quickie!

a note on the myth of the sexual conquest.

makes ya think, huh?

an "honest" r&b song

hilarious...



aside from the obvious humor, we'll leave you to share and retort.

quickie!

introducing {dum dah dah daaa!} super hussy!

this sista has so much going on, we'll sit back and let you search for yourself. we're particularly enamored with her black girl project.

in memoriam

beloveds,

it has come to our attention that iya adunni (susan wenger) has passed on.

iya adunni came to nigeria from germany, became a priestess of osun, and is renowned for the artwork that led to osun's grove being designated as a unesco world heritage site in 2005, one of the few traditional african centers of spirituality to have that distinction.

from the nigerian guardian:

The late Wenger was born during the First World War in 1915 in the town of Graz, Austria.

She studied art in Graz and Vienna where she was part of the famous Vienna Art-Club. After the Second World War, she travelled to Italy and then spent some time in Switzerland where she had exhibitions together with the most famous artists at the time in the gallery Des Eaux Vives in Zurich. In 1949, Susanne went to Paris, where she met Ulli Beier, a German linguist who accepted a posting in West Africa.

They got married and in 1959 arrived in Nigeria. From Ibadan they moved to Ede where she "very quickly became part of their culture." This was where Susanne Wenger met Ajagemo, a powerful Obatala priest and her guru who initiated her to the traditional Yoruba religion - the world of the Orisha.

From a very early age, Susanne Wenger had been strongly attracted by nature and specifically by trees - in which she recognised "the images of sacredness".

And it is in the Sacred Groves of Osogbo where she had integrated her art into nature and where her art is now protecting nature.

iba ara t'orun, iya.
iba osun
iba orisa

may osogbo and the world always prosper and be protected by the love and power of our sweet mother, the source.

ase.

quickie!

oooohh weee! another steamy entry over at the coochie church: just talk to me

please excuse the delay...

greetings, goddesses & gods!

the 9-5 has been incessantly demanding, so your devoted proprietress has been otherwise engaged. but we're still here and planning to update soon.

until then, explore the links, comment on past entries, enjoy the music, and generally pleasure yourselves.

love is highly contagious. catch it!

pleasurably,

ms. bliss

in the waiting room...

janet jackson
"moist"

You're feelin' in it
You're ticklin' it
You're swimming in it
You're gonna get it

I'm insatiable
And it's all your fault
So much lust involved
To get me off
My water falls

Your sexuality (breeds)
A storm inside of me (seas)
A touch is all I need
To make me scream
Obscenities

Every time you whisper in my ear I get aroused
You begin to slowly unbutton my blouse
Kissing on my skin my heart's racing now

I want you boy

Caught up in the waves of passion up and down
Love the way you movin?my body all around
Boy you 'bout to make the rain come down

[Chorus]

Feel my rain come
Pouring soaking
Longing your lips
Baby ooh

You make it so moist

When my ocean's overflowing
Afterglowing
Take me oooh

You make me so moist

Orgasmic
Row it just like that
Hope you like drowning in it
You won't have a life jacket

My thirst is quenched
Ooh baby we're so drenched
Our body's rhythms are
So cataclysmic
Got me twisted

Feeling your anatomy breaking me down
Sucking on my (mmm) with ice in your mouth
Hurry and undress me take me right now
I'm wet for you boy
Caught up in the waves of passion up and down
Love the way you movin?my body all around

Boy you know you make the rain come down
You know how to make my rain come down

[Chorus]

[4x]
You're feelin' in it
You're ticklin' it
You're swimming in it
You're gonna get it
Moist

the headwrap: yet another african survival

brought to you by the motherland and the millions transported during the middle passage.

peep this excerpt on the cultural differences between methods of head-covering:

Tying a piece of cloth around the head is not specific to any one cultural group. Men and women have worn and continue to wear some type of fabric head covering in many societies. What does appear to be culturally specific, however, is the way the fabric is worn; in other words, the style in which the fabric is worn is the ultimate cultural marker. Here, .style" is not used to mean a particular fashion. Rather, I use the term to mean a studied way of presenting the self-an idea of how one ought to appear before others. In order to explore this concept, careful note must be taken of the significant difference between the style of cloth head coverings as worn by white women and the headwrap as styled by black women.

To wrap her head, a European or white American woman simply folds a square piece of fabric into a triangular shape and covers her hair by tying the fabric under her chin; or, less often, by tying it at the nape of the neck. In either case, the untied points of fabric are left to fall down over the back of the head. The Euro American style results in a head covering which flattens against the head and encloses the face, and thus visually seems to pull the head down. The terms "scarf" or "kerchief" usually denote this type of head covering. Scarves are not particularly popular items of white American women's fashion today, but when they are worn, they consistently are arranged in the manner just described.

By contrast, a woman of African ancestry folds the fabric into a rectilinear shape rather than into a triangle. The most significant difference between the Euro- American and Afro-centric manner of styling the cloth is that rather than tying the knot under her chin, the African American woman usually ties the knots somewhere on the crown of her head, either at the top or on the sides, often tucking the ends into the wrap.

Although the African American woman sometimes ties the fabric at the nape of the neck, her form of styling always leaves her forehead and neck exposed; and, by leaving her face open, the headwrap visually enhances the facial features. The African American headwrap thus works as a regal coronet, drawing the onlooker's gaze up, rather than down. In effect, African and African American women wear the headwrap as a queen might wear a crown. In this way the headwrap corresponds to African and African American women's manner of hair styling, wherein the hair is pulled so as to expose the forehead and is often drawn to a heightened mass on top of the head. In striking comparison, the scarf worn by white women emulates the way in which the hair of people of European ancestry naturally grows: falling downward and often arranged to cover the forehead.

{viewed on sistren rising's blog.}

quickie!

if you haven't seen man and wife, do yourself a favor and check it out.

shanda and scoop: black love for the hip hop generation.

sexy news

hmm. no comment on this one...rethinking the student/pupil taboo

new anthology...behind the bedroom door

can an affair be a good thing? another no comment...conference lovin' puts a spark back in married life