New York, Love It or Leave It

By Miriam B. Medina

First and foremost, I am a New Yorker. That's right, born and raised in East Harlem, New York and proud of it. Although I have to agree, that there are some unpleasant pointers about the Big Apple there still are some excellent ones. So as a creative project for my blog I decided to write a short article on the city of New York. What better place to start than being in the right atmosphere amongst the crowding of people to set the mood. Determined to pursue my writing project, I grabbed my brief case and with pad and pen in hand, I took the bus into Manhattan's Port Authority and parked myself where ever a place could be found and started to scribble incessantly. Since New York is filled with so many creative people, some strange but mostly normal, seeing a woman writing away on a note pad and mumbling to herself was nothing out of the ordinary. My first step would be to interview whoever was willing to talk, getting their opinions on what they think of the Big Apple. After all, New Yorkers are known for telling it exactly as it is, so let's hear what they want to say regarding their home town.

Question: Hello, Can you tell me what you like about New York City?

RESPONSES:

Get atta my face!," "Oy Vey!," "It's cool," "eh!," " I hate living here it's very stressful," " The apartments are so expensive unless you live in a rat infested roach hotel," " There are lots of great theaters especially on Broadway, but watch out for the muggers and the pick-pockets," " Those pushcart peddlers will rob you blind and selling hot merchandise no less," " Thank God, my cousin Sheila lives in Queens, at least there's trees there," "There are lots of good ethnic restaurants," " Nobody ever sleeps!," "CLAUSTOPHOBIA!," " I hate the congestion of traffic especially during the rush hour," "I live on the fifth floor and that damn elevator never works, this rotten landlord with all the money he makes on us, you'd think he'd get it fixed!," "There's no place to park unless you pile the cars on top of each other," "Freedom of Expression," "Great paying jobs but what a hassle to get there", "Forget the subways, it's like being in a can of sardines," " I love it," " #%!&@ ," " Hic! I'll drink to that, can you spare a buck?," "It always looks dirty," " New York City has some real nice parks, you'll just have to deal with the pigeon crap," "Too many immigrants," "Some of the neighborhoods look like a war zone," " It's a great place for bargain hunting", "Those crooked Taxi-cab drivers will ride you around the same block three times and charge you an arm and a leg", " I'm afraid to go out at night," "Ya take ya life in ya hands when you cross the street, these crazy drivers don't believe in red lights or stop signs here!," " Awesome," "It's a marathon, they'll knock ya down if ya don't get atta their way," "Everyone's too hostile," "Oh how I love the annual parades they are such a beautiful sight," "I've got gates on my windows and three locks on my door doesn't that tell you something?," "I hate the summer, smells like last year's garbage is still out there,"--and the list of complaints and applause continues.

Ok! Ok! I get the picture. To my private list of both critical and laudatory responses (if nothing else, New York is a paradox), I would add Richard Swift's article ;"Life in the Shadows, the Underside of New York City," which describes the nervousness, tensions, hostilities, and the frustrations of living in crowded conditions in today's city. You can find this article at:

http://www.newint.org/issue178/keynote.htm

New York, New York: It's a hellava town. New York City has always had its share of growing pains, complete with political, social and economic upheavals galore. What are some of the recurring issues? Crime; accommodating masses of impoverished immigrants and migrants; the deterioration of neighborhoods; intolerable housing and extortionate rents; high taxes; unemployment; political and racial riots; police brutality and political corruption: and that's just the beginning. Yet, in spite of all the discomforts and miseries, miraculously, most of those who crowd the city streets choose to stay. New York, New York.

Its history of over 350 years deserves attention as one of the world's most magnificent cities, studied for its steady and rapid growth, its material prosperity and its generous representation of diverse ethnic groups and religion.

New York City has unmatched theaters and museums and architecture. It is the financial center of the United States-- some say the world--, as well as the hub of American advertising, fashion, publishing, and radio Television broadcasting. New York is definitely not one of the natural wonders of the world: Millions visit the city each year to see what humans, not nature, can achieve.

Walter Barrett, author of Old Merchants, in his second series Book (1863), captures New York City :

"New York City is the heart_____the seat of vitality. Stop her
beatings, and the prosperity, the liberty, aye, the existence of the United
States is ended. The Nation will die. . . . Her great strength cannot be
destroyed."

To contact: miriammedina@earthlink.net
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Le immagini della Festa dei Gigli di Brusciano dalla fotografia al cinema e dalla televisione al web. Una emozione che non cambia.

Contributo di dott Antonio Castaldo, Sociologo e giornalista, Brusciano, Italia 15 Luglio 2011

La prima immagine che traduce per i posteri il prodigioso evento del 13 giugno 1875 a Brusciano, ricordato come il “Miracolo di Sant’Antonio di Padova” , è quella riprodotta nell’edicola in maioliche di Vico Tre Santi che rispetta la memoria orale e quanto fissato, allora, nella forma colta della scrittura poetica da Don Francesco Monda parroco della Chiesa di Santa Maria delle Grazie. Zì Cecca De Falco, impossibilitata a rispettare l’ex voto, dal suo balcone, le ostie lanciate al vento, la statua di Sant’Antonio in processione, il prodigio e l’inizio del comunitario ringraziamento con la Ballata dei Gigli di Brusciano: tutto fedelmente citato.

L’avvento tecnologico fotografico e cinematografico incrocia la Festa dei Gigli di Sant’Antonio di Padova per le prime documentazioni storiche nel corso dell’esperienza migratoria dei bruscianesi nel “Nuovo Mondo”.

Le prime fotografie in merito, che in questi ultimi anni stiamo con certezza raccogliendo ed analizzando, giungono da New York. Una di esse riprende East Harlem sulla 106th Street nel 1928 dove si riconosce la base del Giglio di Sant’Antonio di Padova con la scritta: “Viva la 10^ Festa dei Bruscianesi”. Poi altre fotografie mostrano il nucleo familiare di Gioacchino Vivolo, l’iniziatore del Giglio bruscianese in America emigrato da Brusciano, nei primi anni del Novecento come testimoniato da Phil Bruno discendente di quella famiglia. Le prime tracce le raccolsi nel febbraio 2003 grazie all’antropologo Joseph Sciorra dell’Italian American Institute dell’Università di New York. Nel luglio 2010 le ottenni poi direttamente, via email, da Phil Bruno, discendente della famiglia Vivolo, dal New Jersey. Lo stesso continua oggi l’impegno nella Giglio Society di East Harlem a New York insieme a Bob Maida. Nel 2003 ho personalmente rilevato e documentato la continuità di questa festa a New York.

Dal versante nordamericano preziosissima è l’opera di Miriam Medina, fondatrice e ricercatrice di storia sociale del sito web americano www.thehistorybox.com che ci sta dando un grande aiuto, in piena gratuità, sia per diffondere in America le notizie da Brusciano e sia per fare studi e ricerche sulla comunità degli italoamericani compresi i bruscianesi di origine. A lei va la nostra immensa riconoscenza.

Da noi le prime immagini fisse della Festa a Brusciano ci presentano i Gigli degli anni ’30 dello scorso secolo calzanti l’estetica fascista rigorosamente riprodotta nelle vestizioni degli obelischi. Conservo volentieri una serie di queste foto frutto della riproduzione e diffusione dall’Associazione “Pro Loco Brusciano” in una interessante operazione culturale di circa un decennio addietro.

Per quanto riguarda le prime immagini in movimento bisogna fare un passaggio sudamericano. Il Giglio a Quilmes, nella provincia di Buenos Aires in Argentina, costruito e ballato dalla numerosa comunità bruscianese nei primi anni ’60 venne registrato all’epoca in superotto qualche anno in una riunione familiare proiettato e commentato contemporaneamente riprendendo registrando il sonoro del commento domestico su videocassetta vhs infine riversata su supporto elettronico cd e giunto fino a noi. Per questo ringrazio la Comunità Bruscianese a Quilmes ed Elisabeth Di Maio vicepresidente della “Asociacion Napoles Viva” in Argentina.

Nel campo cinematografico professionale troviamo delle scene ambientate all’interno della Festa dei Gigli di Brusciano e montate in uno dei tre episodi di “Libera”, l’opera di esordio di Pappi Corsicato del 1993.

In televisione la Festa dei Gigli di Brusciano è protagonista di un servizio di Filippo Marmo, con la mia collaborazione, per il programma ''Gentes'', ideato e curato da Giuseppe Feyles e condotto dalla giornalista Elena Guarnieri, nella sua quarta edizione nell’anno 2004.

Il primo lavoro multimediale è del 1999 in CD rom dell’Associazione Giglio della Croce, a cura di Fernando Di Maiolo, contenente un mio contributo: La Festa dei Gigli di Brusciano, con un mio contributo Uno sguardo di visual socio-anthropology. A fine anni ’90 nasce anche il primo sito web in assoluto che dedica grande spazio alla alla storia ed alle immagini della Festa dei Gigli di Brusciano grazie alla creatività di Fernando Di Maiolo, il papà del rinomato musicista Rocco Di Maiolo, che in campo musicale ha studiato la tradizione dei Gigli e l’ha riproposta con interessanti contaminazioni dal respiro internazionale.

Per l’assunzione di coscienza storica e culturale ricordiamoci di “Trenta Anni della Festa dei Gigli di Brusciano 1971-2000”, documentario curato da me e proiettato per la prima volta sotto la Casa Comunale di Brusciano in apertura della Festa dei Gigli del 2011 in collaborazione con Raffaele Vitale e “La Tua Immagine”.(Cfr. Anita Capasso, Brusciano domenica “balla” coi Gigli, “Il Mattino”, Napoli 24 Agosto 2001; “La Repubblica”, Che si fa stasera, Brusciano, Napoli 23 Agosto 2001).

Una galleria fotografica in bianco e nero degli anni ’50 e ’60 la ritroviamo in “Storia e Volti della Festa dei Gigli di Brusciano”, una ricerca scritta a quattro mani dal sottoscritto e da Antonio Ruggiero dell’Associazione Giglio Ortolano 1875 e pubblicata nel 2004.

Il primo documentario video professionale è quello prodotto per lo speciale TV “Brusciano e la Festa dei Gigli”, con Giuseppe Ragosta ed il sottoscritto per le emittenti televisive “Teleoggi”, “Canale 9” e “Stream News” nell’anno 2001.

Nel 2003 avviene l’esordio in assoluto, nella grafica istituzionale nazionale delle Poste Italiane, della silhouette del giglio. Nasce, su mia ideazione, il primo annullo filatelico per promuovere la “Festa dei Gigli di Brusciano”, con pubblica apposizione a cura di Poste Italiane avvenuta a Brusciano il 31 agosto 2003.

Spostandoci fisicamente fuori regione, da Sud al Nord dell’Italia, dalla Campania in Veneto, di risonanza nazionale è l’evento “Scambio Religioso e Culturale con la Ballata del Giglio di Brusciano a Padova” che ritroviamo nelle migliaia di immagini complessivamente riprese nel corso dell’evento dai numerosi fotoreporter presenti a Padova e dalle testate giornalistiche televisive. Un documentario curato da me per le attività dell’Ufficio Stampa del Comune di Brusciano a favore del gruppo di lavoro guidato a Padova dal Presidente della Festa dei Gigli di Brusciano, Consigliere comunale Nicola Di Maio e dal Presidente del Consiglio Comunale Antonio Di Palma. Su You Tube sono visibili numerosi momenti di questa strepitosa esperienza ripresi dai tanti giovani bruscianesi presenti all’evento.

Ricordo con piacere anche la prima diretta televisiva sulla Festa dei Gigli di Brusciano fatta Primo Kanale diretto da Sebastiano Giardino, l’anno scorso con la mia collaborazione come Ufficio Stampa del Comune di Brusciano. Lo stesso vale per le originali puntate di presentazione con i rappresentanti dei Comitati e delle Associazioni dei Gigli: Croce, Gioventù, Ortolano 1875, Parulano, Passo veloce e Sant’Antonio. Anche in questo caso con la preziosa assistenza della redazione dell’Ambasciatore: Antonio Francesco Martignetti, Felice Marotta, Teresa Iannelli e Marilena Castaldo.

Infine ultima in ordine di tempo, a sostegno della promozione della 136esima edizione della Festa dei Gigli di Brusciano, la trasmissione televisiva del 6 luglio, con diverse repliche, su Tele Club, canale 619 del digitale terrestre. Nel programma “Tutto incluso” ideato e condotto da Roberto Esse. Ho avuto il piacere di collaborarvi insieme al direttore dell’Ambasciatore, Antonio Francesco Martignetti con l’assistenza in studio di Marilena Castaldo ed Annunziata Menna.

A chiusura di questo articolo voglio ricordare, per l’opera di fotografo e per le numerose testimonianze rilasciate, di Carmine Crispo nella seconda metà del Novecento a Brusciano. Sano tanti i mezzi tecnologici a disposizione, numerosi gli approcci e diverse le possibilità di trattamento del tema “Festa dei Gigli di Brusciano”. Unica è l’emozione di chi la prepara e la vive ogni anno passando il testimone di generazione in generazione. Unica è l’emozione di chi la prepara e la vive ogni anno passando il testimone di generazione in generazione.

Brusciano, 15 luglio 2011 dott. Antonio Castaldo

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Images of the Feast of the Gigli of Brusciano. An emotion that does not change.

Contributed by Dr. Antonio Castaldo, Sociologist and Journalist, Brusciano, Italy July 15, 2011

The first image that renders for future generations the miraculous event of June 13, 1875 at Brusciano, remembered as the "Miracle of Saint Anthony of Padova," is the one reproduced in the newsstands of majolica in Vico Tre Santi. It respects the verbal memory and how fixed, then, the cultured style of writing poetry by Don Francesco pastor of the Chiesa di Santa Maria delle Grazie. Cecca Zi De Falco unable to comply with her first promise, launches to the wind from her balcony a wafer, while the statue of St. Anthony is in procession. The wonders and the beginnings of communitarian thanks together with the Feast of the Gigli of Brusciano: are all faithfully cited.

The advent of photography and film technology intersects with the Feast of the Gigli of Sant'Antonio di Padova in its first recorded documentation of the Bruscianesi migration experience to the "New World."

The first photograph, one of several that merits attention, which we have recently acquired and evaluated from New York are the base of the Giglio di Sant'Antonio di Padova with the inscription: "Long live the 10th year of the Feast of the Bruscianesi. The other photos show the family of Gioacchino Vivolo, author of the Bruscianese Giglio in America who emigrated from Brusciano, at the turn of the twentieth century as confirmed by Phil Bruno, a descendant of that family. The first track I came across was in February of 2003, thanks to the Anthropologist Joseph Sciorra of the Italian American Institute at the University of New York. Then in July 2010, I received an email from Phil Bruno, a descendant of the Vivolo family, from New York. This same commitment continues today in the Giglio Society of East Harlem, New York with Bob Maida. In 2003, I personally observed and documented the continuance of this feast in New York.

From the American side is the invaluable work of Miriam Medina, founder and researcher of social history of American website, www.thehistorybox.com. She has been giving us gratuitously a large amount of her time and space on her website in spreading the message of Brusciano in America, undertaking studies and research on the Italian, American people which includes Bruscianesi origins, as well. To her we owe our immense gratitude.

From our side, the first still image, which we will, present is that of the Feast at Brusciano in 1930. An image fitting the fascist aesthetics rigorously reproduced in the investitures of the obelisks. I have preserved with joy a series of these photos which are a result from the printing and distribution by the Association of "Pro Loco Brusciano," in a fascinating cultural activity about a decade ago. (Pro local is the local services in Brusciano which organizes cultural and sporting events).

With regard to the first moving pictures, it is necessary to travel to South America. The Giglio at Quilmes, a province of Buenos Aires in Argentina, was built and danced by the numerous Bruscianese communities in the early sixties which at the time was recorded on super eight of that year in a family reunion. These captured images and sound, which were recorded on videocassette (VHS) was passed over to a CD and sent to us. Therefore, we express our gratitude to the Bruscianese community at Quilmes and to Elisabeth Di Maio vice-president of the "Asociacion Napoles Viva" in Argentina for this remarkable contribution.

In the professional cinematographic area, we get scenes that take place inside the Feast of the Gigli in Brusciano which are mounted in one of three episodes of "Libera," a work in the debut of Pappi Corsicato in 1993.

On television, the Feast of the Gigli of Brusciano is the promoter of a service of Filippo Marmo, with my collaboration, for the program "Gentes," conceived and looked after by Giuseppe Feyles and carried on by journalist Elena Guarnieri, in its fourth edition of the year 2004.

The first multimedia work is in 1999 in the CD-Rom of the "Associazione Giglio della Croce," under the care of Fernando Di Maiolo, containing my contribution: The Feast of the Gigli of Brusciano, with a contribution of mine gives an impression of socio- Anthropology. At the end, of the 90s also was born the first website which has dedicated a large section devoted to the background and images of the Feast of the Gigli of Brusciano. Thanks to the creativity of Fernando Di Maiolo, the father of the renowned musician, Rocco Di Maiolo, who in the music field has studied the lore of the Gigli and has presented it again with an interesting contamination of International breath.

For the acceptance of historical and cultural consciousness let's remember the "Thirty years of the Feast of the Gigli of Brusciano 1971-2000." This is a film which was edited by me and shown for the first time by the Communal House of Brusciano in the opening of the Feast of the Gigli of 2011. It was also in collaboration with Raffaele Vitale and "La Tua Immagine." (Anita Capasso, Sunday Brusciano "dances" with Gigli, "Il Mattino," Naples, August 24, 2001; "La Repubblica," Che si fa stasera , Brusciano, Naples August 23, 2001.)

A photographic gallery in black and white of the '50s and '60s found in "History and Faces of the Feast of the Gigli of Brusciano,' a research co-written by myself and by Antonio Ruggiero of the Association Giglio Ortolano 1875 and published in 2004.

The first professional documentary video is produced for the TV special " Brusciano and the Feast of the Gigli," with Giuseppe Ragosta and the undersigned with the television station "Teleoggi," Channel 9 and "Stream News" in 2001.

In 2003, the launch undeniably takes place, in the national, institutional graphics of the Italian Postal service, of the silhouette of the Giglio. Originating from my idea, the first cancelled stamp collector to promote the "Feast of the Gigli in Brusciano, with published consistency under the care of the Italian Postal Service which occurred in Brusciano on August 31, 2003.

Moving physically outside the region, from Northern to Southern Italy, from Campania in Vento, from national sonority is the event of the "Religious and Cultural exchange with the Dance of the Gigli of Brusciano at Padova" in which we get thousands of pictures that were taken during the course of the event by several reporters that were present at Padova, and from the television journalistic heads. A film which I took care of on behalf of the Press Office of the City of Brusciano in favor of the working group at Padua directed by the President of the Feast of the Gigli of Brusciano, City councilman, Nicola Di Maio and by the President of the City Council Antonio Di Palma. On You Tube, there are several moments of this electrifying experience picked up by so many Bruscianesi youth attending the event.

I also remember with pleasure the first Direct TV appearance of the Feast of the Gigli in Brusciano, "Primo Kanale," directed by Sebastiano Giardino, last year with a joint effort on my part as Head of the Press Office in the city of Brusciano. The same applies to the original episodes of presentation with the representatives of the Committees and Associations of the Gigli: Croce, Gioventù, Ortolano 1875, Parulano, Passo veloce and Sant’Antonio. Also in this case with the precious assistance of the editorial staff of "Ambasciatore: Antonio Francesco Martignetti, Felice Marotta, Teresa Iannelli and Marilena Castaldo.

Finally, in this listing of chronological events, in support of promoting the 136 edition of the Festivity of the Gigli of Brusciano, is the telecast of July 6, with different reruns, on "Tele Club," Channel 619 of Digital TV. In the program, "Tutto Incluso" conceived and conducted by Roberto Esse I had the pleasure of working together with the Editor of the newspaper "L'Ambasciatore", Antonio Francesco Martignetti in the studio with the assistance of Marilena Castaldo and Annunziata Menna.

So in conclusion, I would like to remember the work of the photographers and the various released testimonies, from Carmine Crispo in the second half of the twentieth century in Brusciano. There are a lot of technological resources available, and several approaches and options that have to do with the theme "Feast of the Gigli of Brusciano." What matters most is the immense emotion that is experienced by those who prepare for it and live it year after year, passing the baton from generation to generation.

Dr. Antonio Castaldo, Brusciano, Italy July 15, 2011

Translated by Miriam Medina, Associate Member of the American Translators Association

To contact: miriammedina@earthlink.net

From Modesty To Bare Nothings: Ditching The Undies Revolution part 4 (b)

By Miriam B. Medina

(Continued from Page: 4 (a)

One other trend that the sexual evolution of lingerie has started is an absence of undies altogether. Not wearing undies in America is known as "freebuffing" or "going commando."

Although "going commando" is practiced by both sexes, my focus is on the female body. As to the reason why women prefer not to use underwear, there could be several: they experience a non-restrictive, awesome feeling of freedom when they air it all out. Some find that tight-fitting clothes look better without panty outlines. There are also women that find it sexually arousing when they feel the seam of their tight jeans making contact with their genitals. The only problem with this is that you have to be careful of the zipper. Going bare, at least for young ladies and slightly older women, is an invite called "ready for action." Simply telling a guy that you are not wearing panties will sexually arouse him to no end because there won't be any hurdles for him to jump over to get where he wants to go.

So for all those liberated ladies who choose to go bare and let it all air out, in respect of those of us who are still desperately clinging to their modesty from the Victorian era, I strongly recommend the following:

1. First and foremost, maintain a daily rigorous program of sanitary cleansing. Shaving makes this easier.

2. If you are wearing a dress or skirt at work, the edge should be no higher than 3 inches above the knee, or when you sit at your desk, at least remember to cross your legs. We don't all want a show.

3. When you want to pick up something from the floor, please bend at the knees so you do not provide too much of an eyeful.

4. Last and most importantly, remember to bring a pair of panties just in case you should have a lactose problem, discharge when you cough, or mostly when it is that time of the month.

By the way, with all this talk about immodesty and sexy lingerie, I wonder if I should mull over a newer version of my own naughty apparel. Some of them are looking quite shabby lately. But then again, maybe that's a turn on in this day and age in itself, so I think I'll pass.

History is Miriam B. Medina's passion. History can be exciting, sexy, informative and humorous, and Miriam wants you to experience the wonders of history, not just READ about it. She loves nothing more than sharing that passion and her 13 years of research with everyone. So sit back, enjoy the ride and LEARN. For fashion pictures, articles and you-tube viewings of fashion shows from the 19th century through the 21st century, please visit: FASHION CENTER The History Box is a one-stop resource center for writers, journalists, historians, teachers and students.

To contact: miriammedina@earthlink.net

From Modesty To Bare Nothings: Ditching The Undies Revolution part: 4 (a)

By Miriam B. Medina

"What has been the fashion once will come into fashion again..." Japanese proverb

In the first 3 parts of this 4 part series, we explored the beginnings of women's underwear in an era of sexual repression and the evolution of underwear up through the sexual revolution, allowing for a freedom in lingerie and women's underwear that never existed before. Now we literally will explore the sexually charged undies and lingerie that dominates the market today, or what I call the "passion stimulators."

PASSION STIMULATORS

Torpedo Bra- The Bullet Bra, also known as the "Torpedo Bra," came into play in the late 40's, which was quite popular with the use of sweaters worn by the pin ups of the 1940's and 1950's. Jane Russell had worn one of those bras in the Outlaw. The purpose of the bullet bra was to provide full support and coverage to the breasts. In the extent of 30 years, 90 million bullet bras were sold by Maidenform's Chansonette, the company that launched them. The cone bra was revived in 1990 by Jean Paul Gaultier when he redesigned it as an outerwear for Madonna's "Blonde Ambition" tour. Since then, bras have gone through many style changes, such as: strapless, t-shirt, padded, push-up and even transparent bras that show the nipples of the breast.

Modern Panty: Today, it's more than just a bit of cloth that covers both genitals and buttocks. The panty in its many variations has become an object of sexuality. The panties that a female wears can make a bold statement as to how she sees herself, whether she is sexy or downright modest. Some women may secretly want to wear the bolder styles, but are afraid to do so because of Christian principles or a rigid moral upbringing. The wonderful thing about panties is that they have been designed into many different styles for every type of woman, from modest briefs to sexy open crotch panties. For example, one can choose to display: briefs, hipsters, bikinis, boyshorts, tangas, thongs, g-strings and, of course, the "unmentionables," open-crotch panties and the edibles which are sensual and highly suggestive. By the way, the last two have become a favorite among straight and lesbian couples. So my dear friend, there is always something to fit whatever mood you might be in.

Fashion designer Rudi Gernreich has been credited with introducing the first thong bikini in 1974. "The thong is a narrow strip of cloth which sits between the buttocks and connects the front to the waistband behind the wearer, thus giving a full view of the cheeks." Today the thong has become one of the fastest-selling types of underwear among women and is also worn by men. Women prefer using thongs to minimize panty lines when wearing tight-fitting trousers. Most men are strongly attracted to a woman in a thong or a g-string.

Edible Panties: This concept was invented by David Sanderson and Lee Brady in 1975. The product of this joint venture was a company named Cosmorotics, Inc., formed to manufacture and sell edible underwear under the name of "candypants, the original 100% edible underwear." Within weeks after patenting their product, hundreds of thousands of pairs were manufactured and distributed. The sexual revolution was reaching into the American middle-class. Bedrooms were reignited as candypants, with its naughty innocence, made its debut. Demand exceeded supply as the word spread like wildfire. "Candypants" were rapidly filling up the lingerie and clothing shops, leading sales at department stores, candy stores and motorcycle shops. The news media thought it to be an outrageous delight, pushing edible underwear not only into the national lime-light, but world-wide as well. Everyone wanted to see the panties that tasted so yummy. It still is so popular that they have a his and hers edible underwear panty collection. How adorable.

Well my dear readers, I guess I have reached the final part of this long and winding tale. So I think it's safe to say that modesty was immodestly devoured by the sexual revolution of the 20th century, which pulverized former sex standards and patterns, while introducing a modern understanding of sexual freedom among women. Since then, modern America has gradually been publicly undressed.

To be continued: Part 4 (b)

To contact: miriammedina@earthlink.net
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From Modesty To Bare Nothings: Ditching the Undies Revolution Part: 3

By Miriam B. Medina

"What has been the fashion once will come into fashion again..." Japanese proverb

This is part 3 of a 4 part series examining the evolution of women's underwear and how underwear helped women express their sexual freedom throughout the sexual revolution. In part 2 we examined the dreary, dark beginnings of women's underwear. In this part, part 3, we explore the semi-sexual evolution of underwear that have provided the foundation for the sexy, erotic underwear that you often see today, and then we see what the sexual revolution did to forever free women to flaunt their bodies.

The Mid-way Point To Sexual Freedom

Brassieres (Bra)- Other than the corset that supported and pushed breasts upward, a bra-like device was patented in 1859. The name of the man who patented this device was Henry S. Lesher of Brooklyn, New York. Herminie Cadolle of France invented the first modern bra in 1889, which was a two-piece undergarment originally called the Corselet gorge. The lower part was for the waist and the upper part, which was held up by shoulder straps, supported the breasts. This was a prerequisite for full-busted women. Then in 1913, Mary Crosby, a 19-year-old New York socialite who had large breasts, worked with her maid to fashion a modern bra with two silk handkerchiefs, which she tied together with some pink ribbon and cord. Although women had worn brassiere-like garments in years past, hers was the first to be successfully marketed and widely adopted. Mary Phelps-Jacobs had her bra design patented under the patent title of Caresse Crosby. Since her product in its original design did not produce a need for it, she sold her patent rights to Warners for $1500. He, in turn, after making drastic changes to the bra, turned it into a valuation of fifteen million dollars. God bless Mary Phelps-Jacobs and the world of innovators.

During the 1920's, the flat-chested look to achieve a desired manly outline came in vogue. In order to keep breasts from bouncing around while dancing, young flappers with large breasts would bind them flat. They would also use a bra, called the Symington Side Lacer. This bra was made of fabric bands with straps on the side. When laced tightly it would flatten the bust. As long as they looked boyish, it was considered fashionable during that time.

Panties- The concept of panties was similar to bloomers, to cover up as much of the lower intimate part of women. America's social scene was changing at a rapid pace, especially in the 1920's. It was the decade of the appearance of the revolutionary Flapper girl, who joyously threw off the chains of societal restriction, demanding both sexual and personal freedom. She was the original free spirit. She smoked in public, lived on her own, voted, drank booze with the boys, danced, and bobbed her hair. She also wore cosmetics, painted her lips bright red, and went to wild petting parties where she was sexually promiscuous. She was the first real example of the modern woman, one who could do anything that the men could do. The Flapper defied all the rules of acceptable feminine behavior. During the 1920's, clothing was trimmed down and lightened, with hemlines of dresses and skirts shortened to below the knee to make movement easier. The revolutionary flapper demanded to be free. Symbolically ripping off her restrictive Victorian era garments she would let herself go, reveling in the new, energetic dances of the Jazz age. Shockingly, the flapper style hemline had been raised enough to show more of the legs. The legs were covered with stockings that were rolled down under the knee. These stockings came in shades of skin or sun tan, which made the legs look naked. For the young flappers, dancing became a favorite pastime. They had a fabulous time kicking their legs to the side and front and flapping their arms up and down to the fast beat of the energetic music. With all that activity, stockings kept falling until the invention of the garter belt solved the problem. The garter belt was a long girdle with snap on garters.

Meanwhile, designers continued to work fast, and furious, focusing on whatever else might peek out from under those hems. Women's bloomers became shorter, but that didn't help because they were looser and less supportive. Therefore, another type of underwear was created called "Step-ins," similar to modern panties but with wider legs and made with white material. Thanks to the sexual awareness of the flapper, sexier lingerie began making its way into the fashion mainstream. As the panty trend continued to evolve over the decades, changes in appearance varied with a more alluring style, which I will discuss in the following segment.

The Era of Sexual Freedom

The gradual evolution of sexual liberation, from the taboo and restraint associated with female bodies to semi-clad or complete nudity accepted today, indicates how normalized the sexual revolution has become. Despite denunciations from the pulpits and numerous protests from women's rights movements, morals have stayed relaxed, thus allowing this new way of thinking and doing things to be accepted by modern society. Television, advertising and fashion-designers have glorified sexuality. Since the fifties, American society has been inundated by sex in every manner. Even magazines like Playboy and Penthouse have won acceptance as mainstream journals.

Most people can become sexually aroused not only by what they feel, but also by what they see, hear, and smell. Just the smell of a seductive perfume, the sound of endearing words from a velvety voice, or the sight of a beautiful body can be strong stimulants.

For men and women, breasts, the most visible part of the female body, have a specific sexual meaning. How varied breasts are. They come in all colors, sizes and shapes. Preferences also vary. For some men, a flat chested partner is beautiful and seductive, while others find large pendulous breasts as sensuous and satisfying. However, to most men, the usual round and firm breasts are preferred.

Another part of the female body that is a "traffic stopper" is the buttock. Regardless of its size or shape, men will find a "butt" captivating, especially when it's voluptuously displayed in a pair of tight-fitting jeans, a thong, or any other sensuous piece of fabric.

So since, men have shown their appreciation for female breasts and buttocks, women have found out how to express their seductive charms, which no man can resist. Today's market is flooded with so many specialized types of body revealing lingerie. Some are meant to show the body and genital area, while others are meant to provide sexual stimulation. Companies such as Frederick's of Hollywood center their business on manufacturing and selling such underwear to seduce and fascinate men.

One thing about fashion is that it keeps changing constantly. Something that may be considered hot today will be replaced by something better tomorrow. Fashion never disappears, it's the same basic idea redesigned a few years later with a much more bold approach. Victorian age styles have been revived by fashion designers but with a modern twist. It's surprising how fashion designers still manage to establish some sort of modesty, even in erotic designs.

In the final part of this 4 part series, we will literally examine the exotic, erotic lingerie and underwear that women wear today. Bet you can't wait.

To be continued: Part 4

To contact: miriammedina@earthlink.net
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From Modesty To Bare Nothings: Ditching The Undies Revolution Part 2 (b)

By Miriam B. Medina

(Continue from page: 2a)

Corsets- Also, called bodices or stays, were worn by the women of Europe as early as the 16th century. These stressed a woman's sexuality. They had fitted bust enhancers. Corsets were strengthened with steel or whalebone, which was fastened at the front with long ties in the back to adjust tightness. In order to achieve the "hourglass" form, which most flattered the female figure, Victorians wore these restrictive corsets. As a result of these tight-fitting corsets, which supported the breasts pushing them upward, hips seemed much larger from the shifting of flesh from the waist. The lacing from behind would draw the shoulders back, forming a high round bosom and upright posture. Activists of the dress reform movement campaigned against tight lacing which they felt caused severe pain and damage to internal organs and bones.

Bloomers- The creator of this part of women's clothing was Elizabeth Smith Miller of Peterboro, NY and Fabrizia Flynn. However, sometime in the 1850's, it was popularized by Amelia Jenks Bloomer. These pants were long and baggy, narrowing to a cuff at the ankles. They would wear bloomers with a short dress or a skirt and vest, which gave a greater freedom of movement while keeping the legs modestly covered. Since most of the women who wore them were activists steadfastly involved in abolition, dress reform, temperance and the women's rights movement, they were widely ridiculed by the press, therefore barely making an impact on the world of fashion. Bloomers were also known as "knickers or knickerbockers."

Pantaloons and Pantalettes- These were longer undergarments worn by women, young ladies and children, which fell under the hem line of dresses that were long enough to cover the entire leg. The drawers were loose and made of two leg sections that were held together with a tie at the waist. As an embellishment, lace and ruffles were added to the bottom of the pants. In the 19th century, women's underwear were usually open between the legs, but in the 20th century, they were replaced by closed knickers.

Union Suit- This was an undergarment made in 1868 for men, women and children, which was a one piece front-buttoning garment with sleeves down to the wrist and leggings down to the ankles. It also had a "fireman's flap" in the back to facilitate going to the bathroom. It resembled a pair of "long johns."

Bathing Suits- During the 1890's, when Victorian women would go to ocean resorts, they would change from layers of petticoats into swimwear in a small house on wheels, which was called a bathing machine. It had a door in front and one in the back, and since it was high above the ground, a step-ladder as well. Inside it had a bench with two towels and a place to keep petticoats. The bathing machine was located on the shallow part of the water's edge, then was pulled out to deeper water by two horses and a driver. This allowed the modest Victorian woman to have complete privacy while she was enjoying her time at the beach. To be on the safe side, she would be attached to a rope around her waist. After she was done splashing and swimming, the little house would be returned to the beach with its sopping wet flannel dressed occupant, where she would change back into her petticoats. Special areas were designated for the men to keep them from gazing at the women in their wet top of the line swimwear, which consisted of black, knee-length, puffed-sleeve wool dresses, decorated with a sailor's collar which was worn over bloomers, trimmed with ribbons and bows. Let's not forget the long black stockings, lace-up bathing slippers and decorative caps they also had to wear.

In part 3 of this series we examine the point where women's underwear (and the more private, sexy parts they were designed to protect) began to see the light of day. I hope your heart can take it!

History is Miriam B. Medina's passion. History can be exciting, sexy, informative and humorous, and Miriam wants you to experience the wonders of history, not just READ about it. She loves nothing more than sharing that passion and her 13 years of research with everyone. So sit back, enjoy the ride and LEARN. For fashion pictures, articles and you-tube viewings of fashion shows from the 19th century through the 21st century, please visit: FASHION CENTER

The History Box is a one-stop resource center for writers, journalists, historians, teachers and students.
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To be continued: Part 3 (a)

To contact: miriammedina@earthlink.com
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From Modesty To Bare Nothings: Ditching the Undies Revolution Part 2(a)

By Miriam B. Medina

What has been the fashion once will come into fashion again..." Japanese proverb

In part 1 of this 4 part series we asked the question, how did underwear get so sexy and revealing. In this, part 2, we examine the roots of undies, how they started, where they came from, and how they began to adapt over the years so that by parts 3 and 4, as you're riveted to your seats by how the sexual revolution affected women's underwear, you know how far lingerie has come.

The Era of Sexual Repression

In order to bring this subject matter to a successful conclusion, I will begin my presentation with the "Chastity Belt" and then move on to the discussion of other passion killers and passion stimulators.

PASSION KILLERS

Chastity Belt- As to when the chastity belt, known as "metal underpants with a lock" came into existence, there are no concrete details. One theory is based on the myth that Crusaders worried about leaving their wives and daughters sexually unprotected, so they would compel them to wear chastity belts, enforced during their absence.

Also, prostitutes in Rome during the Renaissance era were known to wear chastity belts. They were used as teasers to display their genitals to a prospective customer. The only one that was allowed to remove the belt was the pimp. He possessed the key to open the lock once his palms were properly greased to pay for his girl's sexual favors.

The Chastity Belt was an apparatus that was designed to prevent sexual intercourse, physical contact, or even the "pleasuring of oneself."

During the 19th century, sexual promiscuity was taboo, yet many practiced it secretly. As a rule, young ladies of Elite Society were always in the presence of a chaperon, or under the watchful eye of their parents who protected their daughter from the dangers of being sexually exploited by a gentleman caller. In the later part of the 19th century, same-sex relationships flourished and casual, romantic liaisons existed between unmarried women, especially among female college students.

Chastity belts continued to be used during the 19th century just as a medical device to prevent youth of both sexes from masturbating. Concerned parents felt that masturbation was both physically and morally damaging to their child, especially during sleeping hours. "Numerous mentions can be found in medical journals of the time of the use of chastity belt-like devices to prevent masturbation in children and adolescents. "

As a result of the ongoing women's liberation movement during that era, modest women became part of the work force. Elated male employers saw the young ladies as sweet plums ready to be plucked. Since there were no laws created at that time with respect to sexual harassment, many hot employers would take advantage of female employees without being held responsible for their actions. Modest women were terrified and furious and needed to find a way to protect themselves in the midst of such aggressiveness; thus the concept of the chastity belt was re-awakened.

Today, chastity belts are sometimes used in BDSM play and in consensual relationships.

During the Victorian era (1839-1901) fashion was very important and more difficult for the women of Society. Femininity was at its height, especially when it came to women's under-garments. Women wore exorbitant amounts of layers of clothing, which covered the entire body, lavishly trimmed with frills, braid, fringe, lace and ribbons. It began with pantaloons and ended with several petticoats. Even the glimpse of an ankle was considered scandalous within polite society.

The Victorian era represented, to many, an ascetic time in history. Victorian modesty was an admirable trait for women to possess, and if anyone displayed the slightest immodest behavior or dress, that person's reputation could be damaged. Modesty was a must, demanding widespread adherence. However, evening dresses differed in style from the normal daytime wear. The evening gowns would show visible cleavage, revealing bare shoulders, necks and backs, which were acceptable in its proper setting, whereas daytime wear consisted of a well covered style.

To be continued Part 2 (b) of a 4 part series.

To contact: miriammedina@earthlink.net
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From Modesty To Bare Nothings: Ditching the Undies Revolution Part 1(b)

By Miriam B. Medina
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(Continued from Page: 1 (b)
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Modest women over the centuries have evoked man's respect, yet today women have managed to do very well for themselves without giving a hoot what men think about them or the way they dress. However, immodest dressing may have its negative consequences because it can be distracting. Provocative clothing not only distracts but also puts an incredible amount of pressure on teenagers to keep their weight down unnaturally, through anorexia and bulimia, so they can see themselves in that sexy bikini, G-string or thong. These seductive garments only encourage further indecent behaviors such as "butt grabbing" which can lead to other forms of sexual abuse. Immodesty has encouraged extra-marital affairs and promiscuous sex as men are visually sexually stimulated. Indecent dressing not only creates an erotic impact, but it can also stimulate a man's sexual desire to the point that they will commit rape. Just seeing busty cleavage or a figure hugging piece of clothing or underwear lines through a pair of tight-fitting jeans can sexually arouse any man, which doesn't seem to take long.

So now I'm wondering, when did modesty become so shameless? Remembering that idea, let's take a backwards glance at the history of lingerie as it has emerged over the last few centuries, evolving inevitably "From modesty towards bare nothings" into what it is today, "Ditching the Undies Revolution."

Before going into this vast subject matter, I want to direct attention to the fact that, although I am a researcher and a historian who always has her head buried in books, I do detach myself sometimes to observe and make note of current issues that are reflected in the today's world. However, as a modern philosophically mature woman, I assure you that I do feel comfortable discussing just about anything, and I do mean anything, whether or not I agree. Therefore, during this study I may have to take a bold approach in describing parts of the body and the use of certain underwear items.

Aside from trying to understand the complexity of people's thoughts and actions in modern America, there is still a part of me that yearns for the past, a nostalgic desire for what once existed. Maybe for this reason I am fascinated by and drawn to the Victorian Era, with its pervasive influence and coexistence with the Modern World. People who lived during this time experienced a life quite different from that of today. It was a remarkable era of romance, inhibitions, etiquette, modesty and feminism of dress. In part 2 we examine the beginnings of women's underwear in an era of sexual repression, examining the passion killer underwear that existed at the time, which will get you up to speed for parts 3 and 4 that examine the evolution of underwear into the sexy accoutrement it is today.

History is Miriam B. Medina's passion. History can be exciting, sexy, informative and humorous, and Miriam wants you to experience the wonders of history, not just READ about it. She loves nothing more than sharing that passion and her 13 years of research with everyone. So sit back, enjoy the ride and LEARN. For fashion pictures, articles and you-tube viewings of fashion shows from the 19th century through the 21st century, please visit: FASHION CENTER
The History Box is a one-stop resource center for writers, journalists, historians, teachers and students

to be continued: See Part 2 (a)

To contact: miriammedina@earthlink.net
.

From Modesty To Bare Nothings: Ditching The Undies Revolution part 1 (a)

"What has been the fashion once will come into fashion again..." Japanese proverb

By Miriam B. Medina

.Women are extremely self-conscious of their bodies, especially after having been married for years and bearing two or three children. Many become genuinely depressed when they glimpse themselves in the mirror and realize how much weight they have gained. What they see is harsh reality, a reflection of lumped, rolling flesh. Breasts are now fuller, butts appear larger, and cellulite thighs have the appearance of bubble wrap. Their self-esteem becomes even more deflated when they compare their bodies to the younger, more beautiful women showing off their shapely figures in their hubby's supply of Playboy's. How will she ever hold his interest in the bedroom and keep him from straying with that competition? She has to cook, clean, raise children, do laundry and hold her share of the financial burden. Now she needs a complete make-over to become a sex object for his pleasure? Is he worth it?

Some may subject themselves to a regimented routine of exercise and diet in an attempt to regain their youthful 18 year-old figure, while others try so hard but can't seem to get past first base. However, there are countless men who are quite satisfied with their well-endowed woman, grateful for her sumptuous flesh, while others prefer a much leaner woman. How a man makes a woman feel about her body during sexual intercourse can either increase or destroy her self-esteem. This will also reflect in the way she dresses. If her sex life is a disappointment, she will see herself as undesirable, which will make her hate her body more. By virtue of her modesty she will expose less of it. Standards of modesty not only discourage exposure of the intimate parts of the woman's body, they also obscure her shape by convincing her to wear non form-fitting clothing. On the other hand, if her partner says after a moment of sexual passion that she was hot and steamy in bed, she will flaunt her sexuality, to the point of immodesty.

Ah, the naughty word immodesty, or is it to be the other way around? These days, there is an overwhelming tendency of women who exhibit more flesh than ever, the less they wear the better. Whereas, if a naive woman behaves or dresses in a modest way, she is criticized by others as being "sexually repressed" or labeled a prude.

Design companies in the United States have capitalized on this "immodest" trend by making their products as beautiful and seductive as they can, thus tempting men to imagine what women look like beneath their clothes. Frederick's of Hollywood and Victoria's Secrets have morphed into a multi-billion dollar industry, creating exotic panties, lingerie and breast enhancers that have a lot of extra push-up packing for female fans. These sexy items bring out the sensuality in women, thus tempting many a godly man in a moment of weakness to fall from grace. Designers are the ones that have encouraged modest women to become immodest. Most of the malls now have stores that cater to preteens, teens and college-age customers, enticing them using the word "Sexy," in ads that say: "Sexy and Cool" or "Smart, Modern and Sexy."

But underwear didn't begin as a sexy advertisement for the female body or did it? In this engaging 4 part article, we examine the history of the evolution of underwear, from its prudish, functional beginnings all the way through the sexual revolution of the 20th century and into today's world, where underwear can even be a see through edible sex toy.

To be continued: Part 1 (b) of a 4 part series.

To contact: miriammedina@earthlink.net or miriam@thehistorybox.com
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MAIN BLOG DIRECTORY-August 2011

Table of Contents (2)

A.) Getting To Know Mimi (B.) N.Y.C. History (C.) Italian Harlem(D.) Spanish Harlem (E.) Black Harlem (F.) New York State (G.) Tenement Living: Social Issues Of Urban Life (Poverty, Crime&Vice, Homelessness, Group Conflicts, Diseases, Gays&Lesbians: Gender Identity, Domestic Violence, Drug&Alcohol Abuse, Police Brutality )

Table of Contents (3)

(H.) Chit-Chat Over Coffee Swirls

Table of Contents (4)

(I.) Jewish Knowledge (J.) Self-Improvement (K.) Historical Facts On England & United States

Table of Contents (5)

(L) Miscellaneous (M.) Timetables (N.) Ethnic Groups (O.) Legal Talk(P.) Entertainment: Backward Glances (Q.) Immigration

Table of Contents (6)

R.) Women__Bio Sketches, Feminine Fancies, Recipes, Kitchen Talk.(S.) Worship

Table of Contents (7)

(T.) A Little Taste of History, (U.) U.S. History-Transportation, (V) U.S. History-Panics, Economic Depressions, Business Matters

Table of Contents (8)

(W) El Rincón En Español (The Spanish Corner: ) . This section is dedicated to articles of historical facts, poetry, self-improvement, human interest stories etc. written in Spanish.

Table of Contents (9)

(X) So Mr. President, What Did You Do During Your Term in Office....? (The Series)

Table of Contents (10a) In Italian

(Y) Brusciano, Italy News/Events

Dr. Antonio Castaldo, Journalist

Table of Contents (10b) English Section

Y) Brusciano, Italy News/Events

Dr. Antonio Castaldo, Journalist

Table of Contents (11)

(Z) The Italian Niche

Table of Contents (12a)

Pensieri di uno scrittore italiano: dott. Antonio Castaldo

Table of Contents (12b)

Thoughts of an Italian Writer: Dr. Antonio Castaldo

Table of Contents (13)

I) "El Rincón Borinqueña"

Table of Contents (14)

II) Arts and Entertainment

Table of Contents (15)

III Architecture

Table of Contents (16)

IV Education

Table of Contents (17)

V Wisdom: Thoughts From the Indian Masters

Table of Contents (18)

VI Understanding Music

Table of Contents (19)

VII Published Articles Written by Miriam B. Medina

Click on Icon to view articles on Ezine or on Table of Contents

Table of Contents (20)

VIII New York City Neighborhoods

Table of Contents (21)

IX Memories (Brooklyn, Manhattan and Personal)

Table of Contents (22)

John J. Burkard

X Red Hook, Reflections on History

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