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As Dutch Fluxus artist Willem de Ridder said of his postwar generation in a interview with the Los Angeles-based magazine Tease, "Our upbringing was death. Father was the boss. In the ensuing half decade, sexuality became central to these investigations, as it was seen less as a key to the individual psyche than as a line of flight from the inevitable "productive" boredom of monogamous hetero life. Reflecting this emerging perspective were a number of publications, from grassroots to academic, that began in the late s. Founded in London in by veteran underground publishers Jim Haynes and Bill Levy, Heathcote Williams, Jean Shrimpton, and Germaine Greer, Suck celebrated hippie free love and gay and lesbian sex as nonprivatized forms of sexuality, a way of transporting people from the confines of the self into new, shared realms of pleasure Girl to fuck it now in ridder friendship.

Immediately after its creation, the magazine moved its production to Amsterdam to circumvent English censorship and obscenity laws. De Ridder, who was already involved with the Fluxus-influenced underground magazine Image Storm, became the copublisher at that time. Films and Adventures commemorating the festivals in Suck was a display of pantheistic and revolutionary Schtupping. You cannot fuck everyone in the world, but at least you can try. We should all five have made love together. For example, in her biography of the nineteenth-century sexual pioneer Havelock Ellis, Phyllis Grosskurth concludes that his nonmonogamous marriage to bisexual writer Edith Ellis was proof that he "simply could not stand the intimacy of a married relationship"; besides, Grosskurth states, Ellis was probably impotent.

Even as recently ascultural critic Laura Kipnis avoided the first person when discussing monogamy and its discontents in her cogent polemic Against Loveprecisely to evade such censure. And yet, it is nearly impossible to talk about sexuality without somehow implicating yourself. We are all sexual beings, after all, and to put yourself into the equation is to forgo false dignity even if it is also to risk being seen as ridiculous. I tried to insist on using male bodies as often as female, invading the privacy of the editors, naming names in sex news, and developing a new kind of erotic art. They often appeared nude in the magazine and commented freely on their sexual encounters, including those with each other.

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