Books : The Mistress Manual: The Good Girl's Guide to Female Dominance


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Books : The Mistress Manual: The Good Girl's Guide to Female Dominance


  

The Mistress Manual: The Good Girl's Guide to Female Dominance

by: Lorelei








Binding: Paperback
EAN: 9780964856103
Format: Import
ISBN: 0964856107
Label: Berkana Press
Manufacturer: Berkana Press
Number Of Pages: 244
Publication Date: February 01, 1997
Publisher: Berkana Press
Studio: Berkana Press











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Customer Reviews
Average Rating:  out of 5 stars

Rating: 4 out of 5 stars - Easy read
This book was just what I was looking for. Easy and fast read. It gave me the information I was looking for. Some nice ideas and suggestions.



Rating: 5 out of 5 stars - Spiritually Uplifting
This is a spiritually uplifting book for both sexually dominant females and curious males as well. It explores the physiological nature of what it means to be a female dominant. For those who are interested or are committed to this form of sexual expression, spirituality and freedom of thought this is a well written book with a true understanding of what female dominance is, means and offers to the unbridled spirit of ultimate expression.



Rating: 4 out of 5 stars - Great reading
I was a bit doubtful when purchasing this book. But it turned out to be a well written, informative guide to Domestic Dominance.

It's difficult to write a BDSM book that will be liked and praised by everyone. Kink is, after all, a very personal and intimate thing. However "The Mistress Manual" is a book I would recommend to every girl and woman who is fascinated by the subject and want to find out more about it.
Unlike many books on the topic, "The Mistress Manual" does not focus on describing all the fantasies connected to Female Dominance. Nor does it claim to be the ultimate guide.
However it's full of useful tips and advice, not to mention some of the technical aspects of BDSM.

To the author I say: Great job!
TO all the potential readers: This is worth your time.



Rating: 5 out of 5 stars - Pleasantly surprised
I was very pleased with this book, especially after my husband had read it and to my surprise, my pleasant surprise, showed a great interest in the subject. He came out, if that is the correct expression during dinner a couple of weeks ago.His inhibitions loosened by the wine, he said, if I was interested he would like to try out some of the techniques in the book. Boy oh boy was I interested. My glass stopped half way to my mouth and I just looked at him and he just smiled shyly. That opened the flood gates, I gulped down my wine and dragged him up to bed. We never finished dinner that evening, but we had our fill of something better. We have progressed further in our love making and now and our fifteen year marriage has been elevated to another level. We have not considered seeking out others to join in the fun, but if John suggests it, I am open to experimentation. Its amazing what a book can do for a relationship, I bought him a copy of the very excellent and fantastically sexually charged 100 Percent Erotica by Suzie Van Aartman not long ago and the explicit but tasteful erotic antics really turned us both on tremendously, I can highly recomend both of them



Rating: 5 out of 5 stars - The Mistress Manual
This book is EXCELLENT for beginners and good for dominants who have a little more experience. I would also recommend for subs to read most of this book, it would be helpful in deciding and telling your significant other what you want and what you would like to try. VERY good book, in depth, and it reads very well.




 





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Editor Annalee Newitz reveals the inspiration for the futurism-focused site's name, shares her obsession with the scientifically taboo and tells why sci-fi is going mainstream.


Editor Annalee Newitz reveals the inspiration for the futurism-focused site's name, shares her obsession with the scientifically taboo and tells why sci-fi is going mainstream.


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Stephen Sondheim's Victorian horror thriller Sweeney Todd: The Demon Barber of Fleet Street is generally considered his greatest work, macabre but darkly humorous with a viscerally powerful score that has found a home both on Broadway and in opera houses. George Hearn (who replaced Len Cariou of the original Broadway cast) plays the title character, a wronged man whose lust for revenge drives him to murder (an 18th-century legend who has been traced to a real-life barber), and Angela Lansbury plays his partner in crime, Mrs. Lovett, who finds a practical business use for Todd's victims. This combination of horror and humor is echoed in Sondheim's score: brooding menace ("The Ballad of Sweeney Todd," "My Friend"), achingly beautiful ballads ("Johanna," "Not While I'm Around"), clever puns ("A Little Priest"), coloratura arias ("Green Finch and Linnet Bird"), and intricate choral and ensemble numbers.

Continuing a fortuitous tradition of capturing the Sondheim legacy on video recordings, this performance was filmed before a live audience in Los Angeles during the 1982 national tour. Almost 20 years later, Hearn returned to the role opposite Patti LuPone in an acclaimed concert production. But Sweeney Todd is an especially compelling experience in this 1982 version, complete with the clever staging tricks (e.g., the barber's chair) and as close to the original cast as we're likely to see. --David Horiuchi

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A guilty, guilty pleasure, perhaps not one a left-wing feminist should be admitting to in public. Female boomers should recall yearly TV reruns of this Rodgers and Hammerstein production, featuring such delights as "Impossible" and "Do I Love You Because You're Beautiful?" It may appear a bit stark to younger viewers, but part of the charm of this 1964 network TV special, a remake of the live 1957 telecast originally built around Julie Andrews, is its utter simplicity. An extremely young Lesley Ann Warren and Stuart Damon (of General Hospital fame) are joined by Ginger Rogers, Walter Pidgeon, and Celeste Holm. Warren is all sweetness and innocence without a hint of saccharine artificiality, while Damon is a clear-eyed romantic. This very handsome love story is a bit of an oddity, but worth owning just for the memorable score. --Rochelle O'Gorman
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John Waters made his bid for PG respectability with this enjoyably trashy comedy about the racial integration of a teen dance show on Baltimore television in the early '60s. Waters, as always, makes a virtue of junk culture and the powerful emotional forces it can represent as kids vie to get on the show. Meanwhile, a parade of former stars (Pia Zadora, Debbie Harry, Sonny Bono) and pseudostars (Divine, Ricki Lake) cross the screen, playing freakish characters absorbed by thoughts of fame. (Waters himself turns up as a weirdo psychiatrist.) This transitional film for Waters is rough going at times and not as interesting or funny as his later features Cry-Baby and Serial Mom, but it's worth a look. --Tom Keogh

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Martina McBride has long been a champion of music as social consciousness, particularly for abused women ("Independence Day") and children. On Waking Up Laughing, her ninth album and the follow-up to Timeless, her platinum-selling album of country classics, she advances the theme while expanding it. While two songs explore the issue of unwed mothers (particularly the exquisite "Love Land," which closes the album), and another, "Beautiful Again," touches on child sexual abuse, her overall repertoire embraces the wholeness of family, and of standing strong together in the face of adversity and defeat. Musically, McBride has always proved to be an elegant thorn--her song selection is often inspired (and here, she co-wrote three tunes, including the skyscraping single "Anyway"), but she has tended to use her huge, ride-the-wave soprano full-tilt, without employing the subtle shadings that would make her even more emotionally resonant. On Waking Up Laughing she seems to have worked on the problem, yet in her second foray as solo producer, she still tends to gild the lily instrumentally--inflating string bridges between choruses, for example, or loading the opening country-pop track, "If I Had Your Name," with a Southern-rock guitar break, a listen-to-me fiddle showcase, a Celtic guitar intro, and a close that brings to mind George Harrison's sitar in play-it-backward mode. That said, she makes fine use of what sounds like a black female choir on the uplifting "For These Times," and wisely keeps the haunting break-up ballad "Tryin' to Find a Reason" (with Keith Urban's harmony vocals and guitar solo) lean and affecting. As McBride works to refine her pastiche of creativity, commerciality, and social awareness, she slyly takes more chances than one might think, all the while rallying old fans and making new ones. --Alanna Nash
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For right-minded buyers of the reissued Muppet Christmas Carol soundtrack, the odds of disappointment are about as remote as Miss Piggy's chances with Kermit. If you loved the movie, you will love the loopy mayhem of the Muppet Brass Buskers ("Good King Wenceslas"), the cartoonish malice of the black-hearted misanthropes Marley & Marley ("Marley & Marley"), and the hope-swollen harmonies of Tiny Tim and Family ("Bless Us All"), Muppeted here to hilariously humble effect. If, on the other hand, your interest in this disc has more to do with its inclusion in the way-narrow Christmas-record-for-kids category--if the spirit of the season doesn't extend, for you, to the magic of the Muppets--you may want to keep browsing, as it's a soundtrack first (overture, instrumentals, and all) and a Christmas CD second. That's not to suggest you're stuck with an un-fun disc should it land on your holiday stack without a prior screening, though. Miles Goodman's score sweeps and inspires, and certain tracks--"One More Sleep 'til Christmas" and "Fozziwig's Party"--are future classics. (Note to the right-minded: After a misstep on the original release, Martina McBride's version of "When Love is Gone" is back.) -Tammy La Gorce



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