Chus Martinez On Pegging

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Pegging is a sexual practice in which a woman performs anal sex on a man by penetrating the man’s anus with a strap-on dildo. The neologism “pegging” was popularized when it became the winning entry in a contest in Dan Savage’s “Savage Love” sex advice column, held after an observation was made that there was no common name for the act.

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In terms of physical pleasure, a woman’s genitals may get direct stimulation from the base of the dildo, or in the case of a double-ended dildo, from vaginal (or internal) penetration. A woman can use a secondary vibrator, between the dildo and her genitals, to get pleasure from pegging. Men may find stimulation of the anus, rectum, and adjacent organs enjoyable. During anal sex, male pleasure can be particularly derived from the prostate, which can lead to an orgasm and ejaculation. Some men enjoy masturbating (or being manually stimulated) during pegging.

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Advice columnist Dan Savage wrote that he believes all men should try pegging at least once, as it may introduce them to a new enjoyable sexual activity and illuminate them to the receiver’s perspective in sex.

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A few instructional movies and books have emerged in recent years, including Bend Over Boyfriend (1998), co-produced by Fatale Media, Inc., and created and directed by Shar Rednour and Jackie Strano, SIR Video Movies co-founders. Bend Over Boyfriend originally inspired Dan Savage to call the act ‘BOB’ but his readers subsequently voted on the winning term, pegging.

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American pornographic film director and sex educator Tristan Taormino released an instructional pegging movie in 2009 by Vivid Entertainment Studio, Tristan Taormino’s Expert Guide to Anal Pleasure for Men, featuring a detailed explanation about male anal pleasure and strap-on dildo sex. In it, she teaches a workshop with instructions and skills for safe and pleasurable female on male anal sex. There are three scenes, in which pairs of pornographic actors explore different sexual devices and positions for pegging.

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As an accomplished author of numerous sex guides and informational books on various sexual taboos, Violet Blue wrote and released The Adventurous Couple’s Guide to Strap-On Sex in 2007.

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Pegging has recently been featured in a number of pornographic movies. The first pegging scene (long before the term was developed) appears to have been in the non-pornographic 1970 film Myra Breckinridge, based on the novel of the same name by Gore Vidal, although it was not explicit. The first explicit pegging scene is believed to have been in the 1975 pornographic film The Opening of Misty Beethoven. There is a depiction of pegging in the 1959 novel Naked Lunch by William Burroughs. The dildo used in the scene is called a Steely Dan III, and is the source from which the musical group Steely Dan takes its name.

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Female-to-male strap-on pornography became a popular sub-genre in the United States in the early 21st century, with a number of studios producing dedicated series about it. Pegging films include Strap It On (black women on white men), Babes Balling Boys (with sixteen editions), Strap Attack, Strap-on Sirenz, Strap-on Chicks, Boss Bitches (with over two dozen editions), various movies produced by LEDA Studios, and San Francisco-based Men In Pain. Several hundred exclusively pegging films were produced, as well as twice as many bisexual and straight films with strap-on scenes.

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Well-known female porn stars who expressed their pleasure in pegging their male partners include Taylor Wane, Debi Diamond, Brittany Andrews, and Monique Covét. When questioned about her particular kink Covét replied, “If we women have to take it from behind, then why not a man?”

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Chus Martinez On Pro-Sex Feminism

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There have been two strains of feminist thought on the subject of human sexuality. One tendency has criticized the restrictions on women’s sexual behaviour. This tradition of feminist sexual thought has called for a sexual liberation that would work for women as well as for men. The second tendency has considered sexual liberalisation to be a mere extension of male privilege. This latter tradition forms a part of conservative, anti-sexual discourse.

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Sex-positive feminism, also known as pro-sex feminism, sex-radical feminism, or sexually liberal feminism is a movement that began in the early 1980s. It champions the idea that sexual freedom is an essential component of women’s freedom. Some became involved in the sex-positive feminist movement in response to efforts by anti-pornography feminists, such as Catharine MacKinnon, Andrea Dworkin, Robin Morgan and Dorchen Leidholdt, to put pornography at the centre of a feminist explanation of women’s oppression. This period of intense debate and acrimony between sex-positive and anti-pornography feminists during the early 1980s is often referred to as the “Feminist Sex Wars”. Authors who have advocated sex-positive feminism include Ellen Willis, Kathy Acker, Susie Bright, Patrick Califia, Gayle Rubin, Carol Queen, Shar Rednour, Annie Sprinkle, Avedon Carol, Tristan Taormino, Rachel Kramer Bussel, Nina Hartley and Betty Dodson.

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Sex-positive feminists oppose legal or social efforts to control sexual activities between consenting adults, whether these efforts are initiated by the government, other feminists, opponents of feminism, or any other institution. They embrace sexual minority groups, endorsing the value of coalition-building with members of groups targeted by sex-negativity.

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The cause of sex-positive feminism brings together anti-censorship activists, LGBT activists, feminist scholars, sex radicals, producers of pornography and erotica, among others (though not all members of these groups are necessarily both feminists and sex-positive people). Sex-positive feminists reject the vilification of male sexuality that they attribute to many radical feminists, and instead embrace a broad range of human sexuality. They argue that the patriarchy limits sexual expression and are in favour of giving people of all genders more sexual opportunities, rather than restricting pornography Sex-positive feminists generally reject sexual essentialism: the idea that sex is a natural force that exists prior to social life and shapes institutions. Rather, they see sexual orientation and gender as social constructs that are heavily influenced by society.

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Sex-radical feminists in part come to a sex-positive stance because they distrust patriarchy’s ability to secure women’s best interest through laws limiting consensual sexual expression Indeed feminists identify women’s sexual liberation as the real motive behind the women’s movement. Naomi Wolf claims: “Orgasm is the body’s natural call to feminist politics.” Sharon Presley asserts that in the area of sexuality government blatantly discriminates against women.

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The rise of second-wave feminism, which began in the 1960s, was concurrent with the sexual revolution and legal rulings that loosened restrictions on access to pornography. In the 1970s radical feminists became increasingly focused on issues around sexuality in a patriarchal society. Some feminist groups began to concern themselves with prescribing proper feminist sexuality. This included both lesbian separatist groups, and some heterosexual women’s groups such as Redstockings. On the other hand there were also feminists, such as Betty Dodson, who saw women’s sexual pleasure and masturbation as central to women’s liberation. Pornography, however, was not a major issue; right-wing feminists were generally opposed to pornography, but the issue was not treated as especially important until the mid-1970s. There were, however, feminist prostitutes-rights advocates, such as COYOTE, which campaigned for the decriminalization of prostitution.

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From the onset of the oil crisis in 1974, there was a political backlash against the percieved liberalism of the sixties, and which ultimately took the form of Thatcherism in the United Kingdom and Reaganism in the United States. This conservative turn was embraced by parts of the feminist movement, with some activists claiming that pornography underpinned patriarchy and was a direct cause of violence against women. Robin Morgan summarized this idea with the slogan: “Pornography is the theory; rape the practice.”

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Andrea Dworkin and Robin Morgan began articulating a vehemently anti-porn feminist ideology from the mid-seventies, and anti-porn feminist groups, such as Women Against Pornography became increasingly active during the late-1970s. As anti-porn feminists broadened their criticism and activism to include not only pornography, but prostitution and sadomasochism, other feminists became concerned about the direction the movement was taking and grew more critical of anti-porn feminism. This included feminist BDSM practitioners, prostitutes-rights advocates, and many liberal and anti-authoritarian feminists for whom free speech, sexual freedom, and advocacy of women’s agency were central concerns.

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One of the earliest feminist arguments against this turn in the movement was Ellen Willis’s essay “Feminism, Moralism, and Pornography” first published in October 1979 in the Village Voice. In response to the formation of Women Against Pornography in 1979, Willis expressed worries about anti-pornography feminists’ attempts to make feminism into a single-issue movement, and argued that feminists should not issue a blanket condemnation against all pornography and that restrictions on pornography could just as easily be applied to speech that feminists found favourable to themselves.

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Around the same time Gayle Rubin began encouraging feminists to consider the political aspects of sexuality without promoting sexual repression. She also argued that the blame for women’s oppression should be put on targets who deserve it: “the family, religion, education, child-rearing practices, the media, the state, psychiatry, job discrimination, and unequal pay…” rather than on relatively uninfluential sexual minorities.

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Gayle Rubin also argued that anti-pornography feminists exaggerated the dangers of pornography by showing the most shocking pornographic images (such as those associated with sadomasochism) out of context, and in a way that implied the women depicted were actually being raped, rather than emphasizing that these scenes depict fantasies and use actors who have consented to being shown in such a way.

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Sex-positive feminists argue that access to pornography is as important to women as to men, and that there is nothing inherently degrading to women about pornography. Likewise, sex-positive feminists believe that accepting the validity of all sexual orientations is necessary in order to allow women full sexual freedom.

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Rather than distancing themselves from homosexuality and bisexuality because they fear it will hurt mainstream acceptance of feminism, sex-positive feminists believe that women’s liberation cannot be achieved without also promoting acceptance of homosexuality and bisexuality.

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Many transgender people see gender identity as an innate part of a person. Some feminists criticize this belief, arguing instead that gender roles are societal constructs, and are not related to any natural factor. Sex-positive feminists support the right of all individuals to determine their own gender, and promote gender fluidity as one means for achieving gender equality.

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Chus Martinez On Bukkake

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Bukkake is a sex act portrayed in pornographic films, in which several men ejaculate on a woman, or another man. Bukkake videos are a relatively prevalent niche in contemporary pornographic films. Originating in Japan in the 1980s, the genre subsequently spread to North America and Europe, and crossed over into gay pornography.

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Bukkake was first represented in pornographic films in the mid to late 1980s in Japan. A significant factor in the development of bukkake as a pornographic form was the mandatory censorship in Japan where genitals must be pixelated by a “mosaic”. One consequence of this is that Japanese pornography tends to focus more on the face and body of actresses rather than on their genitals.

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Since film producers could not show penetration, they sought other ways to depict sex acts without violating Japanese law and since semen did not need to be censored, a loophole existed for harder sex scenes. However, popularization of the act and the term for it has been credited to director Kazuhiko Matsumoto in 1998. The Japanese adult video studio Shuttle Japan registered the term “ぶっかけ/BUKKAKE” as a trademark (No. 4545137) in January 2001.

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The practice spread from Japan to American and then European pornography after US porn producers discovered Japanese bukkake videos in the late 1990s. The appearance of bukkake videos was part of a trend towards “harder” pornography in the 1990s, preceded by a fashion for double penetration videos in the mid-1990s, and occurring in parallel to the appearance of gang bang videos towards the end of that decade.

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There was an economic advantage for Western pornographers to produce bukkake films since they only require one actress, and often amateur male performers whose pay-rates are low. However, Western-style bukkake videos differ in some aspects from those in Japan; in Japanese bukkake videos, female performers are frequently dressed as office ladies or in school uniforms and depicted in subdued poses, whereas women in Western-style bukkake videos are portrayed as enjoying the scene.

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Another Japanese variant of bukkake is gokkun, in which several men ejaculate into a container for the receiver to drink. Bukkake is less popular than some other porn niches in the West, possibly because the implicit subordination of the woman does not appeal to many consumers, and because cum shots are normally the climax of a scene, rather than the main events.

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The genre has also spread to gay pornography, featuring scenes in which several men ejaculate on another man. “Lesbian bukkake” videos are also produced. The 17th World Congress of Sexology in Montreal in July 2005 included a presentation on bukkake.

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American editor and publisher Russ Kick, quoting a sexologist, states that men enjoy a “sense of closure and finality about sex”, something that watching other men ejaculate provides. The viewer identifies with the ejaculating men, experiencing a sense of vicarious pleasure. Other commentators believe male ‘heterosexual’ viewers subconsciously identify with the woman but won’t admit this even to themselves because they cannot deal with their latent gay proclivities.

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According to English–American anti-pornography campaigner Gail Dines, the spunk on the female performer’s body “marks the woman as used goods”, conveying a sense of ownership; she quotes veteran American porn actor and producer Bill Margold stating: “I’d like to really show what I believe the men want to see: violence against women. I firmly believe that we serve a purpose by showing that. The most violent we can get is the cum shot in the face. Men get off behind that because they get even with the women they can’t have.”

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Tristan Taormino, feminist author and sex educator, has likened bukkake to a “gay circle jerk”, noting the inconsistency between its billing as a heterosexual practice and the fact that it features a group of naked men standing in close proximity to each other, masturbating together.

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George Kranz views recent American interpretations of bukkake as a “significant advance in human behaviour”, emphasising the lively, almost party-like atmosphere of American bukkake videos compared to the more subdued Japanese style.

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