Monday, February 23, 2009

Dancer sets Carnival record for baring nearly all

AP:

RIO DE JANEIRO – It's a record that can only be broken in Rio de Janeiro. A samba dancer has worn the smallest scrap of clothing ever in a Carnival parade. The O Globo newspaper said model Dani Sperle sported a sparkly silver headdress, a necklace, matching arm bands — and nothing else but a 3 centimeter (1.2-inch) long patch of cloth.

All in front of 80,000 Sambadrome specators early Monday morning.

That breaks the record set last year by Viviane Castro, whose covering was all of 4-centimeters (1.5 inches) long.

Judges last year penalized Castro for violating nudity limits. There's no word yet if Sperle's samba school will also lose points.

Sunday, February 22, 2009

In Praise of Stacia


Boobpedia:
Stacia (full name Stacia Blake), born December 26, 1952 in Ireland, was a dancer for the English rock group Hawkwind.

Stacia joined the band in 1971, and true to this band's rather chemically-influenced history, accounts vary as to how and why she began working with the band. Liner notes to In Search of Space seem to indicate that poet and lyricist Robert Calvert was somehow involved; other sources state that she was a friend of Nik Turner, saxophonist and flautist for the band. In an interview in British music magazine Melody Maker, Stacia herself stated that she simply showed up and was inspired to dance by the band's music. In any case, she joined the "crew" in 1971 and immediately became an integral part of the group.

Stacia was six feet tall, an attractive and imposing figure of a woman by any standard, and often augmented her visual impact by performing clad only in iridescent or luminescent paint. She regarded what she did with the band as interpretive dance, and was an integral part of the early to mid-1970s Hawkwind experience, particularly during the Space Ritual era, widely considered to be the group's high point.

Stacia left Hawkwind in 1975 after touring with them for the Warrior on the Edge of Time album. Her departure, along with that of Lemmy Kilmister and Robert Calvert, signaled the end of an era.

Wednesday, February 18, 2009

"Tan-tan-tanuki's testicles, there isn't even any wind but still go swing-swing-swing."

(Cross-posted to Meine Kleine Fabrik)



Wiki:

Tanuki (狸 or タヌキ?) is the Japanese word for the Japanese raccoon dog (Nyctereutes procyonides viverrinus). They have been part of Japanese folklore since ancient times. The legendary tanuki is reputed to be mischievous and jolly, a master of disguise and shapeshifting, but somewhat gullible and absent-minded.

Tanuki is often mistakenly translated as raccoon or badger.

Statues of tanuki can be found outside many Japanese temples and restaurants, especially noodle shops. These statues often wear big, cone-shaped hats and carry bottles of sake in one hand, and a promissory note or empty purse in the other hand. Tanuki statues always have large bellies. The statues also usually show humorously large testicles, typically hanging down to the floor or ground, although this feature is sometimes omitted in contemporary sculpture.

Statues of tanuki can be found outside many Japanese temples and restaurants, especially noodle shops. These statues often wear big, cone-shaped hats and carry bottles of sake in one hand, and a promissory note or empty purse in the other hand. Tanuki statues always have large bellies. The statues also usually show humorously large testicles, typically hanging down to the floor or ground, although this feature is sometimes omitted in contemporary sculpture.

Organizers chose November 8 as the date for the Tanuki holiday because the emperor made his famous visit in November and because the tanuki has eight special traits that bring good fortune. The eight traits are: (1) a bamboo hat that protects against trouble, (2) big eyes to perceive the environment and help make good decisions, (3) a sake bottle that represents virtue, (4) a big tail that provides steadiness and strength until success is achieved, (5) over-sized testicles that symbolize financial luck, (6) a promissory note that represents trust, (7) a big belly that symbolizes bold decisiveness, and (8) a friendly smile.

The comical image of the tanuki is thought to have developed during the Kamakura era. The actual wild tanuki has unusually large testicles, a feature that has inspired humorous exaggeration in artistic depictions of the creature. Tanuki may be shown with their testicles flung over their backs like travellers' packs, or using them as drums. As tanuki are also typically depicted as having large bellies, they may be depicted as drumming on their bellies instead of their testicles -- particularly in contemporary art.

A common schoolyard song in Japan (the tune of which can be heard in the arcade game Ponpoko and a variation of which is sung in the Studio Ghibli film Pom Poko) makes explicit reference to the tanuki's anatomy:

Tan Tan Tanuki no kintama wa,
Kaze mo nai no ni,
Bura bura
Roughly translated, this means "Tan-tan-tanuki's testicles, there isn't even any wind but still go swing-swing-swing." It then proceeds to continue for several verses, with many regional variations. It is sung to the melody of an American Baptist hymn called "Shall We Gather At The River?".

Tuesday, February 17, 2009

Jane's Journal - Or The Diary Of A Bright Young Thing

Wiki:
Jane was a comic strip created and drawn by Norman Pett exclusively for the British tabloid The Daily Mirror from 5 December 1932 to 10 October 1959.

Originally entitled Jane's Journal - Or The Diary Of A Bright Young Thing, the salacious strip featured the misadventures of the title ingenue. The hapless heroine had a habit of frequently (and most often inadvertently) losing her clothes. Her intimate confidant was a pet dachshund named Fritz.

Her full name was Jane Gay (at the time the term "gay" was still used to describe someone as cheerful and fun-loving). It was a play on the name Lady Jane Grey.

The original model was Pett's wife Mary but success came when he began to use Chrystabel Leighton-Porter as the model. The strip became enormously popular during the Second World War and was seen as morale-boosting, inspiring a similar American version, Milton Caniff's comic strip Male Call. Until 1943 Jane rarely stripped to more than her undergarments, but then she made a full-nude appearance when getting out of a bath and clumsily falling into the middle of a crowd of British soldiers. It's been claimed that, as a result of this appearance, the British Army advanced five miles in North Africa.

In 1945 King Features attempted to syndicate Jane strips in the United States. However, the amount of nudity was too much for American audiences and the attempt ceased in 1946.

The original version ended in 1959 with Jane settling down with charmer Georgie. The Mirror has since tried to revive the character on several occasions. One such strip was Jane - Daughter of Jane, who was apparently the original's grown-up offspring, but lacked her "mother"'s charm and innocence.

Monday, February 16, 2009

Deviantly Deviantart

Here's some more wonderful examples of erotic art from deviantart.

These incredible images come from the lovely RLM.

Saturday, February 14, 2009

The Venus Butterfly

Wiki:

The Venus Butterfly is a fictional sexual technique which was first mentioned in an episode of the 1980s American television drama L.A. Law ("The Venus Butterfly," November 21, 1986). In the episode, a bigamist client claims to have a miraculously effective sexual technique, which he reveals to his lawyer, Stuart Markowitz, played by Michael Tucker. The technique itself is never explicitly described to the audience, though it is implied in a hotel bedroom scene that Markowitz uses the technique on his lover, the character Ann Kelsey (played by Tucker's real-life wife, Jill Eikenberry), with great positive effect. The writer of that section of the episode, Terry Louise Fisher, stated that she simply made it up, but the show received many letters and phone calls from viewers asking what it was, as well as two requests to license the term. Over fifteen years later, actors on the show reported still being asked about it.

As described by writer and sex educator Sue Johanson in 2005, the Venus Butterfly is a variant of cunnilingus. It involves using one's tongue on a woman's clitoris, using one's fingers on the vagina and using the other hand around the rectum, "even penetrating the rectum if that is pleasurable for her. A similar description was given in a 2004 episode of the TV series Rescue Me.This same technique is referred to in the novel Illuminatus! by Robert Shea and Robert Anton Wilson as "the One-Man Band".

The 2006 book, One Hour Orgasm: How to Learn the Amazing "Venus Butterfly" Technique by Leah and Bob Schwartz is dedicated to educating readers on how to perform the technique. The book is mentioned in the film Meet the Fockers and in Mad magazine.

According to Dr Ava Cadell, one of the most renowned sexpert and Loveologist, these are the 6 steps to Venus Butterfly technique:

  1. Pull back the clitoral hood.
  2. Stimulate the clitoris with short and long strokes.
  3. Move your stimulation away from the clitoris and stimulate the entire vagina in roundabout motions.
  4. Now go back to stimulating the clitoris as before, using short and long strokes.
  5. Slip the finger(s) of your other hand palm up inside the woman’s vagina while at the same time tapping the G-Spot.
  6. Continue to stroke her clitoris, while tapping her G-Spot with your hand until she reaches an internal orgasm and an external one which may result in multiple orgasms.

Wednesday, February 11, 2009

Donna George Storey Wants to Sleep With Your Husband!

(sort of)

Take a trip to the always-great Erotica Readers and Writers site to read the always-fun Donna George Storey's great piece: I Want to Sleep with Your Husband: Adultery, Exhibitionism, and Other Reasons I Write. You'll be glad you did!
I want to sleep with your husband. I want to press my naked body against his hot flesh, breathe in the scent of him. I want to rub my palm over his chest and belly, taking in the textures: smooth or hairy, taut or meltingly soft. I want to close my fingers around his cock, savor the sounds he makes when I stroke it, feel it swell and stiffen.

Monday, February 9, 2009

Who Is This?

Have a guess. I'll bet you'll be surprised (click on the image for the answer)

Sunday, February 8, 2009

Musical Interlude: "Turning Japanese" By The Vapors



Wiki:
"Turning Japanese" is the most popular song released by The Vapors from their album New Clear Days, and the song for which they are best known. The song's lyrics mainly consist of the singer talking about the picture of his love.
The song reflected how singer/songwriter Dave Fenton was meant to have felt whilst separated from his love. In the U.S., the song was believed to euphemistically refer to masturbation.

Saturday, February 7, 2009

Licks & Promises - A Taste!


Here's a little pre-release sampling of Licks & Promises, coming soon from Phaze Books:
Licks & Promises is a new erotic short story collection by a master of the genre. If you like your sexy stories sweet, silly, scary or simply outrageous, this is the book for you! Featuring classic M.Christian stories plus some tales that have never been seen before. This is one book you'll read, re-read, and remember for a very long time.
M.Christian is an acknowledged master of erotica with more than 300 stories in such anthologies as Best American Erotica, Best Gay Erotica, Best Lesbian Erotica, Best Bisexual Erotica, Best Fetish Erotica, and many, many other anthologies, magazines, and Web sites. He is the editor of 20 anthologies including the Best S/M Erotica series, The Burning Pen, Guilty Pleasures, and others. He is the author of the collections Dirty Words, Speaking Parts, The Bachelor Machine, and Filthy; and the novels Running Dry, The Very Bloody Marys, Me2, Brushes, and Painted Doll. He can be found at http://zobop.blogspot.com/.

EXCERPT FOLLOWS

M. Christian's "The Train They Call the City of New Orleans" from Licks and Promises

Someone bumped into her elbow, jogging her memory. With a sharp shock, she straightened.

“Sorry,” said a heavy voice from above. His smile was bright, beaming as it was tossed back at her from over his right shoulder. Her artist’s eyes picked him apart: the dull reds of his wool shirt, the aqua and white of his worn jeans, the terra-cotta of his comfortable leather boots, the marbling of his black and white peppered curly hair and beard. The smile stayed a bit too long, a touch stretched out as he took a seat three rows ahead of her.

That damned place, she thought, that awful place. Iron balconies and brick, a turgid river moving with eternal purpose, shanty-shacks and mansions, crawfish and red peppers, too-sweet drinks and strong shots, an atmosphere of vomit and magnolia blossoms. She’d begun there as if it was just the same as the Pacific Northwest, just warmer, with more colors -- but then it had started. Slowly, as said, insidious. Laying awake on a hot night, fanning herself with a magazine, body bare for a simple cotton dress. Thoughts had emerged, and she’d found herself pacing -- at first in her mind and then with her feet, like a trapped jungle cat.

She’d had lovers before, of course, but they’d been intellectual, artistic interludes -- executed with caution. They had either faded way, leaving nothing but memories, or had broken apart with only a few tears. But after she’d started renting that little place, the high-ceilinged loft near the river, she’d begun to crave, to hunger, in a way that was unfamiliar. Maggie had eaten before, but now she wanted to hunt and feast.

On the train, leaving that hot and humid city, she looked at the back of his head, recapturing for herself the breath of his shoulders, the tightness of his stride, the strength of his legs, the firm muscles of his back and ass. It was too easy to picture him, standing on the rough boards of her studio floor, clothes piled into a far corner. Standing firm and large before her. She saw her hands as holding a bit of charcoal, capturing the flow of him, the planes and curves of his broad, firm body on a sketchpad.

It had been that place. It had hexed her, seeped into her open pores, worked its way into her. All that light, heat, spices, had done something to her. It had started burning her, making her smoke and steam.

She started masturbating. Casually at first, but then with a passion for herself that no lover had ever shown. It became an act of love, a thought-out and anticipated event. She’d spend the sweltering days thinking of a fantasy, constructing in her vivid imagination the location, feel, the color of his eyes, the sound of his voice, the words he’d speak, the feelings that would come to her. She’d sketch him, capturing him on a few scraps of paper: his face, his chest, his arms, his legs, his penis -- both hard and soft. Then, prepared and burning even hotter as the sun set on the filigreed rooftops, she’d stretch out on her cheap little bed, pull up her simple cotton dress, and tangle her fingers, at first, in the curls of her pubic hairs, and then with a few deft strokes, part her lips and relish in the humid excitement of her cunt. Her other hand would be reserved for her tight nipples, the right when she wanted the familiarity of her favorite breast, the left for when she imagined his mouth, hand, there. It would go on for hours, and then even longer as the reds and yellows of her pallet, of the city, had started to really penetrate her skin.

Wednesday, February 4, 2009

Carrie Fisher On Princess Leia ... and That Gold Bikini


From Carriefisher.com (via Metafilter)
"The biggest problem with the metal bikini, was that it wasn’t metal. ——Not that metal would’ve been an improvement over what it was actually made of, which was kind of a hard plastic. Whatever it was, it didn’t adhere to one’s skin. MY skin. My young, soon to be popular, unlucky skin. SO, when I was relaxing leisurely against Jabba the Hutt’s gigantic, albiet grotesque stomach, my hard, plastic bikini bottom……….well, it had the tendency to make my now not so private privates quite public. Especially for the actor standing behind Jabba playing Bobba Fett—–I believe his name was Jeremy—–from where Bobba/Jeremy stood, so straight and tall and severe behind his mask——to put it simply and weirdly, Jeremy could see beyond my yawning, plastic bikini bottoms all the way to Florida."