Labia Love

Labia Love
Say Hello to Pleasure and Goodbye to Pain!
And discover the power hidden within your body.

© 2019 VulvaLove | All Rights Reserved
You have the capacity for deep pleasure—in fact, your body is hardwired for it. If you feel pain or shame with sex, you are not alone and you most certainly are not broken.
Welcome to VulvaLove where you will guided to a new, more pleasure-filled life! We’re so glad you’re here.
We are Dee Hartmann, physical therapist, and Elizabeth Wood, sex educator, who share a passion for helping women heal physical and emotional pain around sex, sexuality, and their vulvas through fun, fact-based education. Our easy to follow practices can help every woman access new heights of solo and partnered pleasure!
After extensive training, research, and work with countless patients and clients we’ve come together to help you to find your way to the pleasure your body and soul is yearning to experience.
If you’re a woman who doesn’t like your vulva, experiences pain with sex or you’re just not finding sexual pleasure—you’ve come to the right place!
If you see yourself in any of the above statements, we’re here to tell you others have felt and said the same thing. We’ve worked with hundreds of women like you and can’t wait to help you unlock your unique pleasure potential.
And for those of you shaking your head, saying – “Nope, not me. I’ve lived with this pain and shame for too long. I’m sure VulvaLove can’t help me”. We want you to know there’s hope for you too!
“I have been struggling a long time with debilitating bladder and pelvic pain for 8 years, 24/7 on a pain scale 7-9 depending on the day. Dee’s skillful hands and vast knowledge and experience had brought me my first two weeks of an 80% pain-free period I have had in eight years! I have only been with her 4 weeks and we are progressing well every visit. With Dee, I have a bright light of hope that the pain relief with my added work in exercises she gives me will one-day “cure” me.” — Caroline P.
1. First, we help you alleviate emotional or physical pain through guidance, education, and exercises. Additional professional referrals may also be suggested.
2. Next, we introduce you to fun, easy-to-follow practices to increase solo and partnered pleasure.
3. Through this process, you will learn how to experience less pain (if that’s a challenge for you) and how to appreciate the value and importance of pleasure. As a result, you will experience greater desire, arousal, and joy.
“The work that I did with Elizabeth helped me to heal, release shame and grief and develop a healthier relationship with my sexuality. My ability to orgasm and ejaculate increased significantly. If you are reading this, it is because some part of you feels pulled. Trust that and give yourself the gift of healing and knowledge. — Ann D.
VulvaLove uses comprehensive sex education to reframe the conversation around sexual pain and pleasure thus empowering women to make the best choices about their bodies, their sexuality, and their relationships.

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SmugMug + Flickr .

Connecting people through photography.

San Geremia is a church in Venice, northern Italy, located in the sestiere of Cannaregio. The apse of the church faces the Grand Canal (Venice), between the Palazzo Labia and the Palazzo Flangini. The edifice is popular as the seat of the cult of Saint Lucy of Syracuse, whose remains are housed inside.
The first church was erected here in the 11th century, and was later rebuilt on several occasions. In 1206 it is mentioned to house the remains of St. Magnus of Oderzo (died 670), who had taken refuge in this area from the Lombards.
The church of San Geremia in Venice hit by the Austrian bombardment of 1849.
A first rebuilding was held under doge Sebastiano Ziani, the new church being consecrated in 1292. The current edifice dates from 1753, designed by Carlo Corbellini; the façade is from 1861. The brickwork bell tower (probably dating from the 12th century) has two thin Romanesque mullioned windows at the base.
The church was damaged by Austrian shelling during their successful siege of the city in 1849 during the First Italian War of Independence.
Se siente tu presencia cuando llega’
Mi corazón te voy a entregar, -ar, -ar
Go ahead and bite me, rah, rah, rah
Rum and cola to take you over, na, na, na
Tell me that you want this «La, la, la»
Love it when you talk that, blah-blah-blah
The Grand Canal is a channel in Venice, Italy. It forms one of the major water-traffic corridors in the city.
One end of the canal leads into the lagoon near the Santa Lucia railway station and the other end leads into the basin at San Marco; in between, it makes a large reverse-S shape through the central districts (sestieri) of Venice. It is 3.8 km (2.4 mi) long, and 30 to 90 m (98 to 295 ft) wide, with an average depth of 5 metres (16 feet).
The banks of the Grand Canal are lined with more than 170 buildings, most of which date from the 13th to the 18th century, and demonstrate the welfare and art created by the Republic of Venice. The noble Venetian families faced huge expenses to show off their richness in suitable palazzos; this contest reveals the citizens’ pride and the deep bond with the lagoon. Amongst the many are the Palazzi Barbaro, Ca' Rezzonico, Ca' d'Oro, Palazzo Dario, Ca' Foscari, Palazzo Barbarigo and to Palazzo Venier dei Leoni, housing the Peggy Guggenheim Collection. The churches along the canal include the basilica of Santa Maria della Salute. Centuries-old traditions, such as the Historical Regatta [it], are perpetuated every year along the Canal.
Because most of the city's traffic goes along the Canal rather than across it, only one bridge crossed the canal until the 19th century, the Rialto Bridge. There are currently three more bridges, the Ponte degli Scalzi, the Ponte dell'Accademia, and the controversial Ponte della Costituzione from 2008, designed by Santiago Calatrava, connecting the train station to Piazzale Roma, one of the few places in Venice where buses and cars can enter. As was usual in the past, people can still take a ferry ride across the canal at several points by standing up on the deck of a simple gondola called a traghetto, although this service is less common than even a decade ago.
Most of the palaces emerge from water without pavement. Consequently, one can only tour past the fronts of the buildings on the grand canal by boat.
The Grand Canal probably follows the course of an ancient river (possibly a branch of the Brenta) flowing into the lagoon. Adriatic Veneti groups already lived beside the formerly-named "Rio Businiacus" before the Roman age. They lived in stilt houses and relied on fishing and commerce (mainly salt). Under the rule of the Roman empire and later of the Byzantine empire the lagoon became populated and important, and in the early 9th century the doge moved his seat from Malamocco to the safer "Rivoaltus".
Increasing trade followed the doge and found in the deep Grand Canal a safe and ship accessible canal-port. Drainage reveals that the city became more compact over time: at that time the Canal was wider and flowed between small, tide-subjected islands connected by wooden bridges.
Along the Canal, the number of "fondaco" houses increased, buildings combining the warehouse and the merchant's residence.
A portico (the curia) covers the bank and facilitates the ships' unloading. From the portico a corridor flanked by storerooms reaches a posterior courtyard. Similarly, on the first floor a loggia as large as the portico illuminates the hall into which open the merchant's rooms. The façade is thereby divided into an airy central part and two more solid sides. A low mezzanine with offices divides the two floors.
The fondaco house often had lateral defensive towers (torreselle), as in the Fondaco dei Turchi (13th century, heavily restored in the 19th). With the German warehouse, the Fondaco dei Tedeschi (which is also situated on the Grand Canal), it reflects the high number of foreign merchants working in Venice, where the republic supplied them with storerooms and lodging and simultaneously controlled their trading activity.
More public buildings were built along the Canal at Rialto: palaces for commercial and financial Benches (Palazzo dei Camerlenghi and Palazzo dei Dieci Savi, rebuilt after 1514 fire) and a mint. In 1181 Nicolò Barattieri constructed a pontoon bridge connecting Rialto to Mercerie area, which was later replaced by a wooden bridge with shops on it. Warehouses for flour and salt were more peripheral.
From the Byzantine empire, goods arrived together with sculptures, friezes, columns and capitals to decorate the fondaco houses of patrician families. The Byzantine art merged with previous elements resulting in a Venetian-Byzantine style; in architecture, it was characterized by large loggias with round or elongated arches and by polychrome marbles abundance.
Along the Grand Canal, these elements are well preserved in Ca' Farsetti, Ca' Loredan (both municipal seats) and Ca' da Mosto, all dating back to the 12th or 13th century. During this period Rialto had an intense building development, determining the conformation of the Canal and surrounding areas. As a matter of fact, in Venice building materials are precious and foundations are usually kept: in the subsequent restorations, existing elements will be used again, mixing the Venetian-Byzantine and the new styles (Ca' Sagredo, Palazzo Bembo). Polychromy, three-partitioned façades, loggias, diffuse openings, and rooms disposition formed a particular architectural taste that continued in the future.
The Fourth Crusade, with the loot obtained from the sack of Constantinople (1204), and other historical situations, gave Venice an Eastern influence until the late 14th century.
Venetian Gothic architecture found favor quite late, as a splendid flamboyant Gothic ("gotico fiorito") beginning with the southern façade of the Doge's Palace. The verticality and the illumination characterizing the Gothic style are found in the porticos and loggias of fondaco houses: columns get thinner, elongated arches are replaced by pointed or ogee or lobed ones. Porticos rise gently intertwining and drawing open marbles in quatrefoils or similar figures. Façades were plastered in brilliant colors.
The open marble fascias, often called "laces", quickly diffused along the Grand Canal. Among the 15th-century palaces still showing the original appearance are Ca' d'Oro, Palazzo Bernardo a San Polo, Ca' Foscari (now housing the University of Venice), Palazzo Pisani Moretta, Palazzi Barbaro, Palazzo Cavalli-Franchetti.
By the start of the 15th century, Renaissance architecture motifs appear in such buildings as the Palazzo Dario and the Palazzo Corner Spinelli; the latter was designed by Mauro Codussi, pioneer of this style in Venice. Ca' Vendramin Calergi, another of his projects (now hosting the Casino), reveals a completed transition: the numerous and large windows with open marbles are round-arched and have columns in the three classical orders.
Classical architecture is more evident in Jacopo Sansovino's projects, who arrived from Rome in 1527. Along the Canal, he designed Palazzo Corner and Palazzo Dolfin Manin, known for grandiosity, for the horizontal layout of the white façades and for the development around a central courtyard. Other Renaissance buildings are Palazzo Papadopoli and Palazzo Grimani di San Luca. Several palaces of this period had façades with frescoes by painters such as Il Pordenone, Tintoretto, Paolo Veronese, all of them unfortunately lost. Particularly noteworthy were the frescoes by Veronese and Zelotti on Ca Cappello, overlooking the Grand Canal at the intersection with the Rio de S. Polo.
In 1582, Alessandro Vittoria began the construction of Palazzo Balbi (now housing the Government of Veneto), in which Baroque elements can be recognized: fashioned cornices, broken pediments, ornamental motifs.
The major Baroque architect in Venice was Baldassarre Longhena. In 1631 he began to build the magnificent Santa Maria della Salute basilica, one of the most beautiful churches in Venice and a symbol of Grand Canal. The classical layout of the façade features decorations and by many statues, the latter crowning also the refined volutes surrounding the major dome.
Longhena later designed two majestic palaces, Ca' Pesaro and Ca' Rezzonico (with many carvings and chiaroscuro effects), and Santa Maria di Nazareth church (Chiesa degli Scalzi). For various reasons the great architect did not see any of these buildings finished, and the designs for all but Santa Maria Della Salute were modified after his death.
Longhena's themes recur in the two older façades of Palazzo Labia, containing a famous fresco cycle by Giambattista Tiepolo. In the Longhenian school grew Domenico Rossi (San Stae's façade, Ca' Corner della Regina) and Giorgio Massari, who later completed Ca' Rezzonico.
The 16th and 17th centuries mark the beginning of the Republic's decline, but nevertheless, they saw the highest building activity on the Grand Canal. This can be partially explained by the increasing number of families (like the Labia) becoming patrician by the payment of an enormous sum to the Republic, which was then facing financial difficulties. Once these families had achieved this new status, they built themselves with impressive residences on the Canal, often inducing other families to renew theirs.
Neoclassical architectures along the Canal date to the 18th century: during the first half was built San Simeone Piccolo, with an impressive corinthian portico, central plan and a high copper-covered dome ending in a cupola shaped as a temple. Date to the second half Massari's Palazzo Grassi.
After the fall of the Republic of Venice in 1797, much of the palatial construction in Venice was suspended, as symbolized by the unfinished San Marcuola and Palazzo Venier dei Leoni (housing the Peggy Guggenheim Collection). The Patrician families, bereft of their hereditary role in governance and sometimes persecuted by revolutionary forces, sought other residences. Several historical palaces were pulled down, but many found other uses, and some restorations have saved their 18th-century appearance. By the late 20th century, most of the more prominent palaces were owned by the city, state, or civic institutions.
During the era of the Napoleonic Kingdom of Italy, the Napoleonic suppression of the monastic religious orders vacated large sectors of real estate in the city. It also freed large amounts of furnishings and works of art into the antiquarian market or into the possession of the state. Large monasteries changed functions: the Santa Maria della Carità complex became a museum, the Gallerie dell'Accademia); the Santa Croce complex, was converted into the Papadopoli Gardens area; and the Santa Lucia complex (partially designed by Palladio) was razed for the establishment of the Santa Lucia Station.
The Kingdom of Italy accession restored serenity in the city and stimulated construction along the Grand Canal respecting its beauty, often reproduced in Gothic Revival architectures like the Pescaria at Rialto.
Vzporedna besedila so zaznamovale spremembe, ki pripravljajo izjemne zvezke, povečane spise, škandalozne bralce, tihe prijatelje, slovnično ozaveščenost,
tubae iudicii fatum navigationes obscurae rationes solitudo flumina matura ordines movere labia poetica imagines transeuntes sonos varias animarum,
points insurmontables générateurs de dettes grands sens formes floues sphères cohérentes imprécision antécédents littérature traditionnelle,
λανθασμένη παρουσίαση ρευστών λεξιλογίων μετρικά μοτίβα τακτοποίηση παραδειγμάτων που παρηγορούν την ασφάλεια οπτικοποιημένα αστέρια διακριτά σημεία καθορισμένες αντανακλάσεις,
порчаҳои нишон додашуда истисноҳо сояҳо васеъшавӣ афзоиш шиддати такроршаванда ченкунакҳо метр тағйироти ритмикӣ афзоиши норозигӣ,
ellenzékek prominens kreatív maradványok hatalmas felvonulások finom okok romlások övék horgászszabályai zord környezet,
サプリメントを追加するプライベートジャーナル興味を開く衝動的な思想家有名なマナースピーキングライト可能な領域不可解なレッスンを教えた.
They specialise in sound tracks to old silent horror movies. It was quite someting to watch and listen to.
The first seeds of Cape Town based TERMINATRYX (pronounced "terminaytrix") germinated around 2002 when lead vocalist Sonja Ruppersberg and extreme music veteran Paul Blom (of V.O.D - Voice Of Destruction, F8, and K.O.B.U.S.) took it upon themselves to create a musical project unlike any other in Cape Town and South Africa as a whole.
When it came to choosing a name, instead of a single concept, several layers were combined to include a range of movies, fetishes and mythical locations to encapsulate the specific mood. Movies like Tetsuo The Iron Man, The Terminator, The Matrix, and the Nexus replicants from Bladerunner / a strong female presence of the dominatrix / the river Styx - All of this fused to create the TERMINATRYX phenomenon.
In the early stages, around 2003, first guitarist Tom Somers left for Scotland which led to songwriter Paul taking care of all the instruments (including guitars, bass, drums, programming, keyboards and backing vocals).
The duo of Sonja and Paul is enhanced with additional personnel when it comes to live performances (Ronnie on drums and Patrick on guitar).
The first of these live performances came in 2003 when TERMINATRYX was chosen as support for German Darkwave legends Diary Of Dreams on their South African tour. The 8-song repertoire at that stage was expanded to include over an album's worth, with pre-production samplers making the rounds.
The sound also took shape to create a unique Industrial-Metal blend with female lead-, and male backing vocals, which was quite rare in Southern Africa at that time, but is becoming more commonplace.
2004 they used TERMINATRYX and F8 music in their short film, imPERFECTION.
The debut album release was always on the horizon, but time simply seemed to dissolve with Paul & Sonja's other activities including the creation of film festivals like the annual South African HORRORFEST in 2005 (for which Sonja is also the poster-girl) and the new X FEST.
In between rare live performances which included appearing at the Popkomm festival in Berlin, Germany (2006).
Each year TERMINATRYX also performs original live soundtracks to the screening of classic silent horror films at the annual South African HORRORFEST (incl. NOSFERATU, THE CABINET OF DR. CALIGARI, HAXAN, and MACISTE IN HELL). This is done in conjunction with musical collaborators Sean and Simon (from LARK - on upright bass, flute, theremin, drums, percussion etc.), as well as Matthijs Van Dijk (on electric violin). Accumulatively this musical project is known as THE MAKABRA ENSEMBLE. Other guests are also incorporated for this unique audio visual experience.
In 2007 Simon showed interest in mixing the anticipated TERMINATRYX album at his Cape Town based Sound & Motion Studios. The proposed timeframe passed and early 2008 they put their collective foot down and booked the studio for March. Paul produced (and executive produced together with Sonja) and recorded all the tracks at Flamedrop Productions. Mixing commenced with Simon at S&M early March with the album released mid-May 2008 thru ENT Entertainment, and followed with launches in Cape Town, Johannesburg and Pretoria.
Live highlights of 2008 included the Cape Town album launch (4th July) where TERMINATRYX performed at the Labia Theatre in the 200-seater cinema with a huge synce
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