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An obvious physical change in a man’s body part, the erection is not as simple as it may appear. If you can understand your erection, you can control it as well. Your erection is an important part of your personal life, so understanding what and how things happen to your penis is crucial to getting more from your sex life. How Erection Happens – What Is the Erection? Erection of the penis happens as the two tubular structures that run the length of the penis (called the corpora cavernosa) suddenly become engorged with venous blood. This can be the result of any number of stimuli. Located just below the corpora cavernosa is the corpus spongiosum. This is a single tube containing the urethra. Here passes both men’s urine and semen during urination and ejaculation. Therefore, the erection results in swelling and enlargement of the penis enabling men’s sexual activities. Stated simply, as the blood flows into the penis, it stiffens. Both its girth and length increase, and the penis rises to an angle from 15 degrees to sometimes over 90 degrees. The Stages of Erection Leading to Ejaculation Stage1 – The Excitement Phase This begins with vasocongestion (accumulations of blood in the pelvic area). This is dependent on sexual stimulation. Here the diameter of the urethra doubles. The scrotum moves towards the body, and both heart rate and blood pressure increase. There is a pronounced muscular tension throughout the body. Stage 2 – The Plateau The penis is now hard, and has risen to an angle. It has increased in both girth and length. The testes have increased 50% of their normal size, and are closer to the body. The heart is beating faster, and is now at about 100 to 150 beats per minute. Muscular tension throughout the body has now increased. Stage 3 – The Orgasmic Phase Just before the orgasmic phase begins, there is a pronounced enlargement of the penis and a further hardening condition. This will be accompanied by a very familiar internal sensation that the orgasm is arriving. This is technically called “ejaculatory inevitability”. It cannot be stopped (unless you can move back to Stage 2). Just after you sense this, the man will ejaculate. It is notable that orgasm and ejaculation are not the same event, and can occur separately. There are great physiochemical changes in the man’s body causing what is known as the orgasmic reaction. Stage 4 – The Resolution Just after ejaculation, the man’s body starts to return to its normal un-excited state. The penis loses about 50% of its erection at once, and in less than 5 minutes, it is its normal size. However, it can take many hours for a man to actually return to his normal state. This is why sleep often follows ejaculation and orgasm. After the erection, orgasm and ejaculation, a man moves into something called the refracatory period. During this phase they usually cannot be re-stimulatied (unless this period is very very short in duration). Understanding your erection lets you control it. For example, as you see yourself moving into stage 3, slow down, step yourself back to stage 2. In this way you can prolong your sexual experience and more, prolong your partner’s sexual experience. does penis enlargement work free penis elargement pills pennis enlargement exercise herbal natural penis enlarement penis enlargement without pills real penis enargement magna rx results review home penis enlargment

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Have you ever seen the effects of asbestosis, mesothelioma, or any of the various asbestos-related cancers that have killed or destroyed the livelihood of a close fried or relative? Believe me, some very powerful and influential figures have succumbed to these illnesses, so it is not just confined to manual workers working in factories or building sites where asbestos was involved. As early as 1898 the then Chief inspector of Factories in The United Kingdom in his report to Parliament submitted in his report regarding the ‘evil effects of asbestos dust.’ He described it even all those years ago as having a sharp, glass like nature, very susceptible to disintegrating into minute particles, which then very easily permeated every nook and cranny in a building, or even a district where such a product was in use. Litigation due to industrial exposure to asbestos remains the longest, most expensive joint claim in the world, with over 6,000 defendants, and at the latest count well over 600,000 claimants. With the current rate of detection of asbestos related diseases set to rise over the next decade, estimates of the litigation costs on the US alone is expected to rise to well over $250 BILLION. You would have thought that with such amounts at stake, anybody still manufacturing products based on asbestos or any asbestos-related products would be taking an enormous financial risk. In early times items made of asbestos were held in great esteem, especially by Kings and Emperors, and of equal value to gold. Many in fact were cremated in an asbestos shroud, to keep their ashes separate from any other combustible materials. How rash was that! In fact, talking of rashes, although asbestos fibres when coming into contact with the skin causes rashes, there are stories from ancient times that asbestos was actually prescribed for ailments of the skin – especially the itch. Although there are many forms of asbestos, they all have the same characteristic to a greater or lesser degree, that eventually however they may be packaged up within another material, they will all form asbestos dust particles at some point in their life. Due to asbestos’s fire-retarding properties, until the late 1980’s there were many applications within public and private buildings where asbestos in one form or another was used. Acoustic ceilings, putty, vinyl floor coverings, fire-retardant fillings, adhesives and ceiling tiles, acoustic curtains in theatres, and in brake disk pads in cars, busses and trains, clutch plates, gaskets, fire blankets – the list is endless, as is the lurking danger. In fact, many a worker in the American shipyards during the Second Word War were heavily exposed to this asbestos danger, and even some top people were affected and struck down with asbestosis, mesothelioma, or asbestos-induced cancers of some sort. Now, with many asbestos based products no longer allowed in new construction, there must be thousands upon thousands of sites where asbestos is still lurking, and even demolition and or removal creates its own hazard conditions. Interestingly, in the interest of ‘profit’ there are still a number of applications where asbestos is still in use, and can even be found in some consumer products, such as talcum powder. In all, the list of asbestos based products is still scarily quite long. Asbestos-cement corrugated and flat sheets; asbestos clothing for heat resistant applications, pipe line wraps, roofing felt, and many applications in the auto industry, including automatic transmission system components, clutch plates, friction pads such as disk brake pads and so forth are still being manufactured. How many of us have smelt the acrid fumes when a train applies it’s brakes in your local station? Because of all this historical use of asbestos, we are all constantly exposed to certain levels of asbestos dust. These are usually quite low levels (between 0.00001 to 0.0001 fibres per millilitre of air we breathe) with the higher levels predominately in towns and cities. Some drinking water can also contain asbestos fibres from natural sources, but this is usually very closely monitored. Where asbestos removal takes place, whole buildings have to be hermetically sealed to try and trap the bulk of the dust. If you have been unfortunate enough to breathe large quantities of asbestos dust, either in a short burst, or over a period of years the effects are usually very much the same. 1. This dust, on the lungs and the membranes inside us, will eventually cause scar like tissues in the lungs, and in the pleural membrane (lining) surrounding the lungs. This ‘asbestosis’ as it is known will usually cause coughing, difficulty in breathing, and sometimes, enlargement of the heart. Asbestosis is very serious, and often results in death. However, it is usually confined to those who worked in the asbestos industry. 2. Lower levels of intake of this deadly dust may cause changes called plaques in the pleural membranes. Effects here are not as serious as with asbestosis, but restricted breathing may still take place. 3. Any irritation of the lungs, or any other membrane in the body will have a marked increase in the formation of cancers, and lung cancer and mesothelioma, which is a cancer of the thin lining (pleural membrane) surrounding the lungs is a well-know side effect of breathing asbestos dust. 4. Children are particularly at risk, as how many of them may play around old buildings, and take great pleasure in smashing up old sheets of asbestos, not realising that they are really playing with something more deadly than an unexploded time-bomb. As a successful property renovator, and provider of buildings for my property club members, asbestos is of a very serious concern to me. In all, asbestos, although having served mankind “Faithfully?’ down throughout the ages, has now been identified as the spectre of danger that it presents, but unfortunately we have been mining the stuff for centuries, so it will not go away quietly, and without a fight. 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Gangster rap, or hardcore rap, is generally considered a sub genre of the larger category of rap music, which itself is a subcategory of hip-hop. Gangster rap is differentiable from other rap music in that it makes use of images of urban life associated with crime (Haugen, 2). According to the Encyclopedia Britannica definition of gangster rap, the top four images associated with the genre are violence, drugs, materialism and sexual promiscuity. Gangster Rappers as Defining the Hip-Hop Social Group As the hip-hop movement has gained recognition throughout the United States, it has established itself as one of the fastest growing social groups anywhere. In the late 1990s immediately following the murders of both Tupac Shakur and Christopher Wallace, two nationally known gangster rappers, a propaganda campaign escalated against rap music and the hip-hop culture (Slaughter). Although gangster rap only represented a small percentage of the hip-hop culture at the time, all hip-hop and rap music was instantly stereotyped negatively as being “gangter-like”. Why? Well, this gangster version of hip-hop was the highest selling and most recognized form of hip-hop music among the majority class. And many critics have determined that this is because America is in love with sex, drugs and violence (Whaley). Hip-Hop’s Rejection of Inferior Social Group Status Henri Tajfel, a social psychologist who developed a theory of inter-group relations and social change, argues that members of a social group deemed inferior by a majority class can either accept or reject their inferior position in society. If a group refuses to accept its inferior position in society as just, it will attempt as a group to change things (Coates, 8-9). A large number of hip-hop artists have used their musical lyrics to reject the inferior social status placed upon them by the majority class. The Reconstruction of the Gangster Identity I have found that hip-hop artists use lyrics, both musical and poetic, to redefine the negatives characteristics given to their culture by the majority class, and in the process, reconstruct the gangster identity. By examining these hip-hop and gangster rap lyrics as text, I will show ways in which the lyrics attempt to reconstruct the stereotyped gangster rap identity by examining different views of violence, drugs, materialism and sexual promiscuity. In the end, one tends to wonder: Who exactly are the real gangsters? Violence That the hip-hop culture represents gangster-like violence is perhaps the biggest disputed claim amongst hip-hop artists. In order to disprove this claim, many hip-hop artists have pointed to the violence that exists within the majority social group, and how it leads to violence all over the world. In “Violence”, 2 Pac demonstrates his belief that violence was prevalent long before gangster rap existed: I told em fight back, attack on society If this is violence, then violent's what I gotta be If you investigate you'll find out where it's comin’ from Look through our history, America's the violent one Here, the poet points to American society as “the violent one” and that he has to be violent in order to “fight back.” In “Who Knew”, Eminem showed a similar viewpoint by expressing his belief that violence is a common occurrence in American society, yet not challenged in genres outside of the urban environment: So who's bringin’ the guns in this country? I couldn't sneak a plastic pellet gun through customs over in London And last week, I seen a Schwarzaneggar movie Where he's shootin’ all sorts of these bad guys with an Uzi Here, the poet questions the existence of violence in a country that allows firearms and violent movies. In “Casualties of War”, Rakim blames the United States government, specifically its Head of State, as the group causing the violence in society with their war-like ways: I'ma get back to New York in one piece But I'm bent in the sand that is hot as the city streets Sky lights up like fireworks blind me Bullets, whistlin’ over my head remind me... President Bush said attack Flashback to Nam, I might not make it back In this text, the poet refers to our country’s decision to go to war as an example of the violence that exists amongst the majority social class. In “The Watcher”, Dr. Dre redefines the negative characteristic of violence by pointing to the police force as the source of violence, and therefore, referring to them as “gangster-like”: Things just ain't the same for gangstas Cops is anxious to put people in handcuffs They wanna hang us, see us dead or enslave us Keep us trapped in the same place we raised in Then they wonder why we act so outrageous Run around stressed out and pull out gauges Cause everytime you let the animal out cages It's dangerous, to people who look like strangers Here, the poet accuses the majority class of keeping them “trapped in the same place we raised in” and that the perceived violence is only due to the introduction of “people who look like strangers.” These are examples of how hip-hop artists redefine the image of violence by showing how it exists or was created within the majority social group. Drugs Another common disputed stereotype of hip-hop artists is their use and distribution of illegal drugs. In attempts to redefine this negative characteristic, many hip-hop artists have pointed at the majority social group as the facilitator of drug abuse. In “Justify My Thug”, Jay-Z speaks directly to members of government, raising questions about who has made the availability and use of these drugs possible: Mr. President, there's drugs in our residence Tell me what you want me to do, come break bread with us Mr. Governor, I swear there's a cover up Every other corner there's a liquor store - what is up? In this example, the poet inquires as to why there is a liquor store in “every other corner” of his community. In “I Want to Talk to You”, Nas uses the same approach to challenge the notion of drug distribution by asking his representatives what they would do in his situation: Why y'all made it so hard, damn People gotta go create their own job Mr. Mayo,r imagine if this was your backyard Mr. Governo,r imagine if it was your kids that starved Imagine your kids gotta sling crack to survive Here, the poet claims that the distribution of drugs is not only an effect of the poverty that exists in his environment, but also a means of survival. In “Manifesto”, Talib Kweli actually accuses the government of being the body which allows drugs into the country: Like the C.I.A. be bringin’ in crack cocaine bailin’ out of planes With the George Bush connections, I push Reflection Like I'm sellin’ izm, like a dealer buildin’ the system Supply and the demand it's all capitalism People don't sell crack cause they like to see blacks smoke People sell crack cause they broke In this example, the poet accuses the C.I.A. of flying drugs into the country, and again reiterates the point that it is a means of survival due to the “supply and demand” of a capitalist society. In “Damn It Feels Good to be a Gangster”, the Geto Boys fully redefine the negative characteristic of drug distribution by accusing the President of being a drug dealer, and therefore, a gangster: And now, a word from the President! Damn it feels good to be a gangsta Getting’ voted into the White House Everything lookin’ good to the people of the world But the Mafia family is my boss So every now and then I owe a favor gettin' down Like lettin' a big drug shipment through And send 'em to the poor community So we can bust you know who These examples show how hip-hop artists redefine the image of being drug dealers and users by again pointing to the majority class as the creator of the drug problem in this country. Materialism Hip-hop music is also seen by the majority class as a genre dominated by materialism. Again, artists point back to the majority class in an attempt to redefine this negative characteristic. In “Respiration”, Black Star points to all the wealth surrounding urban areas, and how it absorbs the lower class in materialism, making them want parts of that wealth: Where mercenaries is paid to trade hot stock tips For profits, thirsty criminals take pockets Hard knuckles on the second hands of workin’ class watches Skyscrapers is colossus, the cost of living Is preposterous, stay alive, you play or die, no options Here, the poet talks about various materialistic aspects of the majority class, and how the lower class must “play or die” to “stay alive.” In “All Falls Down”, Kanye West actually blames this materialism on American society: It seems we living the American dream But the people highest up got the lowest self esteem The prettiest people do the ugliest things For the road to riches and diamond rings In this example, the poet blames the “American dream” for materialism, saying it causes people to “do the ugliest things” for “riches and diamond rings.” In “Los Angeles Times”, Xzibit also blames this materialism on the majority class, claiming that is what the youth are taught coming up in urban environments: Welcome to L.A. Where you can see the whole city burning Cause the cops got Uzis and the dealers keep serving And your kids ain't learning it, except this Sex power and wealth, forget everything else Here, the poet expresses his belief that certain aspects of materialism, including “power and wealth” are taught to children through occurrences in society. These are examples how hip-hop artists redefine the negative characteristic of being materialistic by showing examples of how this materialism is prevalent in the majority class, and often created within that class. Sex And the final debated stereotype of the hip-hop social class is that they are sexually promiscuous, often leading to disrespectful treatment towards women. The poets also attempt to redefine this stereotype by blaming the core of the problem on society. In “Pussy Galore”, the Roots claim that the country’s obsession with sex is pushed by sexually-driven marketing campaigns: Lookin' out the limo window up at the billboards 200 miles, she was the only thing I saw Promotin' everything, from the liquor to the nicotine Cell phones, anti-histamines, chicken wings You gotta show a little skin to get them listening For real yo, the world is a sex machine In this example, the poet retells a personal experience in which he saw sex advertisements as “promotin’ everything.” And in order to “get them listening”, he claims, “you gotta show a little skin.” In “Get By”, Talib Kweli blames this sexual obsession on what we view on television: The TV got us reachin’ for stars Not the ones between Venus and Mars, The ones that be readin’ for parts Some people get breast enhancements and penis enlargers Here, the poet expresses his belief that television creates a misconception of what people should be sexually, and that contributes to the promiscuity that is being blamed on the hip-hop movement. Hip-hop artists have used their lyrics and poetry to influence the rejection and reconstruction of the gangster identity that plagues their social class. This is accomplished through the redefining of negative characteristics assigned by the majority class. In most cases, these redefinitions include pointing to the majority class as the real holders of these negative characteristics. The redefining of these “gangster-like” images through hip-hop lyrics helps to reconstruct the gangster identity by questioning “gangster-like” behaviors and which social class actually has these behaviors. So the question presented is: Who exactly are the gangsters? Works Cited / Discography 2 Pac. 2Pacalypse Now. Jive Records, 1991. Black Star. Mos Def & Talib Kweli are Black Star. Rawkus Records, 1998. Coates, Jennifer. Women, Men and Language. Longman Publishing, New York: 1993. Dr. Dre. The Chronic 2001. Interscope Records, 1999. Eminem. The Marshall Mathers LP. Interscope Records, 2000. Geto Boys. Uncut Dope LP. Interscope Records, 1999. Haugen, Jason. “‘Unladylike Divas’: Language, Gender and Female Gangster Rappers.” Popular Music and Society: December, 2003. Jay Z. The Black Album. Def Jam, 2003. Kanye West. College Dropout. Roc-A-Fella Records, 2004. Nas. I Am. Sony Records, 1999. Rakim. Don’t Sweat the Technique. MCA Records, 1992. Rawkus Records. Lyricist Lounge Volume 1. Priority Records, 1999. Slaughter, Peter. “Attack on Rap Music.” Barutiwa Weekly News. June 14, 1997. Talib Kweli & DJ Hi-Tek. Train of Thought. Rawkus Records, 2000. Talib Kweli. Quality. Rawkus Records, 2003. The Roots. Phrenology. MCA Records, 2002. Whaley, Angela. “Hip Hop is Not for Sale.” Colorado State University’s Talking Back: Volume 3, Issue 1. Xzibit. 40 Days and 40 Nights. Loud Records, 1998. penis enargement operation easy enlagement free penis surgery way penis elargement surgeries prosolution pnis enlargement pills penis enargement exercise plastic surgery penis enlarement herbal natural penis enlagement penis enargement surgeries vimax penis enlargement surgeries

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