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The majority of parents do a good job teaching their children to beware of strangers. Yet most victims of child sexual abuse know the sex offender. In a study of twenty adult sex offenders conducted by Jon Conte, Steven Wolf and Tim Smith; two of the key questions asked were: 1. “Was there something about the child’s behavior which attracted you to the child?” Responses included: • “The warm and friendly child or the vulnerable child…Friendly, showed me their panties.” • “The way the child would look at me, trustingly.” • “The child who was teasing me, smiling at me, asking me to do favors.” • “Someone who had been a victim before—[spanking or inappropriate touch]—quiet, withdrawn, compliant. Someone, who had not been a victim would be more non-accepting of the sexual language or stepping over the boundaries of modesty… Quieter, easier to manipulate, less likely to object or put up a fight…goes along with things.” 2. “After you had identified a potential victim, what did you do to engage the child into sexual contact? Responses included: • “I didn’t say anything. It was at night, and she was asleep. • “Talking, spending time with them, being around them at bedtime, being around them in my underwear, sitting down on the bed with them… Constantly evaluating the child’s reaction… A lot of touching, hugging, kissing, snuggling.” • “Playing, talking, giving special attention, trying to get the child to initiate contact with me… From here I would initiate different kinds of contact, such as touching the child’s back, head… Testing the child to see how much she would take before she would pull away. • “Isolate them from any other people. Once alone, I would make a game of it (red light, green light with touching up their leg until they said stop). Making it fun.” • “Most of the time I would start by giving them a rub down. When I got them aroused, I would take the chance and place my hand on their penis to masturbate them. If they would not object, I would take this to mean it was Okay... I would isolate them. I might spend the night with them… Physical isolation, closeness, contact are more important than verbal seduction.” We cannot ignore the sophistication of sex offenders’ efforts to desensitize the child through the gradual development of a relationship with the child and progressing from non-sexual touch (touching a leg, back or head) to sexual touch. Given that 95-99 percent of sex offenders are people their victims know and trust—family members and other trusted adults—even children as young as two can be taught to know what to do to protect him/herself. For a child who has been taught only to say, “No’ to touching his/her private parts—one of the consequences of this relationship building and desensitization process is self-blame. By the time the child realizes that his/her private parts were touched—the damage is done—and the child may believe he/she has given consent to the abuse. He/she thinks because he/she did not say, “No” when the adult rubbed her/his back or head, he/she is to blame. It only takes one second for a sex offender to stick his tongue into a child’s mouth when he is giving a ‘traditional family’ kiss on the lips. It only takes one second for a sex offender to put his hand up a girl’s leg and touch a child’s labia while she sits on his lap. Studies reveal that teaching a child to say, “No” has little impact because it is rare a child will affect more than weak resistance against a known sex offender. Furthermore, the sex offender will usually ignore a simple, “No.” The sex offender uses subtle or blatant threats, intimidating the child into compliance and silence. My book, If I’d Only Known…Sexual Abuse in or out of the Family: A Guide to Prevention, emphasizes six important prevention techniques. • Non-violation of sacred Body boundaries—to thwart the sex offender who counts on—a child who has been violated before—quiet, withdrawn, compliant. Someone, who had not been a victim, would be more non-accepting of the sexual language or stepping over the boundaries of modesty… Quieter, easier to manipulate, less likely to object or put up a fight…goes along with things.” • Good, Appropriate Touch • Appropriate Body Boundaries • Good Body Image • Tell Mommy and Daddy Everything—No Secrets Rule • Appropriate Suspicion Appropriate Suspicion (intuition, a.k.a. sixth sense) alone when acted upon empowers the child to thwart the majority of would-be sex offenders. Coupled with the other five techniques—your child is well prepared to stop every sex offender in their tracks. Trusting and acting on your intuition or sixth sense and allowing your child to trust his/her intuition is paramount to protecting children from sex offenders, no matter whether they are family members, family friends, doctors, dentists, teachers, etc. Children are naturally intuitive and often sense an adult’s ulterior motives, although you may not suspect anything. We need to accept the reality that no one can be considered exempt from being a sex offender, including all family members. As a parent, be appropriately suspicious and trust your intuition. If you err in evaluating a situation, make the error on the side of your child. The important factor is not that you have avoided offending someone, but that you have protected your child, until you can investigate further. The title of my book, If I’d Only Known… is the lament of my friend’s daughter whose three-year-old son was sexually abused by her step-mother’s ten-year-old son. If only I had known that he would potentially abuse other children because he was sexually abused, I would never have let John play in the backyard alone with him.” She was right, if only parents knew the fact that sexual abuse is perpetrated, ‘anywhere, anytime, and by someone you least expect, they could protect children from this heinous crime. Another important aspect of child protection is taking responsibility. “Those who ignore the past are condemned to repeat it.” –Jean-Paul Sartre “We are not only responsible for what we do, but also, for what we don’t do.” –Voltaire “The worst way you can choose is to choose no way at all.” –Friedrich II “Every choice we make, every thought and feeling we have, is an act of power that has biological, environmental, social, personal and global consequences.” –Caroline Myss “You can not change that which you do not acknowledge. –Dorothy M. Neddermeyer do penis enlargment pills really work natural pennis enlargement pills penile enlargement device vimax customer service surgical penis enlargment penis enlargment information magna rx picture testimonials penis enlagement pill magna rx

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The causes can be physical or psychological. It is also possible for an initially physically led cause for impotence to attract psychological issues too. Physical Causes for Impotence or Erectile Dysfunction 1) Brain Damage If the head had suffered trauma and/or brain has been damaged, then there is a possibility that the signals required for a healthy erection will not occur and impotence will result. 2) Diabetes There is a higher possibility that someone with diabetes will suffer with impotence also. Conversely, and loss and or an inability to maintain an erection may be an indicator of diabetes. 3) Glandular Glandular issues and those connected to the thyroid may have an adverse effect on love-making and lead to erectile dysfunction. 4) Drugs Some drugs, both prescriptive and recreational may have side effects, one of which could be erectile dysfunction. Drugs that are prescribed for high-blood pressure may often be the cause of a loss of erection and therefore impotence. Some drugs prescribed for psychiatric conditions such as depression may also be a cause. 5) Injury to the Penis or Surrounding Area Sometimes damage, whether temporary or otherwise to the penis may lead to a temporary loss of erection or discomfort if the area is tender. Psychological Causes of Impotence – Erectile Dysfunction This refers to the way a man either thinks about what an erection and/or sex means to them or what they associate with the act of love-making. 1) Negative Conditioning A man may have learnt from parents or other persons of influence that sex is in some way wrong or bad or have some other negative connotations. In attempting to perform sex these influences may reduce arousal and replace it with negative feelings leading to a loss of erection and impotence. 2) Criticism A partner may have criticised a man either before after or during love-making. The next time the man makes love he may have that criticism on his mind. He will want to avoid being criticised again and may feel under pressure. The result of all this may be a loss of his erection. 3) Fear of Loss of Erection Sometimes a man loses his erection during love-making which is perfectly normal. If the man believes this is not supposed to happen he may feel under pressure to keep his erection throughout love-making. This leads to anxiety and anxiety does not help maintain an erection. 4) Alcohol Many men experience temporary impotence if they have been drinking excessively. This experience or memory may play on their minds and they may feel anxious during the next time they make love. Even though alcohol may not have been consumed on this subsequent occasion the man may lose his erection if this previous memory plays on his mind. 5) Partner or Marital Difficulties If there is an issue or problem in the relationship, this may well have an impact on love-making and the result may be temporary impotence. Unfortunately the partner may compound the issue by saying something like “you don’t love me anymore” after the man loses is erection. 6) Routine – Loss of Excitement In the majority of relationships the couple can settle down into a routine for love-making and one or both partners may lose interest because the initial excitement is no longer there. Each partner does the exact same thing during love-making and so it becomes more mechanical with less emotional input. If the sexual interest lessens impotence may result Impotence and Erectile Dysfunction Conclusion All of the above and more can lead to a fear of losing an erection. If the pattern is repeated during subsequent love-making this can have a negative and compounding impact on a man’s thoughts about making love. Often avoidance may be used as a strategy to cope. Unfortunately avoidance rarely resolves or releases a fear or impotence. penis enargement video penis enlarement supplement compare penis enlagement pills natural penis enargement technique penile enlargement surgery photo natural penis enlargment and lengthening natural penis enhancement vimax penis enlargement photo top rated penis enlagement pills

There are several types of birth control widely used to prevent pregnancy. Some methods are for men and some for women. If you are having sex with your partner while using any type of birth control, you must remember that all these types of birth control have failure rate, e.g., latex condoms and diaphragms having 15-20% failure rate while in case of birth control pills, injection, sterilization and IUD you have to bear a risk of about 5%. Various types of birth control are described below: Male Condom It is the most common method, easily available and of course is not expensive. It is sold without a doctor’s prescription. You can buy condom from any super Store, medical store or any other related shops. Mostly it is made of latex rubber that should be put on erect penis before having sex. It prevents the partners from pregnancy as well as STD (sexually transmitted disease). Female Condom It is a 17 Cm long pouch that has two rings at both ends. Women wear it before having sex. Open end has a slightly larger ring, which rests outside the vagina. Close end has a smaller ring that keeps the female condom in correct place. It has the similar properties as of male condom that it keeps the vagina away from the skin of the penis or from the secretion from the penis. It also prevents you from pregnancy as well as STD. Birth Control Pills It is based on hormones that keep the sperm from reaching eggs and also keeping ovaries from releasing eggs. It generally comes in 21 or 28 days pack and you must take one pill daily. It does not protect you from STD. Vasectomy It is a permanent method of birth control, which involves surgery, that makes a man sterile or you can say that after having vasectomy operation a man cannot make a woman pregnant. The operation does not take much time, hardly it takes half an hour and during the operation doctor uses local anesthesia. However it does not affect your potency. You must remember that after using this method of birth control you will never become a father in future. Female Sterilization It is also a permanent method of birth control, involving surgery that makes a woman sterile. However this operation takes more time than vasectomy and doctor do the operation under general anesthesia. You must remember that after opting this method of birth control you will never become a mother in future. Spermicides The function of spermicides is to kill the sperms before reaching uterus. It is a chemical product and is available in the form of foam, cream and jelly. You must insert it less than 20 minutes before intercourse and for subsequent sex. You can buy it from any drug store or grocery store. It is alone not effective against STD. It is recommended that you must use condom with spermicides to protect yourself against STD. Apart from above you can also have natural birth control i.e., abstinence. It means you should not have sex in those days when women can become pregnant. You can ask your doctor about these days. guide to penis enlarement vigrx penis enlargement pill penis enhancement surgery picture penile enlargment pic enlargement erection penis pills vimax penile enlargement picture natural pennis enlargement pills vig rx pic top rated penis enlagement pills

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.