Lexi Carrington Un Official Fan Site Tribute

Lexi Carrington : This Is An Un Official Fan Site Tribute
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Lexi Carrington

Movie Title Year Distributor Notes Rev Formats Big Titty MILFs 2 2006 Devil's Film DRO Cougar Lexi Loves Double Dildo's 2007 Cypher Pictures LezOnly O Cougar Lexi Loves Kalee Nite 2007 Cypher Pictures LezOnly O Cum to Mommy 8 2010 Anarchy Facial Bald 1 DRO Daejha's Dolls 2008 Daejha Milan Productions LezOnly O Desperate Housewhores 6 2006 Hustler Video Facial 2 DRO Diary Of A MILF 1052 2006 naughtyamerica.com O Facial Cum Catchers 4 2008 Sticky Video BJOnly Facial DRO Facial Cum Catchers 5 2009 Sticky Video DO Hooter Nation 6 2007 Heatwave DO House Of Lust 2 2013 JuicyPlums.com LezOnly O I Just Fucked Your Mother 2006 Red Light District Facial Swallow Creampie 2 O I Love Your Sexy Bust 1 2007 Anarchy Bald Creampie 1 DRO I Scored a Soccer Mom 1 2007 Overboard Video Facial DRO I Touch Myself 2 2006 Pure Filth MastOnly DRO Lesbian MILTF 1 2007 Heatwave LezOnly DO MILF and Honey 3 2007 Rodnievision BJOnly Facial 1 DRO MILF Boss Unbuckles Pants Of 20 Year Old Employee 2007 megasitepass.com MILF Fantasy House 2007 bangbrosnetwork.com NonSex O MILF Fever 4 2006 Legend Video Facial 1 DRO MILF Mouths 2006 Fifth Element Facial 1 DO MILF Seeker 11 2006 Pink Visual Facial 1 DO MILTF 22 2006 Heatwave DO MILTF 28 2007 Heatwave DRO Mother Fucker 7 2007 White Ghetto DRO My Buddy's Hot Mom 8 2010 Nasty America Facial Bald DRO My Friend's Hot Mom 15581 2013 naughtyamerica.com O My Friend's Hot Mom 515 2006 naughtyamerica.com Facial O My Friend's Hot Mom 536 2006 naughtyamerica.com O My Friend's Hot Mom 6 2006 Pure Play Media Facial 1 DR My MILF Boss 3 2009 Porn.com DR No Cum Spitting 3 2007 Anarchy Facial Bald Swallow 1 DRO
Party Girls 2007 Cypher Pictures LezOnly DO Play In Pink: Allie Haze 2010 Cypher Pictures MastOnly O Play'in Pink 2007 Cypher Pictures MastOnly O Playtime: Renee Grey And Sarah Jain 2010 Cypher Pictures MastOnly Leaning into the 21st century With the advent of the digital age, the question once again foregrounds itself concerning the relevance of folklore in this new century. Although the profession in folklore grows and the articles and books on folklore topics proliferate, the traditional role of the folklorist is indeed changing. Globalization America is known as a land of immigrants; with the exception of the first Indian nations, everyone originally came from somewhere else. Americans are proud of their cultural diversity. For folklorists, this country represents a trove of cultures rubbing elbows with each other, mixing and matching into exciting combinations as new generations come up. It is in the study of their folklife that we begin to understand the cultural patterns underlying the different ethnic groups. Language and customs provide a window into their view of reality. "The study of varying worldviews among ethnic and national groups in America remains one of the most important unfinished tasks for folklorists and anthropologists."[60][note 9]

Contrary to a widespread concern, we are not seeing a loss of diversity and increasing cultural homogenization across the land.[note 10] In fact, critics of this theory point out that as different cultures mix, the cultural landscape becomes multifaceted with the intermingling of customs. People become aware of other cultures and pick and choose different items to adopt from each other. One noteworthy example of this is the Jewish Christmas Tree, a point of some contention among American Jews. Public sector folklore was introduced into the American Folklore Society in the early 1970s. These public folklorists work in museums and cultural agencies to identify and document the diverse folk cultures and folk artists in their region. Beyond this, they provide performance venues for the artists, with the twin objectives of entertainment and education about different ethnic groups. Given the number of folk festivals held around the world, it becomes clear that the cultural multiplicity of a region is presented with pride and excitement. Public folklorists are increasingly being involved in economic and community development projects to elucidate and clarify differing world views of the social groups impacted by the projects.[61] Computerized databases and big data Once folklore artifacts have been recorded on the World Wide Web, they can be collected in large electronic databases and even moved into collections of big data. This compels folklorists to find new ways to collect and curate these data.[62] Along with these new challenges, electronic data collections provide the opportunity to ask different questions, and combine with other academic fields to explore new aspects of traditional culture.[63] Computational humor is just one new field that has taken up the traditional oral forms of jokes and anecdotes for study, holding its first dedicated conference in 1996. This takes us beyond gathering and categorizing large joke collections. Scholars are using computers firstly to recognize jokes in context,[64] and further to attempt to create jokes using artificial intelligence. Binary thinking of the computer age As we move forward in the digital age, the binary thinking of the 20th century structuralists remains an important tool in the folklorist's toolbox.[65] This does not mean that binary thinking was invented in recent times along with computers; only that we became aware of both the power and the limitations of the "either/or" construction. In folklore studies, the multiple binaries underlying much of the theoretical thinking have been identified – {dynamicism : conservatism}, {anecdote : myth}, {process : structure}, {performance : tradition}, {improvisation : repetition}, {variation : traditionalism}, {repetition : innovation};[66] not to overlook the original binary of the first folklorists: {traditional : modern} or {old : new}. Bauman re-iterates this thought pattern in claiming that at the core of all folklore is the dynamic tension between tradition and variation (or creativity).[67] Noyes[68] uses similar vocabulary to define [folk] group as "the ongoing play and tension between, on the one hand, the fluid networks of relationship we constantly both produce and negotiate in everyday life and, on the other, the imagined communities we also create and enact but that serve as forces of stabilizing allegiance."[69] This thinking only becomes problematic in light of the theoretical work done on binary opposition, which exposes the values intrinsic to any binary pair. Typically, one of the two opposites assumes a role of dominance over the other. The categorization of binary oppositions is "often value-laden and ethnocentric", imbuing them with illusory order and superficial meaning.[70] Linear and non-linear concepts of time Another baseline of western thought has also been thrown into disarray in the recent past. In western culture, we live in a time of progress, moving forward from one moment to the next. The goal is to become better and better, culminating in perfection. In this model time is linear, with direct causality in the progression. "You reap what you sow", "A stitch in time saves nine", "Alpha and omega", the Christian concept of an afterlife all exemplify a cultural understanding of time as linear and progressive. In folklore studies, going backwards in time was also a valid avenue of exploration. The goal of the early folklorists of the historic-geographic school was to reconstruct from fragments of folk tales the Urtext of the original mythic (pre-Christian) world view. When and where was an artifact documented? Those were the important questions posed by early folklorists in their collections. Armed with these data points, a grid pattern of time-space coordinates for artifacts could be plotted.[71] Awareness has grown that different cultures have different concepts of time (and space). In his study "The American Indian Mind in a Linear World", Donald Fixico describes an alternate concept of time. "Indian thinking" involves "'seeing' things from a perspective emphasizing that circles and cycles are central to world and that all things are related within the Universe." He then suggests that "the concept of time for Indian people has been such a continuum that time becomes less relevant and the rotation of life or seasons of the year are stressed as important."[72][note 11] In a more specific example, the folklorist Barre Toelken describes the Navajo as living in circular times, which is echoed and re-enforced in their sense of space, the traditional circular or multi-sided hogan.[73] Lacking the European mechanistic devices of marking time (clocks, watches, calendars), they depended on the cycles of nature: sunrise to sunset, winter to summer. Their stories and histories are not marked by decades and centuries, but remain close in, as they circle around the constant rhythms of the natural world. Within the last decades our time scale has expanded from unimaginably small (nanoseconds) to unimaginably large (deep time). In comparison, our working concept of time as {past : present : future} looks almost quaint. How do we map "tradition" into this multiplicity of time scales? Folklore studies has already acknowledged this in the study of traditions which are either done in an annual cycle of circular time (ex. Christmas, May Day), or in a life cycle of linear time (ex. baptisms, weddings, funerals). This needs to be expanded to other traditions of oral lore. For folk narrative is NOT a linear chain of isolated tellings, going from one single performance on our time-space grid to the next single performance. Instead it fits better into a non-linear system, where one performer varies the story from one telling to the next, and the performer's understudy starts to tell the story, also varying each performance in response to multiple factors.[74] Cybernetics Cybernetics was first developed in the 20th century; it investigates the functions and processes of systems. The goal in cybernetics is to identify and understand a system's closed signaling loop, in which an action by the system generates a change in the environment, which in turn triggers feedback to the system and initiates a new action. The field has expanded from a focus on mechanistic and biological systems to an expanded recognition that these theoretical constructs can also be applied to many cultural and societal systems, including folklore.[75] Once divorced from a model of tradition that works solely on a linear time scale (i.e. moving from one folklore performance to the next), we begin to ask different questions about how these folklore artifacts maintain themselves over generations and centuries. The oral tradition of jokes as an example is found across all cultures, and is documented as early as 1600 B.C.[note 12] Whereas the subject matter varies widely to reflect its cultural context, the form of the joke remains remarkably consistent. According to the theories of cybernetics and its secondary field of autopoiesis, this can be attributed to a closed loop auto-correction built into the system maintenance of oral folklore. Auto-correction in oral folklore was first articulated by the folklorist Walter Anderson in his monograph on the King and the Abbot published 1923.[76] To explain the stability of the narrative, Anderson posited a “double redundancy”, in which the performer has heard the story from multiple other performers, and has himself performed it multiple times. This provides a feedback loop between repetitions at both levels to retain the essential elements of the tale, while at the same time allowing for the incorporation of new elements.[77] Another characteristic of cybernetics and autopoiesis is self-generation within a system. Once again looking to jokes, we find new jokes generated in response to events on a continuing basis. The folklorist Bill Ellis accessed internet humor message boards to observe in real time the creation of topical jokes following the 9/11 terrorist attack in the United States. "Previous folklore research has been limited to collecting and documenting successful jokes, and only after they had emerged and come to folklorists' attention. Now, an Internet-enhanced collection creates a time machine, as it were, where we can observe what happens in the period before the risible moment, when attempts at humour are unsuccessful.", that is before they have successfully mapped into the traditional joke format.[78] Second-order cybernetics states that the system observer affects the systemic interplay; this interplay has long been recognized as problematic by folklorists. The act of observing and noting any folklore performance raises without exception the performance from an unconscious habitual acting within a group, to and for themselves, to a performance for an outsider. "Naturally the researcher's presence changes things, in the way that any new entrant to a social setting changes things. When people of different backgrounds, agendas, and resources interact, there are social risks, and where representation and publication are taking place, these risks are exacerbated

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