Striptease: before taste of paradise!

( For the greenhorns let us specify that God is a Flying Spaghetti Monster, it is now turned out. The paradise contains Volcanoes of beer (and of chocolate in what it seems), and factories in stripteaseuses and chippendells (with sales of chippendells both months).)

The human being is languishing to arrive at the Paradise ( Pasta): he tries to deceive his boredom by ersatz. Here are some some:

Striptease

Before undressing, it is advisable to have got dressed beforehand. The idea of the stiptease appeals at the idea of a mischievous malpractice of a taboo. It is thus advisable to establish the Taboo before to think of by-passing it. AND it is what what set most time for The Mônster: it would have looked like what Its factory to Strippers if there had been no taboo on earth?

This message appears as a stiptease: we begin dressed, by revealing the contents in to make and for measure: everything is in the expectation...
   

 The primitive tribe can live in a Town Hall, the children can sometimes have a premature shared sexual activity, in Ghotul in India for example, but it is frequent that the adults isolate themselves outside of the Town Hall to make love, without moreover that the motivation of this isolation is inevitably identical to the common definition of "modesty". It is also frequent that the children go nude but that in the adulthood or after the ceremonies of initiation of the teenager, the wearing of the loincloth or the garment becomes the rule.

From Greek and forme, Gauls in the western culture.

The Gauls have a relationship in the nudity, in the sexuality and in the eroticism different and the concept of modesty, will settle down only much more late. Moreover during the antique certain Greeks and Gauls fought nudes.

In Europe of the Middle Ages we bathed nude and without complexes in the sea or the rivers, we slept nude with all the household, and often in the same bed understood servants.

The revival marks a social order of the modesty. The morality wanted that only a person of an upper class could show himself naked without complex in its flock but not the opposite: King in its flock, the bougeois to his servants, etc....

 But with the Inquisition , and the return of a religion which wants to hide the sexuality, to on paintings and frescoes where chaste veils are added to hide the sexes.
In the Moslem culture, the word awra indicates any thing stayed openly or any part of the body which the human being hides by modesty and being a part of his private life, because the modesty is considered as " a branch of the faith ".

Nobody can say exactly who made the very first striptease, nor in which country it it is produced. But a matter is sure, the word " striptease " was introduced by the brothers Minsky in New York in 1916/1917. Here is the story of the comic (burlesque) and the striptease …

The Dance of seven veils has its origin in the myth of the goddess Ishtar and the god Tammuz  which belong to the Assyrian and Babylonian faiths. According to this myth, after the death of Tammuz, the lover of Ishtar, the goddess approached doors of the hells and wanted at all costs that the guard ouvrît. The guard let her penetrate into the underground world, by opening only a door every time. In each of them, Ishtar had to deprive of a garment, so that she met naked having crossed finally the seventh door. Of anger she threw herself on Ereshkigal, goddess of the Hells, but this one imprisoned Ishtar. After the descent of Ishtar towards the lower world, any sexual activity stopped on the earth. Papsukkal, the god-messenger, brought back the situation to king of gods, Ea. He sent an eunuch called Asu-shu-Namir towards Ereshkigal to demand her the bag containing the water of the life. Ereshkigal could only give up. Asu-shu-Namir splashed Ishtar of this water, what brought her in back to life. Ishtar redid then the inverse road by way of seven doors, (without her lover regrettably) by receiving a part of clothes in each, and she was completely dressed when she crosses the last door.

We shall notice in the video below and the following ones, that the undulation of the body and the members is an evocation "hardly veiled" by the undulation of the appendages of Its Undulatory Tentacly Saviority .   

The Bible makes reference to the striptease in the gospel as the dance of 7 veils . Salomé undressed in front of king Érode, the tank and asked in exchange for the head of Jean-Baptiste his best friend.

The striptease takes its roots in the most former(ancient) Antiquity(Antique), at the Egyptian or Assyrian courtesans, then in the Greek cities(estates) revering Aphrodite and its Roman equivalent that is Venus, and the rooms(parts,plays) of Aristophane or Plaute already abounds in staged undressings.

It will be necessary the christianization of the West so that the exhibition of the body is banned, In the second half of the 12th century, sensualism and eroticism make their appearance in the fashion of the ladies of the Court(Yard)..

The oriental dance (Tradition gypsy) (which is reducing because in reality all the body works) or baladi (term used at the Canadians-French) is a dance native of the Middle East and the Arab countries, danced essentially by women, but also, more and more danced by people worldwide

In Arabic, she is called Raqs al sharqi (literally:danse oriental) and in Turkish Oryantal dansi, which gave the term of oriental dance. She(it) is recognized as one of the most former dances of the world especially in the countries of the Middle East (Lebanon, Egypt, Turkey, Syria, Iraq) and of the Maghreb (Tunisia, Morocco, Algeria).

We think that the origin of this dance goes back up to the former(ancient) rites of fertility, associated at once(at the same time) to the religion and to the esotericism. Very few valid sources of information are accessible on the subject, that's why there are so many myths around the origin and around the evolution of this dance.

In the broad sense, the term indicates the oriental dance under quite

The French people discovered the oriental dance when the soldiers of Napoléon landed during the campaign of Egypt. Coming from a relatively puritanical society, the slightest nudity was then collected to them as the aphrodisiac powerful. By seeing these women's ponds swaying hips languishingly, and these sorts of generalized shivers - While the Church of period considered the dance as a mark(brand) of the devil they made an error of appreciation and assimilated naturally the oriental dance to an invitation to the prostitution, even if on any account, it is not a part of this environment.

The Bayadères (India and extrème east) or devadâsî - literally handmaid of the divinity - girls dedicated to the temple from their youngest age were, they were considered as wives of the divinity. Originally intended in the service of the divinity, they were removed from their family and received an education been looked after during an initiation - called bottukatal - which could last very for a long time and during whom(which) they learnt, in particular, to master the dance - it is these practices of dance that were of use as model to the bharata natyam,

The ballet dance of the South of India - By following the teachings of Natuvanar or dance teacher, as well as the kannada, the Tamil, and the Sanskrit, the language of the sacred texts. Certain important temples, that from Brihadesvara to Tanjavûr, welcomed several hundreds of devadâsî which participated in their reputation by the quality of their art. They were authorized to dance in front of the divinity only having not

They were classified, traditionally, in seven categories:

    * Dattâ: those who had chosen to give themselves to the temple,
    * Vikritâ: those who had been sold to the temple,
    * Bhrityâ: those who dedicated themselves to the temple following a wish,
    * Bhâktâ: those who danced by pure worship bhakti ) in the divinity,
    * Hritâ: those who, orphans, were confided(entrusted) to the temple,
    * Alankarâ: those who were offered courtesans, with dowry, in the temple by a râja,
    * Gopikâ: those who were dancers by family tradition,

Devadâsî enjoyed an advantageous position, they received a remuneration during their training, then benefited from certain privileges, and had sexual intercourse against silver offerings. However, in time, under the influence of the Islam which demonized the body of the woman and advised its confinement in the family closed world, their status knew an evolution which transformed them into prostitutes without social consideration; their status of sacred courtesans was violently denied them with the abolition of the system of devadâsî by the British colonial Empire in 1925, in defiance of the Indian culture. However, we consider that 250 000 girls were dedicated to the temples of Yellamma, Hanuman and Khandoba - an aspect of Shiva - in Karnataka and the South of Maharashtra between the independence of India and on 1982.

The first sense of the colourfully striped word, resulting from Portuguese bailadeira, is synonymic of devadâsî.

Seemingly improper, the existence of a cleanly feminine service in the range of mainly male offices justifies itself for religious reasons ; We know, indeed, that the gods in sanctuaries express the sovereignty and that, mutually, the kingship is glorified in the divinity, the effigy of the cella being treated(handled) in the style of king, whereas this last one is him analogically to a god . Gold, the daily interview(maintenance) of a divinity calls women who carry out(achieve) on Earth what made for the paradise ( svarga ) Apsara to serve and amuse the gods . And the list is long of these " comings of waters ": Rambhâ, Ourvashî, Mênakâ, Tilottâma, Adrikâ, etc., who heighten of their beauty the luxurious divine stay, of these nymphs full of grace(favor) and charm, magnificently beautiful, called Sourâganâ (" wives of the gods ") or Soumadâtmaja ^{( "Loose women") who are the celestial models of the handmaids of temple and the courtesans[1]}.

In his work in kannada language on the cultural aspect of the Indian registrations, Chidanandamurthy indicates that the effigy of the temple required two sorts of pleasures to satisfy. The " enjoyments of the members (of the body) " angabhoga ) assured(insured) by baths, the unction of pastas and perfumes, the offering of flowers and undulations of the flame, and the " enjoyments of the scene of the shows) " rangabhoga ) in which provided the singings(songs), the dances or the played dramas [ 1 ]. Now it is exactly the satisfaction of these made desires flesh which dêvadâçî personifies^[1].

The GEISHAS

   , The geisha girls are the result(profit) of the evolution of taikomochi(太鼓持, taikomochi^?) or hōkan (幇間, hōkan^?), equivalent to Japan of the clowns of the Middle Ages in Europe. So, first geisha girls were men(people), from whom the work was mainly to amuse, by singings(songs) and of the music, the customers of the houses of tea [ 7 ].

At the beginning of their integration to the geisha girls, in the 1750s, the women were called onna geisha girl (女 芸者, onna geisha^? geisha girl? Literally: woman geisha girl), or geiko (芸妓, geiko^?) to Kyoto. They quickly became more numerous than the men(people), who took the name of otoko geisha girl (男芸者, otoko geisha^? Otoko geisha girl? Man geisha girl) to differ from women. From 1800, all the geisha girls were women ^[7].

,In 1779, the Japanese government officialized geisha girl's job(business) and created a stamp duty office(検番, kenban^?), intended to list(count) the geisha girls and to make respect the law. This one indicated that only the licensed prostitutes could have sexual relations with their customers, and not the geisha girls.

In 1842, the reform Tempo banned the prostitution and made close the districts of pleasures, but these reopened in 1851. In 1886, to keep(guard) the control over the activities of the geisha girls, the government fixed an official price list(rate) for their activities.

Till the beginning of the XXth century, the geisha girls were considered as in the forefront(at the tip) of the fashion, so much that with the westernization of Japan in the years 1920-1930, we live to appear geisha girls dressing and dancing to the Westerner, nicknamed dansu geisha girl. But many of them opposed to this modernization and settled(arose) in guards of the Japanese tradition, what is always the case at present.

Maid Cafés :

In the current time, an adversity of the Geisha girl re-appears under the shape of the waitresses " Maid " in "Maid" coffees(cafés) (restaurants, lounges of massage, nightclubs, etc.). Quite straight ahead taken out of mangas and Japanese cartoons, the waitress " Maid " would be a nice and clean teenager, very short dressed, full of spirit, wise but in taken with the first emotions of the adolescence.

Rules are strict, Even if they are sexy in devil, it sometimes come to stock you to the street, the flirtation, and the got(touched) are formally banned. We rather are mothered there, in a sexy universe "Wald Disney": creams and sauces are served in front of you by means of feeding-bottles. The costume is rather standard (and sometimes the spirit is not there), but declines so often in the infinity: :

In fact, there is always had a certain confusion in the role of the women dedicated to the divinities and to the arts which it implied: to the women artists by extension, in a world dominated by the patriarchy, between artists - handmaids and courtesans. It will evolve with the dilution of the patriarchy, by the introduction of chippendells: the male finding a more and more seductive, and not so much more conquering (dominant) role.

This "Ambiguousity" needs that the separation is constantly reactivated. The striptease is essentially of the order of " the ignition ", the pure seduction without consumption. Hey per che? Do we really speak about sex here? Or of its necessary symbolism. That is a feminine partner for The Man?

She is "his half " as it is said; what would miss him to be complete: a perfect being who is self-sufficient to himself. But we feel at once the swindle: there would have to have symbiotic fusion to do it. But this fusion is of the order of the imagination, not of the reality.

It thus has not to join the reality so that it keeps its imaginary potentiality. A "consumption" would confront brutally the illusion of an idyllic comprehensiveness with the frustration of the reality on the opposite page. For the Man, the female genital organ represents this absence of comprehensiveness: the "absence" of external genital organ at the woman, coupled with menstrues, returns the Man just like a "castration" (we are in the imagination there) Castration which is in fact a frustration: the idyllic comprehensiveness does not exist... It has never existed, is will never exist!

The symbolic figure of this frustration is the gorgo - "jellyfish" screw: the figure of the "Jellyfish" represents the female genital organ the fleece of snakes of which is there to underline exactly the "absence" of yard snakely. The "man" in petrified, " dumbfounded " rest, compared to its embodied fundamental "lack".

The striptease consists in firing the imagination of a fusion full of promises purely fantastical, and thus not writable in the reality as long as we wish to keep the illusion.

Fantastical comprehensiveness? Not completely! It will not have escaped in distinguished Pastafaris that the image of the Gorgon(Gorgonian) was too talking: it is enough that aforementioned ' Jellyfish " Môns-trique touches us of Its Magic wand so that we covered immediately our lost plenitude. We shall notice in the passage which the strippers of the Paradise Pasta takes out of a " celestial factory ": in other words that they do not recover from a Reality in ground terms, but a lot of idyllic complement completed in each - to the taste of each - is specified well! The question to know if there is promise of consumation appears to the ultimate stage of the magistery Pasta.

N.B. : Les geishas entrent dans la cathégorie des femmes idylliques inaccessibles, mais le Harem n'entre pas dans ce cadre (Quoi que ça puisse faire office pour ceux qui n'y ont pas accès, et sont condamnés à le rêver (à l'instar des occidentaux).

Mais poursuivons notre quête historique du Sein Graal perdu...

In 17th century, the ideal gluteus is plump and soft, rather as pure as the driven snow.

In 18th century, an inescapable accessory of the ladies of the court is the range(fan), which confers them an at once sensual and mysterious haughtiness..
Here is which really begins the history of the comic (burlesque) with in London " British fair " who were pioneers of the comic. They occurred not in long dress but by sticking … They also bring the comic in New York which asks for more of it immediately. But the show amounts not only to undress in a sensual way it is a show of humor, dance and theater It would seem that the first dance show where the artist undresses completely took place in 1890 in a restaurant of the Missouri. 

In 1893, the French cancan makes its appearance in Paris in the Moulin Rouge or the dancers raise the leg to let thighs show itself at times in a rustle of underskirts and bloomers.

In 1894, it is the birth of the complete striptease and that takes place in the Divan in Paris (It is moreover in the "divan" that Freud will imagine its stake in naked of the human soul by the psychoanalysis). The first steps of the striptease in the United States are difficult, perturbed by the Puritanism.

The beginning of 1900s is very stiff on the contrary and would not know how to tolerate so openly these "degrading" exhibitions. The oriental fashion was going to bring of the revival in the music hall, the dances of veils or belly dancing. By crossing the Atlantic Ocean, this new fashion is transformed and becomes a kind of more American show, the comic (burlesque). Voluntarily vulgar and exaggerated, comic American quickly pleases the general public. The belly dancing gets closer more and more to the striptease and becomes very popular Hootchie-Coochie, who was going to be imperative in all the comic shows.

Most of the sources agree to say that the pole dances would have been born in Canada in the 20s. Hoochie-Coochie began to use bars of support in the center of the scene as the support, before integrating it into their dance, creating a more entertaining and spectacular show. The profession of naked dancer will seem for the first time only after it

The show will last hardly because the striptease and the comic are formally forbidden in New York in 1939. The striptease becomes popular in Montreal from the 40s in Gayety with Lily Saint-Cyr. 

The 50s integrate the striptease into the popular culture. The striptease is more than a job, it is a vocation. It will be officially considered as an art in 1955, date in which opens an Academy of the striptease in Paris and In the USA a senator declares that " the striptease is a purely American art and a noble institution ". In the 50s, the striptease always markets more and becomes one of the pillars of the industry of the rapidly growing sex.

If before the striptease was reserved for the women, it is not true any more since about twenty years with the appearance of the naked dancers. The performances are there more captivating (ah... the Noodly Touch Nouillu! To see the laps dances this below)

Finally! What of better than a pirate?

The 70s, with the sexual liberation, will see the shows becoming more and more sexualized … The dancers to sucker give in little by little to the charms of the plastic surgery, beginning the running in artificial breasts. It is only in the years 70-80 when to include the pole during the striptease becomes popular. From then on, the main facets of the striptease are in position and will change hardly until our days, if it is not for some evolutions of direction, as the lap-dance very popular, or the dance is almost made in the physical contact, being similar to Noodly Touch. It appears in Montreal at the beginning of the 90s but will be considered legal only in 1999. (We shall note below, the symbolism hardly disguised by the Noodly Appentage under the appearance of the albino snake, & too the 2nd guitarist, pirate wearing as mexicano).

Salma Hayek > Lap Dance (HQ) - (RedTouch) envoyé par beepbeep44.

But since it for years on 2000, the women have the taste of erotising their couple by practising the striptease at the house with accessories such a chair, the bed, the walls, etc. A way pleasant to keep her man for the house and to restore its letters of nobility in this mythical art that is the striptease … And soon the men...

Aerobic, Strip-Tease avec Carmen Electra envoyé par imineo.

Voucher... Practical class: (we shall notice at the end of video, a discreet appearance of the Monster)

Clip censuré - Koreus

And then for these ladies who were not too much spoiled by the historic narrative, a little "resucée" (forgiveness).

This says the idyllic "plenitude" for the Woman can join in a slightly moved way: a Faith was encircled, it forms only one with its Foetus. The Man can represent as much the idyllic complement, as a "instrument" to reach it by falling pregnant. This says the Man can also fall under the charm of the paternity: the Child representing, for both, this complete being, female and male union of the concepts in a single person, that they will never become neither of them. It is The luck(chance) and The major difficulty for the child. The luck as far as it is Its guarantee to be invested by his( parents; ,its difficulty as far as it will be necessary to him( to assume eventually (later) not to be this idyllic being. He can be helped because he is sexual, becoming identified then with the one or other one of his parents; from the fact as well as the idea of plenitude inherited from his parents is appreciably different from it for both of those this: He cannot be both in the Faith

It goes of the enfantement as the striptease there: they owe stay of the realm of imagination at the level of the physical and thus psychic fusion(merger). The umbilical cord must be symbolically cut (both face to face the mother and sometimes also the father).

It will not have escaped the distinguished pastafaris that Noodly Touched is the only means to find this idyllic plenitude: the appendix nouilleux is obviously this worn-out umbilical cord which reties, by restoring us this lost comprehensiveness...     In nominé Spaghetti...  RAmen...

Symbolically the male genital organ, as much as the umbilical cord, are symbolic metaphors of the Noodlic Appendix  for lack of anything better. The physical fusions(mergers) have a term, which nevertheless leaves a back divine taste of plenitude. The nouillesque got(touched) keeps a permanent effect beyond the initial contact: he(it) is of the order of The Revelation.    ReRAmen...

Ultimate in the Pâsta Paradise consists all the same in be spent for one or Stripper of the Paradisiac factory.

For that purpose, it is thus advisable to entrainer: where from " once the week, to Undress languishingly in front of your alter-égo, you will make " (each the ballot)

Small reminder nevertheless of Its Tentaclely Sensualism :

4. Really, I would like enough that you avoid degrading behavior for you, or your free will, but also in the consent of your partners of age legal AND mental maturity.

8. Really, I would like enough that you avoid making to the others it you would not want for you if you were in things hummm, with quite a lot of leather, lubricant, petroleum jelly... If the other person is there inside, however (according to N ° 4) take like that comes, you movies, and for the love of Its Cosmic Lechery make, go out covered! frankly, it is only a rubber piece. If I had wanted that that can restrict your pleasure when you conceived it, I would have add pikes or the others there. (Lolwut) 

Comments

[ugg adirondack b]

It sounds well for this paper.