 |
DON'T ASK ME HOW THE CUM WAS!DON'T ASK ME HOW THE CUM WAS! (e-book)Download: $2.99 Brian: “hey slut we’ll tell you when you’re allowed to cum” Ellen: “yes Master Brian but please let me cum” Mike: “you heard what Master Brian said we decide when you cum” Ellen: “yes Master Mike but when?” John: “when we say so you whore” Ellen: “please Masters I’m so close” Brian: “you will be allowed to cum when we decide its okay” Ellen: “please, please Masters let me cum please” Mike: “you can beg all you want but we’re not ready to let you cum” Ellen: “that’s torture” |
Price: $6.99
|
ASTONISHING EROTIC STORIES-Sexually-Explicit Content
Category: Erotica
Her clit protruding from her crack could be clearly seen, and it was
the biggest clit Joe had ever seen in his life! Probably the most
exciting thing that happened was a much unexpected visitor to the
girl's shower. After everyone had left for the day...
By: Michelle Jane Size: 1527 Kb |
 |
|
Price: $7.00
|
Beauty is Skin Deep
Category: Self-Improvement
Know all about your skin.How to take proper care of your skin and look
younger for a longer period. This is not just another book. See the
Free Sample and then buy the book. It has been prepared with the
guidance of the experts....
By: Michelle Jane Size: 269 Kb |
|
|
Price: $2.00
|
Collection of Erotic Stories (Book Five)
Category: Erotica
Warning: This book is strictly for the readers above 18 years of age.
There are sexually-explicit photos with the stories. Children must not
be allowed to download this book. There are various stories with erotic
language and photographs. The extreme...
By: Michelle Jane Size: 164 Kb |
|
|
Price: $2.00
|
Collection of Erotic Stories (Book One)
Category: Erotica
A Collection of Erotic Stories(Book One) 1. A Professional Job
2.Relatives 3.My Friend 4.The School Girls 5.Married Women Warning:
These stories are for the readers above 18 years of age. There are
explicit pictures of sexual positions as well. Please...
By: Michelle Jane Size: 139 Kb |
|
|
Price: $2.00
|
Collection of Erotic Stories Book Two
Category: Erotica
These stories are stictly for adult readers. There are explicit pictures which may not be good for children....
By: Michelle Jane Size: 144 Kb |
|
|
Price: $2.00
|
Collection of Erotic Stories from Real Life
Category: Erotica
Warning: This book is strictly for the adult readers. There are
sexually-explicit pictures with the stories. Keep children away from
this book!!!...
By: Michelle Jane Size: 191 Kb |
|
|
Price: $2.00
|
Collection of Erotic Stories(Book Four)
Category: Erotica
This book is strictly for the readers above 18 years of age, for there
are explicit pictures with the stories. Warning: Children should not be
allowed to download this book....
By: Michelle Jane Size: 196 Kb |
|
|
Price: $2.00
|
Collection of Erotic Stories(Book Six)
Category: Erotica
Special Edition-Indian Stories This book is strictly for the readers
above 18 years of age. There are sexually-explicit images with the
stories. Warning: Don't allow children to download this book....
By: Michelle Jane Size: 358 Kb |
|
|
Price: $2.00
|
Collection of Erotic Stories(book three)
Category: Erotica
This book is strictly for the readers above 18 years of age, for there
are explicit sex images with the stories. Dirty Step-Mother Bombay Fuck
Sexy Heaven Sex in the Afternoon Our Exams She was my Neighbor My Story
before Marriage......etc....
By: Michelle Jane Size: 176 Kb |
|
|
Just picture yourself dancing to this tune with someone as opposed to doing so with some contemporary 'hip hop' or ‘rave’ number.
Which do you think incites your attention and appreciation of the person you're dancing with? I feel that much of contemporary 'club' tunes contracts one's appreciation of significance to include none other than oneself. And the mindnumbing thud of the beat, which oftentimes goes much faster than one's normal heartbeat does much to incite self-absorption as opposed to rhythms that promote cognizance and appreciation of another. I miss those days that produced the kind of music that encouraged one to look at each other, talk to each, smile at each other, and which, in its totality brought about greater rhythm between oneself and the person or persons one was dancing with. I dare say that rhythm, amongst others, does much in either contracting or expanding one’s field of cognizance and appreciation. Hence, in my books, a good social rhythm is that which leads to good vibrations that enables that which resonates from either to bring about greater mutual appreciation.
Something to think about.
ed
Yeah... This is how it was with me and my 'crew' back then. We kicked ass, and got our asses kicked. Loved the passion on both sides. Potent resource indeed.
ed
I find much
of what is being said in the British media about Michael Jackson to be,
generally, analytically superficial and shallow at best, and which
tends to feed the pervasive culture of ignorance, and celebrity-worship cum
self-diminution. I was expecting more from them given their
'professional' status, but I suppose having a queen would tend to
compromise their ability to appreciate the thorns founding the crown.
This article is a response to their celebrity-worshipping nonsense.
“Michael Jackson's art was astonishingly innovative. No one could dance like him, until he showed them how, and then they were never as good as he was. His concept of the dance was utterly 20th century, extravagantly multi-dimensional, and not in the least middle class.” – Germaine Greer, Guardian
“
If ‘Genius’ is 10 percent talent and 90 percent hard work, we could say that the masses ought to be credited for the latter in the production of the phenomenon of Michael Jackson. - ed
(one of the reasons why the concept of Intellectual Property strikes me as an Intellectual Impropriety)
I have said quite a bit on MJ’s dance style in a previous article, and which is excerpted here for its relevance.
“
His dance and music was of the genre of ‘juvenile self-assertion’. The quick definite movements, the angularity of it, short spurts of multidirectional movements, and complemented by a style of singing with it's yells, 'hooos', sharp in/exhalation, self-confident and semi-aggressive facial contortions, says as much and little besides. You could say that, in this, the masses' self-assertive propensities were directed away from anti-establishmentism and intellectual inclinations by way of self-assertion being presented without any intellectual or confrontational qualities. And with him, amongst others, serving as cultural icons, the juvenile masses didn't have much of a reason to seek beyond them for something more. And whatever energy that was diffused amongst the multitudes found articulation through the socio-economic system since it didn't have an ideology or a direction to begin with - unlike in the 'hippie' 60s. You could say that MJ, amongst others, served as the element within the spirit of the 80s that enabled the overthrow of any semblance of anti-establishmentism that was inherited from the 60s and 70s. - Why MJ was not the ‘greatest entertainer of his age’, ed.
Just a bit more on this...
Now you think, amongst other writers in various global newspapers, MJ’s dance style was invented or afforded much innovation by him don’t you. Well, that’s not entirely true.
Michael’s dance style has, amongst others, three significant sources.
The
first, and most obvious source, is from the street culture in California and
New York City in the 60s and early 70s which includes, amongst others, Breakdance
styles such as ‘popping’, ‘locking’, ‘wave’ and the more aggressive, ‘uprock’. Other assertive street styles were also
integrated or incorporated into what one of the pioneers of the Universal Zulu Nation, Africa
Bambaataa, termed, ‘hip hop’. And the famed ‘moonwalk’ itself can be traced back
to James Brown and Bill Bailey, the latter of whom, by the
way, was one of the first documented
artistes to do the ‘moonwalk’ in 1955.
The
main reason why MJ became famous for ‘his’ dance was that fame was already
coming his way with his stint in the Jackson 5 and his later solo career. This served as the stage wherein he could
expose 'his' other talents such as dancing.
You could say that MJ used his relatively prominent position to be one
of the first to bring in street
dance, as opposed to inventing it. Hence, as he was already becoming popular,
the global mass of fans were at the ready to credit him with everything that was of
non-MJ origins or state that he was, amongst others, ‘astonishingly innovative’
where appropriative might be more apt
– just like ideas not being appreciated unless it issues forth from a renown
figure even though it has existed for quite some time or in more insightful
form amongst unknowns. He was prominent,
so all he had to be was ‘good’ at, for instance, dance, for it to be construed
as ‘great’. The prominence of the
artiste, hence, served as the Midas touch as opposed to Michael simply ‘being
the best’. But,on the downside, once a celebrity appropriates the culture of the masses of unknowns and exhibits what s/he has a preference for, it has the effect of reducing the masses to mere reproducers and innovators. In this, the 'celebrity' does much in regimenting the vibrancy upon which s/he emerges.
The 2nd source of MJ’s dance style was founded on the increasing burst of juvenile predominance in culture, and with pop culture being weeded off its ideological content as it was in the mid-60s up to the mid-70s. Self-assertion without ideology or what I would term, intellectual individualism and depth, would then be well prepared to descend and manifest itself in more abstract forms such as breakdancing amongst other ‘hip hop’ styles that can be crudely perceived as ‘self-assertion and vibrancy without a brain’. I’m not saying that these cultures are problematic. But, when subconscious vibrancy is not articulated through the mind, its next refuge would naturally be through dance, amongst others. It is then that it becomes a problem as it serves as a ‘compensatory mechanism’ that is activated to allay the discomfort ensuing from the human persona not being able to express itself in more deeper forms. One could say that when popular intellectual individualism or/and depth is at a relatively higher level, dance forms usually take on deeper forms. In that, such dance forms complement intellectual individualism and depth as opposed to serving as compensation for not having it. Hence, with the decline of intellectual individualism and depth, or the masses perceiving it as beyond their sphere of rightful interest through socialization in the ‘modern’ understanding of ‘youth’, or as economic units, the stage will be set for the emergence of the likes of Michael Jackson as a ‘star’ and the ‘fans’ necessary to serve as its stage and spotlight.
(I don’t actually feel entirely comfortable with this statement as I too was a ‘breakdancer’ back in the 80s with my own ‘crew’. It really made me feel alive as it still does now. But I do know that if I had not been underdeveloped by my social and class experience and location, I may have engaged in activities of greater intellectual individualistic depth. But if intellectual individualism and depth could be achieved, that does not mean that this dance form would melt away. Rather, this dance form could then serve as primitive fuel for greater ventures. But where intellectual individualism and depth is not achieved or derisively perceived as the ‘obsession’ of ‘psychobabblers’ or ‘know-it-all academics’, such a culture would serve as ‘compensation and distraction’ and work toward depoliticising the citizenry.)
The 3rd reason for Michael’s evolving dance style is the adoration paid him by the global congregation of ‘fans’. Michael’s self-doubt will be decreased along with an increase in his sense of self-efficacy. And with the sense of self-importance amplified within him by swooning ‘fans’, the self-assertive qualities of the dance style of the streets would become more pronounced by his own increasing sense of self-worth. That is why we can see that MJ’s dance style became increasingly self-assertive from the 70s through to the present. From the dance complementing the song in the 70s, it mutated into the song and dance complementing him, the ‘King of Pop’. The posturing became nothing less than megalomaniacal in proportions along with the titling of his albums that moved ‘off the wall’ to ‘bad’ and to a grossly narcissistic, ‘History’. He began to cease to ‘second guess’ or doubt himself and just developed this megalomaniacal dance style to the extreme as seen by the increasingly self-assertive posturing that became the dance. And the masses, already living vicariously off his transfigured grandeur, whilst they lived as mere ‘fans’ and cogs and wheels within a socio-economic system over which they had no control, fell hook, line, sinker, and titanic for the increasingly potent opiate that was MJ, and which served well, and correlated with, their increasing diminution as truly individualistic and cogitating modern citizens.
‘Youth’ was given a new identity. You weren’t here to make a change. You were just here to make a megalomaniacal stand – and the system stepped in to appropriate this valuable mindless resource. That is when what was 'cool' moved from creating your own style to following it. MJ, amongst a host of other factors, along with the socio-economic system, paved the way for the mutation of the masses to the grossly self-absorbed, ignorant, incorporated and arrogant people that they are today. He distracted the attention of the global mass of youth from the foundations of civilisation and ushered them into the superstructure. One could quite plausibly state that MJ was the final and decisive push against the intellectually individualistic ‘hippie’ definition of youth. These ‘stars’ finally became the Gods of the masses, keeping them supple and compliant for the use of the elite. And thereafter, even saw some of these 'stars' taking on roles within the UN, amongst other organisations, and forwarding initiatives for the resolution of problems they, in no insignificant way, helped in creating and perpetuating.
The popular stage shared between singers and philosophers in the ‘hippie’ era, and was itself one of the reasons why it was undermined, was predictably evicted of the latter in the 80s as self-gratification was more immediate when singers were turned into deities as opposed to the relatively lengthy and less-‘entertaining’ observations of philosophers. Hence, as one of the most significant deathblows, MJ, amongst others, and all that he stood for, delivered to the establishment youthful vibrancy without a mind. And insofar as they became fodder, thus they now render fodder of all.
The Devil’s a genius.
Ed
re-edited
“
The relative prominence of any celebrity indicates the relative predominance of a singular facet of an otherwise multifarious human persona. The question is, what is being brought to the fore at the expense of what is thus relegated its diminished position in the background of the human persona. ~ ed
“For all Michael Jackson's flaws he was the greatest entertainer of his age
Nonsense.
Michael Jackson was the greatest entertainer of the Juvenile Age. That is, he appealed to the juvenile amongst and within us in his juvenile vibrancy, self-assertion, arrogance, self-absorption, animation, youthfulness – not all bad, but not all good either. But the bad and good of it all is determined by the degree we might be inclined to view him as ‘the greatest entertainer of his age.’ I’m sure Mickey Mouse might be the greatest entertainer of those of a particular perspectival age, but who might be confused for ‘the greatest entertainer of his age’ amongst toddlers just as do those who think likewise of Mike. In a sense, this nonsense is just another man-infestation of western cultural hegemony.
But entertainment is not a singular phenomenon in itself. That which we are entertained by is diagnostic of what we are. For myself, the youthful, fun-loving and self-assertive aspect of my persona is ‘entertained’ and reinforced by, amongst others, MJ, but when it comes to the intellectual, inquisitive, spiritual, aesthetic aspects of the potentials of personality, a personality I did not allow MJ to completely define (though I’m more of a Prince person myself), I look elsewhere.
In relation to this, the singularly developed might think that MJ was a great dancer.
Again, nonsense.
His dance and music was of the genre of ‘juvenile self-assertion’. The quick definite movements, the angularity
of it, short spurts of multidirectional movements, and
complemented by a style of singing with it's yells, 'hooos', sharp in/exhalation, self-confident and semi-aggressive facial contortions, says
as much and little besides. You could say that, in this, the masses' self-assertive propensities were directed away from anti-establishmentism and intellectual inclinations by way of self-assertion being presented without any intellectual or confrontational qualities. And with him, amongst others, serving as cultural icons, the juvenile masses didn't have much of a reason to seek beyond them for something more. And whatever energy that was diffused amongst the multitudes found articulation through the socio-economic system since it didn't have an ideology or a direction to begin with - unlike in the 'hippie' 60s. You could say that MJ, amongst others, served as the element within the spirit of the 80s that enabled the overthrow of any semblance of anti-establishmentism that was inherited from the 60s and 70s.
That was, in essence, what Michael Jackson stood for - but it's going to take more than the ubiquitous 'fan' to realise that.
Dance is a
many-splendored thing. We have the
gracefulness of ballet, the philosophical depth of Bharatanatyam, the earthy tones of the Aboriginal dance form, the
confrontational spirit of the Maori and certain Zulu dance forms, the
supernatural qualities of the Indonesia ‘horse dances’, etc. To allow one wo/man to monopolise the idea of
‘the greatest dancer’ or ‘the greatest entertainer’, hence, is, another form of
cultural fascism that narrows the appreciation of oneself in more ways than
that which is afforded a spotlight led by an increasingly juvenile and
ill-educated mass. In this light, I would
recognise MJ as the abstract epitome of the arrogant, self-absorbed juvenile
individualism that was brought about by a myriad of factors, that MJ fed and
fed on, and which has become the hallmark of these times. In this sense, I suppose one could say that MJ was the 'greatest entertainer of his age', amongst those sharing his mental age and having it define a significant portion of their persona that is - and I have to admit, I was one of them in my rebellious teen years in the 80s. But instead of allowing MJ, amongst a host of others to incorporate my rebellious streak and just have it articulated through pop culture, I used the rebellious spirit which they aided in enhancing, to overthrow their hegemony over the entirety of my personality.
Hence, I do not stupidly believe that a singer ought
to earn millions for it as it, compared to humanitarians, thinkers, and
activists, does far less for the all-round progress of humanity. For all you weeping, mourning 'fans' out there, go get a multifaceted life. If not, that aspect of your personality which is brought to the fore by the preeminence granted these 'stars' will see you forking out millions for a vicarious existence, along with ensuring that those who come after you will know no better for the miscast spotlight you helped in directing.
But, I still appreciate the ‘self-assertive’ and youthful essence
contained within MJ’s songs – which is a resource that bears fruit when applied
in higher planes of life – especially in the 70s which was more youthfulness-cum-vibrancy
as opposed to the brash-cum-self-absorption numbers he churned out in the decades
thereafter. The following, is my all-time favourite number by MJ. Thanks for the primitive fuel Michael, and...
...Keep well in the next life.
Ed
postscript: This article was written with the following album playing, and the youthful part of myself moving in rhythm to a beat that simultaneously fuelled the more inquisitive facets of my persona. I appreciate Mike for the cross-applicational potential of the raw youthfuel he supplied.
“
The Afro is perfect acoustics for Soul
~ ed
When the black wo/man lost her/is Afro, America lost its Soul.
I suppose the spirit of the 60s-70s was as much a Black movement comprising whites as it was the inverse. We could say that the long-haired 'hippies' grew their hair long because they couldn't keep Afros;) But when the 'errant' 'hippies' amongst the american populace were 'straightened out' and the era came to an end, so were the Afros.
Here’s Spanish Sam—yes, he’s called Sam, or Inspector Jefe Samuel Santos Gallego (Ernesto Alterio)—getting transported back to 1977 in La chica de ayer—Spanish Life on Mars. It’s Queen that sends him back, not David Bowie. The series’ opening credits are also included in this clip.
Sam also meets his boss (played by Antonio Garrido, with the memorable line, ‘I’m “Quin” Gallardo, your DCI. It’s 1977, almost dinnertime’), meets fellow cops Raimundo (really—played by Mariano Llorente) and Cristóbal (Javier Rey), confides in the sole female cop in the nick, Ana (Manuela Velasco), senses her heart beating, meets his Mum, and so on. The first episode is an adaptation of the Colin Raimes case, the fourth time it has been filmed.
Jen mentioned that she attended a concert where ‘Gotta Get Away’ was performed. Since she was born in a different decade to me, I am pretty sure she does not mean this: