Wife Crazy - Perverted Mother Fucker

Motherfucker (/ˈmʌðərfʌkər/ muhth-er-fuhk-er), sometimes abbreviated as mofo, mf, or mf'er, is an English-language vulgarism. It is a form of the profanity fuck. While the word is usually considered highly offensive, it is rarely used in the literal sense of one who engages in sexual activity with another person's mother, or their own mother. Rather, it refers to a mean, despicable, or vicious person, or any particularly difficult or frustrating situation. Alternatively, it can be used as a term of admiration, as in the term badass motherfucker (BAMF), meaning a fearless and confident person.

Wife Crazy - Perverted Mother Fucker

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Like many widely used offensive terms, motherfucker has a large list of minced oaths. Motherhumper, motherfugger, mother f'er, mothersucker, mothertrucker, motherfreaker, motherlover, mofo, fothermucker, monkey-fighting,[1] motherflower, mother flipper, motherkisser and many more are sometimes used in polite company or to avoid censorship.[citation needed] The participle motherfucking is often used as an emphatic, in the same way as the less strong fucking. The verb to motherfuck also exists, although it is less common. Conversely, when paired with an adjective, it can become a term denoting such things as originality and masculinity, as in the related phrase "badass motherfucker." Use of the term as a compliment is frequent in the jazz community; for example, when Miles Davis addressed his future percussionist Mino Cinelu: "Miles...grabbed his arm and said, 'You're a motherfucker.' Cinelu thanked Miles for the compliment."[2]

The words "mother for you" or "mother fuyer", as minced oaths for "motherfucker", were used in blues and R&B records from the 1930s. A few examples include Memphis Minnie's "Dirty Mother For You" (1935), Roosevelt Sykes' "Dirty Mother For You" (1936), and Dirty Red's "Mother Fuyer" (1947). The singer Stick McGhee, whose recording of "Drinking Wine Spo-Dee-O-Dee" was a hit in 1949, claimed that he had originally heard the song as "Drinking Wine, Motherfucker". Later, Johnny "Guitar" Watson had a hit in 1977 with "A Real Mother For Ya".[10][11]

In popular music, the first mainstream rock release to include the word was the 1969 album Kick Out the Jams by MC5. The title track, a live recording, is introduced by vocalist Rob Tyner shouting "And right now. right now. right now it's time to. kick out the jams, motherfuckers!". This was quickly pulled from stores, and an edited version was released with the words "brothers and sisters" overdubbed on the offending word. At about the same time, the Jefferson Airplane released the album Volunteers, the opening track of which, "We Can Be Together", included the line "up against the wall, motherfucker", a popular catch phrase among radical groups at the time. This attracted less attention. The word was strongly implied, but not said explicitly, in Isaac Hayes' huge 1971 hit song "Theme from Shaft". Arlo Guthrie's 1967 piece "Alice's Restaurant" used a minced version, "mother rapers."[12] Though rarely broadcast in the US, the word has since become common in popular music, particularly in hip hop.

My mother had never stopped talking about how perverted sex was my entire formative years. After telling me about hideous acts men could do to girls, she would then talk about sex was normal and how I was supposed to marry and have kids. I just could not. Not only that, she was always watching me, and criticising my every move. She was happy to use me while telling me that she had not wanted a daughter because girls have such a bad life for being female.

Peola is the antithesis of the mammy caricature. Delilah knows her place in the Jim Crow hierarchy: the bottom rung. Hers is an accommodating resignation, bordering on contentment. Peola hates her life, wants more, wants to live as a white person, to have the opportunities that whites enjoy. Delilah hopes that her daughter will accept her racial heritage. "He [God] made you black, honey. Don't be telling Him his business. Accept it, honey." Peola wants to be loved by a white man, to marry a white man. She is beautiful, sensual, a potential wife to any white man who does not know her secret. Peola wants to live without the stigma of being black -- and in the 1930s that stigma was real and measurable. Ultimately and inevitably, Peola rejects her mother, runs away, and passes for white. Delilah dies of a broken heart. A repentant and tearful Peola returns to her mother's funeral. 2ff7e9595c