Wifey gets a mouthful!

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Wifey gets a mouthful!

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Norm is the kind of tidy husband who asks Sandy to keep track of his dog's "sticks" and "wees," likes his browned chicken on Wednesdays and his sex on Saturdays, and chooses to retire to his side of their twin beds every night, joined only by one headboard:.

One bed for Norman, with cool, crisp sheets, preferably changed twice a week, not that he didn't want fresh ones daily A Jewish nyphomaniac.

They fucked in her bed, then Norman went to the bedroom to wash his hands and penis, making Sandy feel dirty and ashamed. He'd climb into his own bed then, into his clean, cool sheets, and he'd fall asleep in seconds, never any tossing, turning, sighing.

Never any need to cuddle, or laugh quietly with her. Three to five minutes from start to finish. She knew. She's watched the digital bedside clock often enough.

Three to five minutes. Then he'd say, "Very nice, did you get your dessert? She's learned to come in minutes, seconds if she had to, and she almost always made it twice.

No problem there. She almost always got her main course and her dessert. But usually it was a TV dinner and Oreo when she craved scampi and mousse au chocolat.

Conjured up like some priapic avatar of her most unseemly desires, Sandy has of late been haunted by an odd type of ghost, who conforms to his kind only in that he, too, sports a white sheet hospital variety.

Briefly, there is a man who drives up on her lawn with a motorcycle wearing a Stars and Stripes helmet who masturbates on the lawn, then departs with a wave.

Norm's comment after the first incident: "The motorcycle: Did it leave ridges in the lawn? Naturally, this cannot stand, but Sandy's life simply as the mother of two children, Jen and Bucky, who are now away at camp, has left room for the kind of whole rampant for over-examination, both mental and physical, that needs to find its outlet somewhere — which it has, in a raging itch that's taken over her nether regions.

Asked by her brother-in-law, a gynecologist no comment , about whether or not it might be psychosomatic, she replies, "I don't think I can discuss it with you, Gordon I don't think I could discuss the subject at all.

My sex life? Oh, you mean my sex life. Let's see. Ummmm, if you want to judge it strictly on the basis of orgasms it's fine.

That is, I masturbate like crazy, Gordon. You wouldn't believe how I masturbate. God, I'm always at it.

Driving here, for instance, this morning The Buick I hear this song on the radio Blue velvet, bluer than velvet was the night I'm coming and I don't even want to come yet because it feels so good I want it to last.

And guess what, Gordy? I never itch after I come that way. I itch only after Norman. There has also been some intersection with indigenous cosmological systems.

Figures such as duendes , familiaries , and encantados are types of spirit beings connected with the dead or forces of nature, which act as intermediaries between the parallel realms of physical existence and that of the spirit world.

It is through contact with these beings, usually dwelling in deep riverine pools, that curanderos healers derive their power and divine the future.

These beings are also responsible for the deaths and disappearance of various people. Such beliefs are articulated in the oral traditions not only of Afro-Venezuelans but of indigenous and mestizo peoples as well.

Although this is a predominantly urban phenomenon, African influences in Venezuela continue to evolve through a dynamic and continuous migration of cultural practices and forms.

Sojo reports that in Barlovento, for example, each day of Holy Week had a separate society that was in charge of maintaining the holy images and ritual ceremonies associated with the respective day.

In preparation, members would practice celibacy, abstain from consumption of alcohol, and perform various ablutions before "dressing" the saintly image.

Fear of mal de ojo "evil eye" against children is particularly common. In Barlovento, healers are sometimes called ensalmadores and are particularly respected for their ability to divine the future as well as to find lost objects and people.

Afro-Venezuelan ceremonies have been primarily linked to the Christian calendar, and many Afro-Venezuelan music, dance, and costume traditions are associated with specific church celebrations.

Carnival celebrations the week before Lent are significant, especially in eastern Venezuela, where in communities such as Güiria and El Callao there has been a large Caribbean influence.

During saints' feast days, promesas promises made to the saints in return for personal favors are fulfilled. Correct observance of ritual activities such as offerings, drumming, dancing, and the feeding of all those present are essential to satisfying these promises.

In various regions of Venezuela, different religious holidays have emerged as important local celebrations.

The three days of San Juan 23 to 25 June were the only three days of the year during which slaves were given a rest from hard labor and were permitted to gather freely.

During the holiday, not only would slaves celebrate with drumming and dancing, but also plot insurrection and flight. Afro-Venezuelan musical expression is characterized by a great diversity of drums.

Most are of African origin and many bear direct resemblance to the drums of Bantu-speaking and West African groups. Generally, drums use specific rhythmic patterns to accompany specific song or dance forms; hence, drums, rhythms, and stylistic forms may all be designated by the same name.

In turn, this stylistic complex is usually associated with a specific fiesta or celebration. In Barlovento , the culo e'puya drums are important, as are the mina and curbata, which are played together.

Quitiplas are also prominent in Barlovento. These are fashioned from hollow bamboo tubes and played by striking them on the ground. They are similar to the Trinidadian "tambou bamboo" that gave rise to steel-drum styles.

Along the central coastal region, the cumaco is widespread, used in San Juan celebrations as well as the secular bailes de tambor dances.

The tamunango is found in Afro-Venezuelan communities in the interior. In the eastern coastal regions, influence from Trinidad is evident in the performance of steel-band estilban music.

Maracas seed-filled rattles are prevalent throughout Venezuela and are commonly used to accompany drumming, as is another indigenous-derived instrument, the conch.

Other small percussion instruments, such as the charrasca, a small notched scraper, are also used as accompaniment. As in other parts of Venezuela, the four-stringed cuatro is extremely common.

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Wifey Gets A Mouthful! Video

Mouthful of Diamonds

Let's see. Ummmm, if you want to judge it strictly on the basis of orgasms it's fine. That is, I masturbate like crazy, Gordon.

You wouldn't believe how I masturbate. God, I'm always at it. Driving here, for instance, this morning The Buick I hear this song on the radio Blue velvet, bluer than velvet was the night I'm coming and I don't even want to come yet because it feels so good I want it to last.

And guess what, Gordy? I never itch after I come that way. I itch only after Norman. So, you see, it must have something to do with him.

Maybe I am allergic to his semen But Sandy isn't only chafing at Norm, but her good-housewife place in the lates culture as a whole, which is erupting into all kind of nasty itchings and burnings, both racial and sexual.

Unbeknownst to Norm, a stalwart member of the Young Republicans, Sandy has actually voted for Kennedy, for whom she sits shiveh to Norm's consternation, tossing sheets over the mirrors in the house.

She also has very little in common with Myra's friends, who radiate health and wealth in equal proportions, in contrast with her sickly, uncoordinated, secretly sex-craving self.

At one of Myra's parties, meeting her tennis-playing buddies, Sandy gets embroiled in a conversation about moving from increasingly black Plainfield to willfully white Watchung:.

Sandy thought she might like Funky, with a bandana tied around her head, loaded down with Indian jewelry, best, until they got into a discussion about Plainfield.

If I were you, I'd get out while the going's good and move up to the Hills In Watching you could send them to public school.

We have only two black families in town and both are professional. No, in the sense that they're still different no matter how hard you try to pretend they're not.

I mean, put one in this room, right now, and suddenly we'd all clam up. Sandy is no social revolutionary, but she's also not particularly invested in her own upward mobility — and therefore not invested in keeping others down.

She's not about to join the Black Panthers — her sense of injustice is far more internal, a mordant irony that she only expresses to herself.

Remembering how the one time Norman tried to give her oral sex he had to gargle with Listerine for a half an hour, she quips to herself, "That's why I douche with vinegar Her first affair is with her brother-in-law, Gordy, and not very much on purpose.

At one of Myra's blowout parties, Sandy goes into a room to rest and finds herself assailed by a very drunk Gordy, who is endearingly straightforward: "I've always wanted you, Sandy Still, she dreamed of Shep.

She dreamed of kissing him there and over midwinter vacation had a sudden urge to take him in her mouth. What was she going to do about these disgusting thoughts?

Decent people, normal people, didn't do those things Shep was perverted. But she let him do that to her. Just once.

And oh, it was so good. Like nothing she had ever experienced. She came over and over, as he licked and kissed and buried his face in her.

Until she cried, "Stop I can't take any more And then he kissed her face and she tasted herself on him. And she liked it.

Sandy's fantasies—and subsequent affairs—aren't because she's a nymphomaniac, but rather, because she's trying to resolve the two things about Norm she can't reconcile: his liking for the rigid class code of the club, and his liking for an equally rigid sex life, where his irritation with Sandy's needs, his inability to give love, leaves her, appropriately enough, irritated: "Norman, do you love me?

The flap copy calls Sandy "a very nice housewife with a very dirty mind," but in fact, she's neither. Sandy, cosseted by a life of leisure that's become a straightjacket, buffeted by fucking on the brain, is very, very normal.

We had our babies. We made a life together. But now I'm sick And I'm so fucking scared! Oh mother, dammit! Why did you bring me up to think this is what i wanted?

And now that I know it's not, what I am I supposed to do about it? It would have been very easy to make Norm the enemy here, and, truthfully, the husband who rants about woman's libbers, who tells Sandy she doesn't know how good she has it, then responds to her entreaty that she could get a job with, "Your first duty is to make a home for me and the kids.

A strong body of research in Afro-Venezuelan history and folklore has also been established by Venezuelan scholars, particularly Miguel Acosta Saignes Public festivals such as the Fiesta de San Juan have emerged as focal points in the reappropriation of Afro-Venezuelan culture, articulating current transformations in a living tradition of cimarronaje resistance to the dominant culture, consciousness of being marginal.

Afro-Venezuelan religious practices have been adapted to Catholicism. Drumming and dancing, which figure in the celebrations of patron saints' days and other religious ceremonies, bear a close resemblance to various forms of African ancestor worship.

Because the slave population was so heterogeneous, no single African religious system dominated in this syncretization process, as it did for example in Cuba, Brazil, and, to a lesser extent, in Trinidad with its Yoruba tradition.

There has also been some intersection with indigenous cosmological systems. Figures such as duendes , familiaries , and encantados are types of spirit beings connected with the dead or forces of nature, which act as intermediaries between the parallel realms of physical existence and that of the spirit world.

It is through contact with these beings, usually dwelling in deep riverine pools, that curanderos healers derive their power and divine the future.

These beings are also responsible for the deaths and disappearance of various people. Such beliefs are articulated in the oral traditions not only of Afro-Venezuelans but of indigenous and mestizo peoples as well.

Although this is a predominantly urban phenomenon, African influences in Venezuela continue to evolve through a dynamic and continuous migration of cultural practices and forms.

Sojo reports that in Barlovento, for example, each day of Holy Week had a separate society that was in charge of maintaining the holy images and ritual ceremonies associated with the respective day.

In preparation, members would practice celibacy, abstain from consumption of alcohol, and perform various ablutions before "dressing" the saintly image.

Fear of mal de ojo "evil eye" against children is particularly common. In Barlovento, healers are sometimes called ensalmadores and are particularly respected for their ability to divine the future as well as to find lost objects and people.

Afro-Venezuelan ceremonies have been primarily linked to the Christian calendar, and many Afro-Venezuelan music, dance, and costume traditions are associated with specific church celebrations.

Carnival celebrations the week before Lent are significant, especially in eastern Venezuela, where in communities such as Güiria and El Callao there has been a large Caribbean influence.

During saints' feast days, promesas promises made to the saints in return for personal favors are fulfilled.

Correct observance of ritual activities such as offerings, drumming, dancing, and the feeding of all those present are essential to satisfying these promises.

In various regions of Venezuela, different religious holidays have emerged as important local celebrations. The three days of San Juan 23 to 25 June were the only three days of the year during which slaves were given a rest from hard labor and were permitted to gather freely.

During the holiday, not only would slaves celebrate with drumming and dancing, but also plot insurrection and flight.

Afro-Venezuelan musical expression is characterized by a great diversity of drums. Most are of African origin and many bear direct resemblance to the drums of Bantu-speaking and West African groups.

Generally, drums use specific rhythmic patterns to accompany specific song or dance forms; hence, drums, rhythms, and stylistic forms may all be designated by the same name.

In turn, this stylistic complex is usually associated with a specific fiesta or celebration. In Barlovento , the culo e'puya drums are important, as are the mina and curbata, which are played together.

Quitiplas are also prominent in Barlovento. These are fashioned from hollow bamboo tubes and played by striking them on the ground. They are similar to the Trinidadian "tambou bamboo" that gave rise to steel-drum styles.

Along the central coastal region, the cumaco is widespread, used in San Juan celebrations as well as the secular bailes de tambor dances.

The tamunango is found in Afro-Venezuelan communities in the interior. In the eastern coastal regions, influence from Trinidad is evident in the performance of steel-band estilban music.

Maracas seed-filled rattles are prevalent throughout Venezuela and are commonly used to accompany drumming, as is another indigenous-derived instrument, the conch.

Other small percussion instruments, such as the charrasca, a small notched scraper, are also used as accompaniment. As in other parts of Venezuela, the four-stringed cuatro is extremely common.

In addition to musical, dance, and costume traditions, oral lore forms an essential part of Afro-Venezuelan expressive culture.

Afro-Venezuelans are designated by Spanish terms; no words of African derivation are used. Afro-Venezuelans can be found all over the country, but the largest Afro-Venezuelan population is located in the Barlovento region, in the state of Miranda.

Comprising an area of 4, square kilometers, Barlovento covers four districts of the state of Miranda.

An important Afro-Venezuelan community is also to be found in El Callao , in the southernmost state of Bolivar , where miners from both the French and British Antilles settled in the mid-nineteenth century.

In the census, 3. Similar to Brazil, in Venezuela, people tend to be categorized by how they look, such as: "moreno", "negro", "bachaco", etc.

From Wikipedia, the free encyclopedia. Redirected from Afro-Venezuelan. Afro-Venezuelans Total population 1,, 3. This section does not cite any sources.

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