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Are you making this one mistake in bed?



If you’re bolting right after sex, you could be ruining your sex life for you and your partner.

Take it from me. One of my first sexual experiences as a young adult was with a guy we’ll call Jay. He was older, more experienced, very good-looking and hence, seemed slightly intimidating to me.

We had great chemistry and spent an entire summer making out in the backseat of his mom’s car. However, everything shifted the first time we had sex and he wouldn’t even make eye-contact. Before I could roll into an upright position, Jay had managed to jump out of the bed and get dressed. He was out the door within minutes. Years later, my therapist would explain to me that Jay likely had “intimacy issues.” But at the time, the experience left me feeling completely naked – literally and figuratively.

I’ve since come to realize that what comes after sex is almost as important as the act itself. Even if a relationship is casual, being able to cuddle, connect and check in with your partner following sex is not only really enjoyable, it also has the potential to make or break the experience.

Therefore, I wasn’t surprised when Trojan and The Sex Information and Education Council of Canada surveyed midlife Canadians and found that after-sex behaviour contributes to overall sexual satisfaction.

According to the study, women who reported 6 to 10 minutes of affectionate behaviour after sex were much more likely to rate their intercourse experience as very pleasurable compared to women who reported 0 to 5 minutes. Researchers say it all comes down to what they’ve dubbed “the 6-minute rule.”

So, how exactly does it work?

“When couples are being sexual, it’s an opportunity for intimacy and connection. The 6-minute rule refers to cuddling and intimacy that occurs AFTER sex (the counterpoint to foreplay),” explains Robin Milhausen, a sexuality and relationship researcher and associate professor at the University of Guelph. Biologically speaking she says, “during sex, and after orgasm, men and women experience a boost in the hormone oxytocin. This hormone has been associated with feelings of connection, affection, and bonding. So we are primed after sex, in part because of oxytocin, to bond with our partners, especially if we spend a few minutes being affectionate.”

As Milhausen points out, “sex makes us vulnerable – we are physically (and emotionally!) naked. As a result, what happens during a sexual encounter can make us feel wonderful – loved, beautiful, sexy – but it can also make us feel worse – self–conscious and disconnected. So those minutes after sex are crucially important to creating a positive experience.”

What’s exciting about the 6-minute rule is that it’s an “intervention” that most couples can implement with very little difficulty. It’s literally as easy as not rolling over and going to sleep immediately after sex. “Cuddle! Talk about the high points of the encounter,” says Milhausen. For example, you can let your partner know, “I really loved when you did ____” or “that was so hot when______ happened.”

These six-minutes post-sex are a great opportunity to experience a good sexual encounter again.

“ Being kind after sex can help your partner feel valued and appreciated. And it’s the perfect time to communicate that message.”

Complete Article HERE!

Heightened Awareness: Anxiety Can Lead to Pain During Sex

Clearly anxiety can be an obstacle to a healthy sex life and needs to be talked about.

By Carrie Weisman


Sex and Food: The World’s Strangest Aphrodisiacs Through Time

Hot chocolate? The potato? Piranhas? Throughout history, humankind has persisted in the belief that some foods are linked to sex.


By Felisa Rogers

From the Garden of Eden to the oyster cellar bordellos of old New York, food and sex are entwined. Although every food under the sun has been touted as an aphrodisiac at some point in time, humans tend to get turned on by three categories of food: extremely expensive food, food that is risky to acquire, and food that resembles genitalia.

Rare and exotic foods have favored positions in the canon of culinary aphrodisiacs. Consider the truffle, the piranha and the labor of harvesting a plate full of sparrow tongues. Foods from far-off lands have the spicy whisper of perilous adventure, and there’s nothing quite like a hint of mystery to stimulate the imagination. For example, Aztec concubines taught the conquistadors to drink hot chocolate; when the Spaniards carried the exotic substance across the sea to Europe, they brought with it the rumor that the drink was an aphrodisiac. And during the reign of Charles I, when rice was still a luxury in Europe, noble Casanovas swore by the improbable aphrodisiac of rice boiled in milk and flavored with cinnamon.

As an ingredient becomes common, and thus cheaper, it loses its magic. Case in point: the potato. Your modern Brit is unlikely to find a plate of mashed potatoes sexually stimulating, but potatoes and sweet potatoes were hailed as aphrodisiacs when they were first introduced to the European palate; in Shakespeare’s “The Merry Wives of Windsor,” Falstaff reels off a list of the era’s aphrodisiacs: kissing comfits, snow eryngoes (the candied roots of sea holly), and potatoes. Once rare ingredients such as cinnamon, cloves, marmalade, rice and pepper have likewise lost their sexy status.

The second largest umbrella group of chewable aphrodisiacs is based on the crude logic that if something looks like your nasty bits, it’ll undoubtedly put your prospective partner in the mood. Thus, scheming Lotharios and temptresses have long relied on the amorous offering of edible flowers and roots. In the British Isles, wake robin (Arum maculatum) was once valued as a thickener for puddings, a starch for Elizabethan neck ruffs, and for its phallic bloom, which earned the plant a reputation as an aphrodisiac and spawned over 20 suggestive folk names, including Adam and Eve, lords and ladies, devils and angels, stallions and mares, and dog’s dick. On a similar note, the word “orchid” is derived from the ancient Greek word for testicle. Pliny the Elder recommended bulbous orchid tubers as an aphrodisiac, and the Romans called orchids “satyrion” because legend had it that the phallic roots grew from the spilled semen of a satyr.

satyrThe tribes of Mexico preferred not the root but the flower. The Totonoc Indians believed that the orchid Vanilla planifolia sprang from the blood of a goddess, and the Aztecs named it tlilxochitl, or black flower. Vanilla planifolia is an inherently romantic plant: its small blossoms open in the morning and are exclusively pollinated by hummingbirds and melipone bees. The dirty-minded Conquistadors noted the pod’s resemblance to female genitalia, and gave the plant the name vanilla, which derived from the Latin for sheath. Europeans soon prized vanilla as an aphrodisiac; wild stories circulated that vanilla could transform the ordinary man into an astonishing lover. Elizabeth I is said to have been especially fond of vanilla pudding.

Oysters and clams have had a lewd reputation since history’s dawn. The Roman author Juvenal (a nasty misogynist) uses oysters to complete his portrait of a slut partying away the night: “When she knows not one member from another, eats giant oysters at midnight, pours foaming unguents into her unmixed Falernian, and drinks out of perfume-bowls, while the roof spins dizzily round, the table dances, and every light shows double!” In keeping with the Roman talent for using food to call attention to those ultimate aphrodisiacs — wealth and power — emperors and aristocrats turned their noses up at local oysters and sent away to the British Isles for a superior variety. The association between oysters and strumpets would have staying power: As Rebecca Stott points out in her book “Oyster,” “Throughout the seventeenth and eighteenth century, the woman oyster seller was used in poetry as a figure of erotic play, something like the oyster, to be consumed, part of the sensuous fruit of the street for the male urban voyeur.” In 19th century America, underground oyster saloons catered to base instincts — guests could slurp back dozens of oysters while cavorting with good-time girls and prostitutes; some of the seedier joints offered private rooms. A few decades later and a few hundred miles south, scantily clad ladies would shimmy in a popular striptease act called the oyster dance. In the 1940s, Kitty West (a cousin of Elvis Presley) danced on Bourbon street as “Evangeline the Oyster Girl”; to open her act, she stepped with aplomb from a giant half shell.

But food and sex also play an entwined role in more “respectable” culture. If we look at the big picture, we see food at the heart of every human ritual. As Lionel Tiger points out in “The Pursuit of Pleasure”: “The exchange of mates between families was the only process more significant for human evolution than food sharing. But it was also wholly associated with it; the wedding dinner established a circle of implication and meaning.” The Tzteltal Indians of Chiapas, Mexico, take it to the next level: in traditional families, a young married couple lives with the girl’s parents. For the first 15 days of marriage the bride and groom don’t speak to each other or sleep together. Their sole means of communication is through food. Every evening, the wife cooks a meal for her husband. If all is well on the 15th day, the couple will sleep together that night. These people clearly know their

Our literary masters have made much of the sensual significance of food. Eve parting her lips for the fruit of knowledge may mark the most infamous sexy food metaphor, but it is by no means the only time food and sex intersect in the Bible. Half the lyric beauty of “Solomon’s Song” stems from food metaphors: “I sat down under his shadow with great delight, and his fruit was sweet to my taste”; “thy plants are an orchard of pomegranates, with pleasant fruits.” Some phrases draw a direct correlation between eating and love: Food is a gift for the beloved, and the space where the lovers meet is made more beautiful by spices and fruit: “He brought me to the banqueting house, and his banner over me was love.” Certain passages hint that food is part of the path to the boudoir: “The mandrakes gives a smell, and at our gates are all manner of pleasant fruits, new and old, which I have laid up for thee, O my beloved.” Mandrake, a poisonous root from the nightshade family, was a popular aphrodisiac during ancient times. “Solomon’s Song” also references other more tasty aphrodisiacs of the day: cinnamon, saffron, figs and pomegranates.


Food scholars and scientists tend to ignore and/or ridicule the idea of a food that functions like Viagra. The Western world’s most popular edible aphrodisiacs, chocolate and oysters, do actually create a sexy hormone rush, but generally only when they are eaten in gross quantities. As food writer Amy Reiley notes, “You’re more likely to go into a diabetic coma than get that rush because you’d have to eat so much chocolate to get the effect.” Revered food historian Alan Davidson sums it up best in “The Oxford Companion to Food”: “In short, the concept of a truly aphrodisiac food is on par with that of finding a crock of gold at the end of a rainbow.”

So why the proffered carrots and the bowl of sparrow’s tongues? Perhaps because our entwined pair, food and sex, is really a threesome: food, sex and superstition. The human libido is both excitable and fragile, easy to titillate yet just as easy to destroy. So much of sexuality is subject to the vagaries of nature and the whim of another, it’s no wonder humans have sought to control the situation by relying on witch doctors, poisonous roots, dubious elixirs and our old fallback, food, a substance that we viscerally know to be the staff of

Or maybe we persist in the belief that specific foods can lead to sex because there’s something to it. According to anthropologist Robin Fox, food leads to sex because a male’s ability to provide food plays into the female’s need to reproduce with a mate who will help nurture their young: “a male’s willingness to provide food becomes an important index of his suitability as a mate. Above all, it suggests his willingness to ‘invest’ in the female’s offspring.” No doubt there’s something to it, but we prefer a less clinical explanation: The act of procuring or preparing a special food can be sexy in itself. We associate food with comfort, and cooking is an act of love. By creating or acquiring a special food or beverage for a potential lover, we are creating at least the illusion of love and security, which is generally conducive to sex. In his excellent book “Heat,” Bill Buford convincingly describes the concept of cooking with love: cooking as a singularly intimate act of love one performs for friends, family and lovers. He also writes of cooking to be loved: “The premise of a romantic meal is that by stimulating and satisfying one appetite another will be analogously stimulated as well.” If you’ve ever factored a date’s restaurant choice or cooking skills into your decision to put out, you’ve experienced the aphrodisiacal qualities of food.

Complete Article HERE!

Meet The Photographer Using Rope Bondage To Create Incredible Art


Art has a long history of drawing inspiration from the otherwise underground world of BDSM. The custom goes as far back as 1928, when the surrealist artist Man Ray captured an image of a woman sensually reclining while bound in ropes and a harness.

Robert Mapplethorpe famously stunned the ’70s art establishment with his documentation of the S&M play flourishing in certain corners of the gay community. Acclaimed Japanese artist Nobuyoshi Araki made his name with graphic, intensely sexual, and often controversial images of Kinbaku-bi, the ancient Japanese art of “tight binding” or rope play. The list goes on and on…

Contemporary photographer Garth Knight both aligns with and breaks from this complicated tradition. A former engineering student, Knight pursues his lingering interest in forces and mechanisms by creating intricate sculptural rope forms in which human models hang.


While Knight also draws from the kinbaku tradition, his photographs are less corporal and titillating than Araki’s work or your typical bondage art. The focus of Knight’s stunning and meticulous rope suspensions is more on transcendence than the human form.

Konbini spoke with Knight about his vivid rope worlds, his process, and whether he considers his work erotic. Read the full interview below!

Konbini: When did you begin drawing from bondage and shibari in your work? What attracted you to those worlds/forms?

Garth Knight: I have always had a strong affinity with line and had enjoyed playing with rope for practical purposes. In 1999, when I first saw a person being beautifully bound, it was like a revelation.

At that stage I wasn’t particularly interested in or even really aware of erotic bondage, but just seeing the rope and the body combined aesthetically spoke very deeply to me and I knew I had to do it myself.

The mechanics of tying came quite naturally and very easily to me, but the emotional and psychological aspects of rope bondage took a long time to develop. I still feel like there are whole worlds to discover and cultivate in this respect.

There was no internet back then and Japanese rope art (shibari, or kinbaku) was also completely unknown to me. I just started playing around and for many years I was just teaching myself, developing my own style and stumbling around in the dark. When I became aware of kinbaku I was very attracted to it and started incorporating elements of it into my style, though I have always been very careful to make this symbiosis influential rather than a replication.

Garth Knight

How has rope bondage influenced your art?

The more I’ve used rope and tying, the more I’ve learned that my own place in this world is tenuous and unreal and a construct of my mind. This world is connection overlayed with connection which we try and make sense of by building patterns.

When you work with rope, you lay rope onto rope and connection onto connection making an extended and cumulative embrace, forming a vibrating web of touch on the body and in the surrounding space, the connectivity and flow of energy pulsing through the space and the body and our psyches.

It’s a very powerful and sometimes transcendent place to be. It’s compelling and overwhelming and sensual and hypnotic. To release yourself to these emotions, to be able to submit to this, is all facilitated by the constraint of the rope.

Garth Knight

What does your process look like when you are making something like your Blood Consciousness or Vortex series? Who are your models? How long does it take you to finish one of your rope sculptures?

Ideas come mostly in daydreaming states, or while drawing, sketching. The end result is usually very process-driven: I make a start and the work develops organically. Working with the model is usually a very experimental process, working together to find their “place” in the work.

The rope used to tie someone takes up their energy, their sweat and skin and touch and experience. The models are a mixture of my friends and associates, as well as people contacting me who are interested in being part of this process. I choose people who intuitively feel right for that particular image, sometimes this just comes down to serendipity.

Each shoot takes place over several hours. The entire series takes many days to produce, normally stretched out over weeks or months.


Where do you draw or find inspiration? What other artists influence you? What do you draw specifically from the BDSM or bondage world?

The natural world with its constant infinite dance of order and chaos is always my greatest inspiration and ongoing fascination. I am attracted to bonsai and the constraint of form combined with simultaneously attempting to see and bring out the individual plants “true” being.

Surrealist artists like Dali and Man Ray set me on my path early. Escher, Odd Nerdrum, Andy Goldsworthy and Da Vinci are the kind of artists that also rate highly. From the kinbaku world, Kinoko and Kanna are two artists I really admire.

From BDSM specifically, I draw an interest in transcending the body and mind through the use of extreme sensation, and the use of physicality and eroticism as a pathway to awe.



Do you regard your work as erotic or sensual? What do you hope your work conveys about the human body, submission, and constraint?

I’ve brought up a couple of times the erotic and sensual aspects, both in the process and final images, and I definitely find both of these things to be essential elements and integral parts of my work.

In the past, I have avoided talking too much about this aspect, partly because it’s definitely not the only thing the work is about and since it is such a powerful element in people’s perception it can cloud the other aspects. Mostly though I’ve come to realize it’s because I find it very confusing and difficult to extricate some meaningful description of that part of the work using words.



Hopefully, ultimately, I would like to convey that the human body is just a construct for the perception and interaction of the flow of energy which we call consciousness, which moves from the infinite collective unconscious through our momentary singular consciousness to learn and grow and then onto its ultimate dispersal into the collective super-consciousness.

This flow adds to some spiritual momentum which, once it reaches some critical level, will lead to the complete enlightenment of the One which contains us all.

My mind tells me that this thought is ridiculous and just does not add up with what it sees and the physical reality that it has built and fastidiously maintains, and which we are so constrained by and invested in. And yet, when I submit myself entirely to the experience of the creation of art, I do believe this thought to be so.

More of Garth Knight’s work can be found on his website. The “Blood Consciousness” and “Vortex” series are also available in full in Knight’s new book

Complete Article HERE!

How to cope with a sexless marriage

Be honest, listen to each other properly and be patient – plus expert tips for bringing back intimacy

by Joan McFadden


Pick your moment to talk. There are all sorts of reasons people stop having sex – stress, illness, worry about performing, low libido, age, menopause and lack of body confidence. It’s easy to let your sex life drift, but bringing up the subject is difficult so try to pick the right moment when you’re both relaxed and unlikely to be interrupted. But not in bed and especially not while trying to persuade your partner to have sex or feeling angry or frustrated because they’re not interested.

Pick your moment to listen. Do your best not to take it personally. Don’t assume they no longer fancy you or put words in their mouth. It can be hard enough to talk about without extra needless emotional layers being added so listen to what is being said and how the situation makes your partner feel. It really isn’t about you being a bit plump or growing older or not taking pride in your appearance.

Be honest with yourself and each other. Have you both stopped making an effort, do you take each other for granted and think nothing of rolling into bed in a grubby T-shirt without even brushing your teeth? No one’s suggesting you should aim for supermodel or totally buffed body status, but if you don’t love yourself enough to have a little pride in your appearance, it’s not going to be that easy for other people to love you too. You might feel rather shallow admitting that the extra two stone or constant farting in bed isn’t exactly what you signed up for, but you can do that tactfully, especially if admitting areas where you are also no longer quite the person they fell for.

Decide whether sex is a deal-breaker for either of you. Would you be willing to sacrifice sex for the “other stuff”? Some people are perfectly happy having no sex in their marriage and Relate’s research shows that the importance people place on sex decreases with age. Often intimacy is what’s most important, but if it’s not enough, say so.

Be patient. If sex is a deal-breaker, it’s important for the “keen” partner to be patient while the two of you unpack what is causing the block. This is also not the best time to suggest an open relationship as a possible solution.

Seek help together. Sex therapy can help you with working out what the underlying problem is and can also give you a sense that you’re sorting this out together. At the beginning of a relationship, sex can feel so easy, natural and exciting that it can feel a little sad that you might have to work at it, but the results can be well worth it.

Kindness is sexy. Go out together, have fun, make time for each other. When both parties feel truly heard and understood, often intimacy increases along with the desire to have sex.

Ban sex. Many therapists often suggest that couples in sexless relationships start by taking the pressure off sex entirely. This may sound counterintuitive but creating a temporary ban can stop feelings of anxiety about needing to perform, making relaxation more likely.

Small steps. Reintroduce intimacy slowly – start with something as small as holding hands or giving your partner a peck on the cheek before you head off to work. You can then build up to massages, cuddling, lingering kissing and intimate touching and oral sex, but keeping full sexual intercourse off the table until you both feel like you want to do it. The idea behind this is that it allows you to rediscover one another’s sensual sides and increase desire in a pressure-free environment. It’s important that you regularly discuss how you’re both feeling and don’t push your partner to go further than they are comfortable with.

Drink is not the answer. True, but a relaxing dinner and an easy chat over a couple of glasses has led to other things since time began.

Complete Article HERE!