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What does it signify about a woman if she's into erotic fantasy art--this seems to be a recent subculture?
Similar to the new Twilight craze for teens only for women 25-45.

It's almost the equivalent of the modern day pin-up girl, but with a BDSM spin--dirty/edgy, heavy makeup, exotic lingerie, tattoos, wings, maybe some bondage and a sword. It's borderline porn but sells in American malls on calendars without restriction.

It almost seems like a subdued expression of lesbianism, but many or most of these women claim they're straight.
I only like that kind of artwork if there are a couple of subs in it to do her bidding. Otherwise, just a Domme by herself would not interest me. As Rio said, it's about putting yourself in the woman's place, not being with her yourself. I don't think I'd want a calendar like that, though, lol. I like my kittens and landscapes. ;-)
Honest women over 30, or maybe 28) please.?
I am thinking of doing "a Mrs. Robinson" with a boy 18 years old (I am 32). He is in university, in the sciences, away from home, who rents a room from my neighbor. He seems very shy but has what seems to be a great body and he has told my neighbor he rarely dated and feels a bit lost now. The thought of befriending him, seducing him, teaching him the erotic arts just excites me no end. I'd like to stop masturbating over this and follow through but I hesitate (it would be my first time for such a thing). Those of you who have done it (or thought of doing it) or who have simply deflowered a teen-aged boy a decade or more younger than yourself please tell me how it turned out (or why it didn't). I need guidance.
I think most of us in our 30's have thought of this. I can say I have but 18 that's a bit young I have thoughts of being with someone much younger than me like 21. I had a chance to do it but chickened out I was so afraid i would get caught. I say if you have the guts than go for it. I think he will like it just don't fall in love use him as your boy toy but of course let him know this I think he will be down with it goodluck chick
QUESTIONNARE horror fanatics !?
just a small questionnaire for my media project ...

Age group: 13-16 or 17-21 or 22-30 or 30 +

Gender: Male or Female

Favourite Sub genre (pick as many as you like delete those that don't apply or add to list ): Slasher / Teen horror / science fiction / erotic horror / extreme horror / soft horror/ psychological / dark fantasy

What are your views on censorship on horror films? too much or too little?

what elements make a good horror film? what do u expect to see in a horror film?

what elements do you think ruins a horror film? and why ?

which film has scared you the most?

most memorable killer ?

most sadistic character?

Most memorable horror scene, (please name the film):

When looking at a DVD cover what do you respond to the most? (add or delete to suit you views)

Cover art work
rear synopsis
rating/ endorcements
review from a friend or a show
Age group: 30 +

Gender: Female

Favourite Sub genres: Slasher / Supernatural / Teen horror / soft horror/ psychological / dark fantasy

What are your views on censorship on horror films? I don't really care. The ratings are the first guideline, and at this point, there's so much info on film content that you almost don't even have to see the movie to find out how violent it is. For example, I will never see "Martyrs" based on descriptions on

what elements make a good horror film? what do u expect to see in a horror film?
A great story and great acting. To me, that's the basis of a good film in any genre.
I expect to be jump, cover my eyes, and often, laugh out loud.

what elements do you think ruins a horror film? and why ?
When writers/directors try to "fool" the audience with some ridiculous twist at the end of the movie. What ever happened to solid straight ahead storytelling?

which film has scared you the most?
Recent - 30 Days of Night, The Descent, The Orphanage, The Ring
All Time - The Exorcist, Friday the 13th, The Omen (the opening music alone)

most memorable killer ?
1. Jason (rather obvious) 2. Mahogany from Midnight Meat Train 3. Samara from The Ring

most sadistic character?
1. Dude from Cry Wolf (which I haven't seen)

Most memorable horror scene, (please name the film):
The Ring - when Samara crawls out of the TV set to kill Naomi Watts' boyfriend
Dolores Claiborne - when Jennifer Jason Leigh looks in the mirror and sees the back of her head because she was so ashamed
I swear I went home, kept the lights on, and said OUT LOUD "but I didn't watch the video!"

When looking at a DVD cover what do you respond to the most?
Cover art work - 50/50
rear synopsis - sometimes, the dumber it sounds the more funny it is
rating - 50/50
review from a friend - 75/25
review from a show - 50/50
review from a moviegoer - 75/25

Nice survey. If you don't mind spending a little bit of money, I highly recommend using and placing an ad on facebook to advertise your survey. I paid for a one month subscription to the survey site (about $20), created a very professional survey, and paid for maybe $20-30 worth of ad "time" on facebook and got a tremendous, invaluable response. This was for a product I'm developing.
Neo-macho and pop-culture, which are your thoughts on this article?
It is quiet long, and there is no link (unless you have a subscription to Questia where you can find the whole article).
Therefore I will just post some relevant excerpts:

"Not so long ago, you couldn't say "macho man" without thinking of the Village People. Hypermasculinity was so thoroughly discredited that it seemed fit for camp. Now it's back, in earnest. But this revival was no bolt from the blue. The neo-macho hero has a history.

He sprang from the reaction to feminism that began in the 1980s and advanced in the '90s, even as the empowerment of women became a tenet of Democratic politics. As women rose, so did male anxiety, and in this edgy climate a new archetype appeared in pop culture: the sexual avenger. His rage often focused on personal betrayal, but implicit in his tirades was a sense of the world turned upside down.

By 1990 the revolt against feminism was a hip commodity. Shock-jocks like Howard Stern and Don Imus dominated drive-time radio, misogynistic comics like Sam Kinison and Andrew Dice Clay were late-night TV sensations, rock marauders spat variations on Axl Rose's final solution for bitchy women: "Burn the witch." Meanwhile, at the multiplex the sexually cornered male, embodied by Michael Douglas in a series of films from Fatal Attraction (1987) to Disclosure (1994), was the new Dirty Harry.

At first, these performers combined racial and sexual resentment for a double thrill. Imus and his sidekicks did cottonfield imitations of black celebrities, Axl railed against "immigrants and ******* [who] come into our country and...spread some ******* disease," the Diceman vowed vengeance on immigrants. But racism was an impediment to crossover success. Misogyny, however, was not. In the Clinton era, the backlash reached a fever pitch--and Hillary was hardly its only target. Pop culture invited men of all races and ages to bond over *****-bashing, and as the 1990s progressed every market niche had its version of the sexual avenger.

The most commercial hip-hop fronted for this backlash. Veering from its radical roots in the black community, gangsta rap became a spectacle of male conquest. Its paragon was the player (pimp) ruling over abject hos and raining violence on resistant bitches. Because these top dawgs trafficked in sadism, they were sexy in a way that angry white males of the 1980s could never be. And because they were for the most part black, their rage could be cast as progressive. Many liberals who would never buy into Rush Limbaugh's "feminazi" rants were drawn to neo-macho rappers who carried the imprimatur of the street. Postmodernists saw this music as an exercise in role-playing or an outlet for fantasies that would never be carried out in life, certainly not in politics. Armed with denial, even a pro-feminist man could enjoy the spectacle--and critics called it art.

The most unexpected boost to backlash culture came from young women who gravitated to its forbidden games. It was hot to play the ho and cool to call yourself a *****. You could always tell yourself that this was just an erotic pose. But the return of fetishized femininity was about more than sex. Men were not the only ones made anxious by the new female agency. Many women feared the loss of desirability that their power might bring--and teenagers were especially prone to these uncertainties. The new model offered a way out for boys and girls alike.

Without the backlash, other, more progressive tendencies in hip-hop might have prevailed. But the flight from feminism had created a huge market for *****-bashing anthems. By meeting this demand in a powerful musical form, gangsta rappers tapped into the choice demographic of suburban teens. Sexual violence was only part of the thug package, but it turned millions of white guys on, resonating with the broader culture of misogyny. The male avenger was emerging as the insignia of rebellion for a new generation"

Neo-Macho Man: Pop Culture and Post-9/11 Politics Even before the Attacks, a Backlash against Feminism Had Brought the Return of the Authoritarian Male. Now, Macho Is Equated with Keeping Us Safe

Magazine article by Richard Goldstein; The Nation, Vol. 276, March 24, 2003.
Wow. The author went to great lengths to associate a great many pop culture phenomenon as part of backlash against feminism or women's rights. Trying to co-opt negative examples of anything from the media can always be done, in any time, since themes in entertainment are so varied. For example, in the mid-eighties, one could have taken the popularity of bands like Slayer and Cannibal Corpse (both still in business, actually) and surmise that white suburban youths were into necrophilia, infanticide, and Nazi death camps. Or the popularity of The Rocky Horror Picture Show to show how teens are into cross-dressing. Or the popularity of The Lord of the Rings movies to prove guys are into elves and dwarves. You could suggest an association of many things.

But let's look at rap music, specifically. For something that started as an underground movement of urban blacks ONLY, rap music has long been in the hands of it's own sub or counter-culture. As always, counter-culture sublimates some of the values of the culture it is counter to, such as white suburban America. But like others have said, Folks like The Stones have been writing misogynist lyrics long before these black fellows were.

In rap music, a very important part for any performer is IMAGE. An important part of this image is a rapper's "swagger." That is, the way they walk and talk like the world is their oyster, that they project an image of excess in every way... parties, drugs, girls... the same things whites have been 'swaggering' over for centuries. The term 'pimping' has even changed in usage, to alternately mean 'traveling with a full compliment of women who will do ANYTHING for you, as if you really WERE a pimp, but really simply have that much power over 'hoes." And speaking of hoes, we're talking groupies here. Does anyone have respect for groupies? I didn't think so. Another example of the grandiose nature: if you were to listen to some rappers, you would believe they made 'a hundred million dollars' selling crack. Since Oprah is still the first and only black billionaire, probably NOT from music or selling drugs, any sensible person would call bojangles on that claim. Or I could site the Onion headline, "Studies show rappers may have artificially elevated level of self confidence." The picture with the article is a Snoop Dog album cover, showing Tha Dogg himself in a purple felt suit, sitting on a golden throne, drinking from a gem-encrusted golden goblet. Be assured, the order of the day for rappers is ridiculously overblown self-aggrandizement. Anyone who doesn't see that is missing the point. Even Jay-Z, being the CEO of the largest black-owned studio/publisher, and part owner of a New Jersey basketball franchise, does NOT have Oprah's money. Put him and his #1 selling girl/wife Beyonce together, and you STILL don't have Oprah's daytime TV money.

The type of rap music the author is talking here is not representative of all of it. There are sub-sections pf rap that I can't name, because I don't know the difference. Hard rock, heavy metal, punk rock, alternative, emo, adult contempo, all these versions of rock and roll each have their own subsets too. Because I am more familiar with this type of music, I can name them. With rap, not so much. People who are deep into a musical genre will tell you that the radio or 'pop' segments in music are only representative of a tiny portion of the genre. Let me ask you this, can I go see 'RENT,' and by it's popularity, surmise that all musical theater is Broadway-style sing-along, concerned with homeless, AIDS-riddled, heroin-junkie bohemian artist types? Of course I couldn't. The author is trying to make an association that doesn't exist, based on a few convenient examples.

You can say anything about pop media. You can say it is responsible for a rise in violence among guys, shifts in attitudes in overall culture, or representative of the values of the people who consume it. You would be wrong. Just like guys who play mass-murder video games are not more likely to be mass-murderers. In the 70's. there was an exploitation movie out called "I Spit on Your Grave." Basically, this girl gets raped and the rest of the movie is her acting out er awful, awful revenge on her attackers. Set square in the 70's, does the presence of this movie do anything to the writer's thesis? Well, it could if you wanted.

My point is that you can say anything you want about value assessments of a culture based on picked entertainment media. There is enough of it out there that you could make any case under the sun, the least of which is that the Romans were bloodthirsty savages because they enjoyed the spectacle of arena death. Of course, they built the aqueducts, had indoor plumbing, and an excellent road system too, along with a version of parliamentary democracy.

And let's not forget that the people who put rap music out there are old white guys in a boardroom, and the primary purchasers are white suburban guys. If rap music represents anything, it is still the minstrel show: blacks acting foolish for the entertainment of whites. Let's not forget that one leg of prohibition back in the day was trying to remove these things from the reach of the 'decadent, dangerous black savage.' I am confused that a writer today would attempt a similar tactic.

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