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Study – Lesbians have the most orgasms.

15-ads-that-changed-the-way-we-think-about-gays-and-lesbiansWomen have the least predictable, most varied orgasm experiences – unless they’re having sex with other women JENNY KUTNER TUESDAY, AUG 19, 2014 08:25 PM +0100

Lesbians are having more orgasms than other women, according to science. New research published in the Journal of Sexual Medicine shows distinct differences in orgasm rates across sexual orientations, indicating that women who regularly have sex with women climax more frequently than women who have sex with men.

Pooling self-reported data from 2,850 single adults (1,497 men and 1,353 women), researchers asked participants to denote their gender, sexual orientation and the percentage of time they orgasmed with a familiar partner, on a scale from 0 to 100. The findings reveal that male participants experience the least variation in orgasm rate, but the highest rate of orgasm with a familiar partner overall. Heterosexual men reported an 85.5 percent orgasm rate, gay men an 84.7 percent rate and bisexual men a 77.6 percent rate. For women, however, the results showed major disparities. Heterosexual and bisexual women reported orgasm rates of 61.6 percent and 58 percent respectively, while lesbian women reported the highest average rate by far: 74.7 percent (!).

The study offers a few possible explanations for the difference, including the hypothesis that “self-identified lesbian women are more comfortable and familiar with the female body and thus, on average, are better able to induce orgasm in their female partners.” As far as implications are concerned, study co-author Justin R. Garcia told the Huffington Post that the findings could provide a roadmap that ends with more (and better) orgasms for everyone.

“To the extent that lack of orgasm is seen as a common and unwanted problem, learning more about orgasm in same-sex relationships may inform treatment for men and women in both same-sex and mixed-sex relationships,” Garcia said. “Consequently, these findings may contribute to promotion of a more informed and positive sexual health care.” And that’s never a bad thing.

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Five theories as to why lesbians are more likely to orgasm than straight women.

The Best Film Critic of the ’60s on the Best Filmmaker of the ’60s

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The New-Wave classic ‘Band of Outsiders’ turns 50 By Pauline Kael

In September of 1966, Pauline Kael penned her first film review for The New Republic. Just one year and eighteen reviews later, she left. “The readers there were offended because they were used to Stanley Kauffmann. They thought of me as an impertinent little snip and wrote hostile letters to the magazine, many of which were printed,” Kael grumbled to Francis Davis in Afterglow: A Last Conversation with Pauline Kael. She then decamped to The New Yorker, where she would establish herself as one of the foremost film critics of all time, and one of the first to include the personal voice in her reviews. From New York, she led a memorable career, taking aim at Hollywood directors, sparring with Joan Didion, and mentoring a coterie of young critics—David Denby among them—called the “Paulettes.” In her first piece for The New Republic, Kael reviewed Jean-Luc Godard’s Band of Outsiders, which was first released in France on August 5, 1964—50 years to this day. (The film would hit American theaters in 1966). Kael describes the significance of the French New Wave to this particular historical moment: “To say it flatly, Godard is the Scott Fitzgerald of the movie world, and movies are for the sixties a synthesis of what the arts were for the post-World-War-I generation—rebellion, romance, a new style of life.”

This piece was originally published on September 10, 1966.

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Jean-Luc Godard intended to give the public what it wanted. His next film was going to be about a girl and a gun—”A sure-fire story which will sell a lot of tickets.” And so, like Henry James’ hero in The Next Time he proceeded to make a work of art that sold fewer tickets than ever. What was to be a simple commercial movie about a robbery became Band of Outsiders.

The two heroes of Band of Outsiders begin by play-acting crime and violence movies, then really act them out in their lives. Their girl, wanting to be accepted, tells them there is money in the villa where she lives. And we watch, apprehensive and puzzled, as the three of them act out the robbery they’re committing as if it were something going on in a movie—or a fairy tale. The crime does not fit the daydreamers nor their milieu: We half expect to be told it’s all a joke, that they can’t really be committing an armed robbery. Band of Outsiders is like a reverie of a gangster movie as students in an expresso (sic) bar might remember it or plan it—a mixture of the gangster film virtues (loyalty, daring) with innocence, amorality, lack of equilibrium.

It’s as if a French poet took an ordinary banal American crime novel and told it to us in terms of the romance and beauty he read between the lines; that is to say, Godard gives it his imagination, recreating the gangsters and the moll with his world of associations—seeing them as people in a Paris cafe, mixing them with Rimbaud, Kafka, Alice in Wonderland. Silly? But we know how alien to our lives were those movies that fed our imaginations and have now become part of us. And don’t we—as children and perhaps even later—romanticize cheap movie stereotypes, endowing them with the attributes of those figures in the other arts who touch us imaginatively? Don’t all our experiences in the arts and popular arts that have more intensity than our ordinary lives, tend to merge in another imaginative world? And movies, because they are such an encompassing, eclectic art, are an ideal medium for combining our experiences and fantasies from life, from all the arts, and from our jumbled memories of both. The men who made the stereotypes drew them from their own scrambled experience of history and art—as Howard Hawks and Ben Hecht drew Scarface from the Capone family “as if they were the Borgias set down in Chicago.”

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Israeli women are showing support for the IDF — by showing their boobs

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As with most serious political protests, toplessness has worked its way into the cause. But … why? (NSFW) by JENNY KUTNER THURSDAY, JUL 24, 2014 10:25 PM +0100

Women going topless is more taboo than it should be. Women should go topless when they feel the desire to go topless, and they should be able to do so without being hyper-sexualized, slut-shamed or even arrested in places where going topless in public is legal. Women should go topless if and when they hope to make a point. There is room for boobs in political protest.

But how much room, really, and in what kind of political protest? Are there certain issues for which it simply doesn’t make sense — and potentially detracts from the cause — to introduce boobs into the equation? (Personally, I’m really not sure.)

The Facebook page “Standing With IDF” has gotten quite a bit of attention since it was created on Wednesday, and it’s readily apparent why: the page is littered with bare breasts and butts on which women have written short tributes to the Israeli army, some more stripped down than others but all of them titillating. For the most part, the photos look like intimate selfies that one might “sext” to a partner, but with a handwritten “IDF” and a heart thrown in.

Is this just a creative way to say thank you to Israeli soldiers, or does it serve a larger purpose? Does it say anything about the ongoing crisis in Gaza or about the devastating death toll there? Does it help these women express themselves or speak to some other social issue? I don’t mean to suggest that these women should censor themselves or be censored by the media, but I do have questions (clearly) about where these Standing With IDF photos fit into the overall cause and whether they diminish that cause in any way. Pro-Israel political sentiment has no doubt dominated many aspects of these women’s lives (many appear to be Israeli), but beyond that it dominates international relations and worldwide attention as well. Why get naked for this particular cause?

There’s no doubt an argument to be made that those Standing With IDF are simply using nudity to celebrate freedom and those who protect it. The images could also imply that Israeli citizens will go about their lives even in the face of war, and that might mean getting topless for the camera. Regardless of the explanation, my hope is that there is one and that Standing With IDF has some deeper meaning I don’t see. Because a lot of people are dying, and that isn’t usually why people decide to show their boobs.

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