosexuals i fer-ne un percentatge! Descarteu casos dubtosos, per molta ploma que tinguin, per tal d’afinar el resultat!

A mi m’ha sortit un 11,6% (8,6% de gais, 2% de lesbianes i un 1% de bisexuals) i a la meva amiga Intrèpida Libèl·lula un 10,5%. Curiosament… el mateix resultat de la Teoria Clàssica d’Adam Kinsley!!

Clar que nosaltres som homosexuals, vivim en un entorn urbà, progressista i tenim estudis universitaris…

I ara us toca a vosaltres !!

LADY GAGA                                                   MARIA LA DEL BARRIO

LADY GAGA                                            AMY CRAK WINEHOUSE

Aqui vemos a la hermosa Scarlett Johansson en la fiesta de lanzamiento de la nueva coleccion de Mango en Madrid, viendose espectacularmente bella! a pesar de llevar los labios de color rojo slut, se lo perdono por lucir asi, work it bitch!

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Recordando a mi querida Rony Spinelli y su casi seguro saludo institucional llamado “las tijeritas” es probable que pronto se haga una costumbre, me dieron ganas de meterme estas aguas un poco turbias para el común de los mortales, quizás no sea la persona mas adecuada para tratar este tema, pero considero tener la experiencia adecuada, así que hablemos del “tribadismo”

No dudo que hayan escuchado ese termino y que se hayan quedado con la duda de su significado, asi que vamos a ir por partes el “tribadismo” proviene del término griego Tribade que significa “frotar” o “ella que roza” y es con esta palabra que se designa la actividad sexual entre dos mujeres, aunque también puede tomarse como sinónimo de lesbiana.

Quizás muchos podrían pensar que como lo iban a conocer si no son mujeres, mucho menos lesbianas o que no conocen a ninguna mujer que lo sea. Pues debo decirles que ni yo lo había escuchado, considerando que conviví con una chica les muchos años, jamás había oído mencionar ese termino, si no es por andar estudiando sobre las practicas sexuales entre mujeres (es bueno conocer de todo un poco) fue que le pregunte y ya me dio una cátedra del “tribadismo” mejor conocido como “tijeritas” dentro del argot lesbico.

No es un secreto que dentro del mundo lesbico exista mas libertad para llevar a cabo actos sexuales, han desarrollado muchas y muy variadas formas de disfrutar de sus cuerpos, dar y recibir placer, obviamente no están para nada restringidas por el uso del pene y la penetración, que puede apresurar un poco las cosas. Teniendo mucho tiempo por delante, pueden explorar a conciencia el cuerpo de sus amantes, aunque el sexo entre mujeres está basado en las caricias, el sexo oral, los tocamientos, las frotaciones y algunos casos la penetración ya sea con los dedos o con juguetes sexuales.

Se dice por ahí y esto me encantaría que me lo confirmaran, que uno de los placeres mas grandes del sexo entre mujeres son los frotamientos y de primera mano sé que es verdad, existen muchas formas de estimular el clítoris, siendo la técnica de las “tijeras” la mas popular, pero según palabras de una gran amiga “están sobreestimadas” existiendo mejores formas de disfrutar del roce de una fémina, y ustedes chicas ¿Qué opinan?

La técnica es bastante simple, las mujeres entrecruzan sus piernas desde lados opuestos y mueven sus caderas para proporcionarse placer. Debo confesar que después de ver a muchas mujeres teniendo relaciones sexuales, algunas de ellas siendo completamente lesbianas, no he tenido la oportunidad de presenciar esta curiosa técnica milenaria.

Sin embargo si fui testigo de muchas otras formas de conseguir placer, considero debo aclarar que como se dijo al principio el “tribadismo” se toma como sinónimo de las clásicas “tijeras” pero en realidad incluye a toda actividad sexual entre chicas que incluya rozar o frotar por supuesto el clítoris, existiendo un bien numero de formas de lograr e incrementar la estimulación, como por ejemplo: vagina con vagina, clítoris con clítoris, pubis contra pubis, muslo contra pubis, etc…, aunque también una mujer puede estimularse friccionando su vulva contra las nalgas de la otra a la vez que la masturba.
Así que no se limiten y como ya vengo haciendo costumbre, dejen de lado a sus etiquetas sexuales e intenten cosas novedosas, como por ejemplo esta practicas, no hay que cerrarnos a nuevas posibilidades sexuales.

Via l De la Fantasía a la Realidad

Lindsanity LOLhan fue captada ayer dirigiendose a un club acompañada por unos parasitos amigos, no solo el atuendo que llevaba era horrible, lo que esta vez llamo la atencion fueron esos labios inchados, hasta Angelina Jolie diria que son exagerados, y estoy seguro que si pudieran hablar pedirian ayuda para que los dejaran de maltrar asi, pobre Lolhan, cada dia se hunde un poco mas.

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