Over on the Jewish blog Jewcy, two Heebroads are debating the relative merits and drawbacks of foreskins. Sex writer and editor Rachel Kramer Bussel is vehemently anti -foreskin. Aesthetically, she finds the uncut peen distinctively unsexual: "they make me want to pat them like a dog and tuck them back where they came from," Bussel writes.
If guilty, O. Simpson will simply be one more jealous bastard who gave into psychotic blood lust. Yet his story hangs over us with larger-than-life gloom, evoking our collective spiritual state — our grim voyeurism, our loss of faith — as surely as any event since the Kennedy assassination.
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What film will come out on top? What might break out of nowhere? And who might Oscar confer his glow upon?
In the art scene of Los Angeles, the paintings of Antonio Sordi who has specialised in illustrating dead women are very popular. But Antonio has a big secret: He is actually a vampire who chases good-loking women. Then he kills them and turns them into a sculpture.
One of the things that I was anxious to cover in this series of blog post is the way that even current scholarship by feminists, both sex radical and radical, does not begin to discuss the ways that lines between different sorts of sex work are often very blurry, and how this ambiguity affects the bodies of Black Women in specific. She pieces these interviews together to render a complex vision of the way that these women think about their jobs, and the separateness of exotic dancing from other sorts of sexual labor. Yet, contrarily, the article also suggests that the exotic dancers interviewed were wary of being mistaken for women who engage in other forms of sex work, particularly prostitution. The women in the video go from executing the duty of video girls alone at the beginning: standing around looking hot and vaguely aroused, promoting the rapper by gossiping to other girls about his prowess in this or that.